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ENTERTAINMENT MARCH – JULY ON SALE NOW
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06 LAS VEGAS WEEKLY 03.30.17
Trust Us EVERYTHING YOU ABSOLUTELY, POSITIVELY MUST GET OUT AND DO THIS WEEK
02 SUNDAY, 8 P.M.
30 THRU APRIL 1
OLD 97’S AT VINYL How long have Old 97’s been waving the alt-country flag? Let’s put it this way, when Rhett Miller, Ken Bethea, Murry Hammond and Philip Peeples first started playing together, Uncle Tupelo was still a living thing. Twenty-three years after releasing debut album Hitchhike to Rhome, the 97’s original foursome is still going strong, having just dropped full-length No. 11 in February. “It’s been fun to see the timelessness of lyricbased, roots-based music,” Miller, the band’s primary singer and songwriter, told Vanyaland.com last year. “The idea that a song can exist just by playing an acoustic guitar … It’s not based on loops, it’s not based on something you made from a computer or a sequencer. It’s just a song.” New LP Graveyard Whistling piles 11 such songs onto the Old 97’s pickup truck, which pulls up to the Hard Rock Hotel on Sunday. With Ha Ha Tonka, Paige Overton. $22$45. –Spencer Patterson
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04 TUESDAY, 6 & 8 P.M.
UNLVINO ON AND OFF THE STRIP
1984 AT THE SCI FI CENTER
Of the annual fundraiser’s three events—Thursday’s Bubble-Licious at the Venetian, Friday’s Sake Fever at Red Rock Resort and Saturday’s Grand Tasting at Paris Las Vegas—the most fun and relaxed option is also the cheapest. Indulge in sake, craft beer and spirits, along with sushi burritos, noodles and other savory snacks, poolside on the middle night for $75-$100. Unlvtickets.com. –Brock Radke
After the election of Donald Trump, dystopian sci-fi novels including George Orwell’s 1984 began climbing the sales charts, and now indie movie theaters around the country are showing the 1984 film version of 1984 (starring the late John Hurt) as a protest against Trump administration policies, with a portion of proceeds going to local charities. $10. –Josh Bell
PIZZA FINALS!
Expecting a Metro/ Pizza Rock title tilt in the Weekly’s Ultimate Pizza Bracket? Nope! It’s Grimaldi’s vs. Naked City. Vote for your winner at lasvegasweekly.com.
FRIDAY, 8 P.M.
TWIN PEAKS COSPLAY MIXER AT DISPENSARY LOUNGE You’ve been binge-watching Twin Peaks since you first heard David Lynch was getting back in the director’s seat (his first time helming a major TV production in 22 years). And while the debut of the cult classic’s third season is still a month and a half away, it’s never too early to get in on some murder-mystery cosplay. Whether you’re the quirky and perceptive FBI Agent Dale Cooper or homecoming queen and murder victim Laura Palmer—or if you’ve always just wanted to play Log Lady—now’s the time to geek out with fellow fans of the beloved ’90s drama. The cherry pie is worth a stop. 2451 E. Tropicana Avenue. –Leslie Ventura
The Insane Clown Posse. (Courtesy)
07 las vegas weekly
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p owerful plays
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saturday, 11 A.M.
Las Vegas Hemp Festival at Craig Ranch Regional Park Las Vegas’ gift for unalloyed optimism is such that our city is hosting its fourth-annual hemp festival many months before our first, legal recreational-use cannabis dispensary opens its doors. This daylong event, whose website suggests it might draw attendees in the tens of thousands, features weedindustry experts talking about the leaf. plus a veritable package tour of 1990s artists—including Bone ThugsN-Harmony’s Layzie Bone, Sons of N.W.A. (literally the offspring of Dr. Dre and Eazy-E), Lyte and America’s Faygo-fueled kabuki sweethearts Insane Clown Posse—presumably rapping about it (and also, inevitably, “f*cking magnets”). Also scheduled: the Grower’s Cup Awards; an additional stage of rap, reggae and legit zombie bands including Black Bottom Lighters, Lady Reiko and Still Not Dead; and a crowd that could serve as an unofficial dry run for this September’s Juggalo March on Washington. $50-$200, lasvegashempfest.com. –Geoff Carter
The proverbial American melting pot is boiling over. Multiculturalism has been replaced with suspicion (or worse) in this weird Trumpian era. But the Las Vegas theater community is countering political uncertainty with three very different plays that all tackle a clash of cultures. Nevada Conservatory Theatre and Cockroach Theatre present Disgraced, which netted the 2013 Pulitzer for playwright Ayad Akhtar. It follows a tumultuous dinner party hosted by a PakistaniAmerican lawyer and his white Islamophile wife. “The brilliance of the play is the way in which identity and perception are shown to be complexly and unpredictably related,” writes Los Angeles Times theater critic Charles McNulty. March 31-April 9, Black Box Theatre at UNLV’s Ham Hall; April 14-16 & 21-23, Art Square Theatre; times & prices vary. Over at the Space, The Nigerian Spam Scam Scam greets its culture shocks with hilarity. In the name of art, playwright Dean Cameron responded to one of those mass emails from a Nigerian “millionaire.” The correspondence became fodder for this play, which he performs alongside actor Victor Isaac. It’s a modern-day epistolary tale, complete with cat pictures. March 31, 8 p.m.; April 1, 7 & 10 p.m.; $35-$50, the Space, 3460 Cavaretta Court. A 70-year generation gap separates firebrand grandmother Vera from her 21-year-old grandson Leo in Las Vegas Little Theatre’s 4,000 Miles. Amy Herzog’s play explores how the characters do (or don’t) overcome that gap. March 24-April 9, 8 p.m. (2 p.m. Sundays), $15. –C. Moon Reed
08 las vegas weekly 03.30.17
SEEN AND HEARD
the inter w here
i deas
The transgender community will be highlighted during a Day of Visibility BY LESLIE VENTURA
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ctivist and pillar of the Stonewall riots Marsha P. Johnson. Stand-up comic Ian Harvie. Orange Is the New Black actress Laverne Cox. A Clockwork Orange composer Wendy Carlos. German polevaulting champion Balian Buschbaum. The list of transgender people who have helped shape our society is endless. Founded in 2009, International Transgender Day of Visibility celebrates the accomplishments of transgender people and gender-nonconformists throughout the world, while simultaneously raising awareness about the discrimination those who are trans face. “We do remarkable things,” says Blue Montana, transgender program manager at the Gay and Lesbian Community Center of Southern Nevada. “We’re politicians, we’re teachers. Trans people [were in] the Civil War. Joan of Arc was gender variant. We’ve been visible for hundreds of years.” That history will be explored on Friday, March 31 when the Center celebrates TDOV, beginning with a clinic on name and gender-marker changes, followed by a trans and gender-nonconforming history workshop, empowerment awards and an open-mic segment called Trans Monologues. Laura Hernandez, family and youth services coordinator at Gender Justice Nevada, says celebrating trans and gendernonconforming communities also means changing societal views. As the mother of a trans daughter, Hernandez has used her own story to train school district employees and police officers on gender diversity. “We are all affected by these boxes we put people into,” Hernandez says. “All of us can look back at something [we were told] we shouldn’t do because we were a girl or a boy. We’re all living under these rigid systems created by our own society. “To shift [our] thinking, to understand that we are all born in this myriad of different ways,” she adds—that’s one way to combat transphobia. And while TDOV is important, Gender Justice advocacy services coordinator David Kenney says it’s even more valuable for trans and gender non-conforming individuals to be seen and supported every day. “When folks are trying to grow up and figure out who they are ... we need role models to let us know it’s okay to be this way,” Kenney says. “Every trans person has a very different story.”
Bills penalizing slow highway drivers hit the fast lane Nevada might finally have a solution for pesky left-lane hogs. Assemblymen Chris Edwards (R) and John Ellison (R) introduced two bills into the Nevada Legislature last week that would penalize slow drivers from operating in the extreme-left lane of a highway if a faster car is approaching. Edwards told the Weekly that Assembly Bill 329 would “improve road safety throughout Nevada” by enforcing rules of the road that already exist.
NRS 484B.627 already states that drivers are prohibited from driving “at a speed so slow as to impede the forward movement of traffic proceeding immediately behind the driver.” Edwards says an amendment would merge bills AB329 and AB334 into one piece of legislation and adjust the initial proposed fines to $150 for the first offense, $300 for the second, $600 for the third and $1,000 for every additional violation. –Leslie Ventura
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LAS VEGAS WEEKLY 03.30.17
A ND L IF E M E ET
A NEW AGE OF MOVIEGOING Eclipse opens to kids, and Boulevard Mall gets a Galaxy BY MIKE PREVATT
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Photo illustration
1 BIG PHOTO
BIG MACS, MEET SKYNET? On March 22, the McDonald’s on Sunset Road and Durango Drive unveiled the brand’s first self-service kiosks in Las Vegas. The next day, a ReviewJournal editorial gloated, arguing that the machines were a result of “progressives clamoring for Nevada to outlaw more jobs by increasing the minimum wage to $15.” Never mind that the automated technology already exists in more than 2,600 McDonald’s around the world. Whether or not higher pay kills jobs, if humans enter a wage competition with machines, the robots will win. So what happens between now and when computers bring forth a techno-utopia, eliminating all need for human labor? Well, two minimum wage bills are making their way through Nevada’s legislative session. And Fight for 15 Las Vegas is taking part in a “national day of action” on April 4 to promote workers’ rights and honor Dr. Martin Luther King Jr. ¡Viva los humanos! –C. Moon Reed
A year ago, neither Downtown nor Midtown moviegoers had any neighborhood theaters. Now both will have some of the most lux cinemas in the Valley, as the evolving Eclipse and the growing Galaxy cinema companies have come to save them from bad seats and sober Beauty and the Beast viewings. After almost four months of operation with a restricted permit, Downtown’s Eclipse Theater can finally accommodate the young—albeit at certain hours. Movie fans under the age of 21 are now welcome during screenings that start at 6 p.m. or earlier—but not after, when only adults will be admitted (alcohol is available for adults during all showings). For those 12 and under, tickets cost $16, $2 less than peak-time general admission and equal to matinee pricing. Also, Eclipse’s at-your-seat food and drink service (and café) has added both children’s and weekend brunch menus. Cue the movie and the French toast poppers. Meanwhile, nearly four months after the Weekly reported that the Boulevard Mall would soon begin construction on a luxury movie theater, various media outlets revealed last week that come late fall, the cineplex will be occupied by Galaxy Theatres, the other upscale exhibitor in the Valley. The company’s reps were traveling and unavailable for further comment, but their newest outpost will become one of Boulevard’s most important—and premium—tenants as the longtime shopping center shifts toward entertainment. “People have the perception it’s a Class C mall, and we want to blow it out of the water,” said Timo Kuusela—vice president and general manager of Sansone Companies, which owns Boulevard Mall—back in December. “I can’t think of a bigger way than a $13 million investment, with the jobs investment of 10 million. … We’re putting our money where our mouth is on that one.”
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THE INTERSECTION
LAS VEGAS WEEKLY 03.30.17
WELCOME TO THE BIG TIME With multiple major-league sports team on the way, it’s time to prove we deserve them BY MATT JACOB evada bans casino gambling. … UNLV wins college football’s national championship. … Elvis, Sinatra and Liberace return from the dead, announce joint Las Vegas residency. Not long ago, I would have been less shocked by any of these headlines than the one that made worldwide news Monday: NFL owners approve Raiders’ move to Las Vegas. Maybe—maybe—I could have envisioned such a headline one day appearing atop a parody story on the Onion or Funny or Die. The fact that it’s not a joke? Well, let’s just say I would have bet my life savings (and yours!) against Las Vegas ever landing an NFL franchise. What’s more, I would have made that bet as recently as two months ago. From the very first rumbling that the Raiders were flirting with Las Vegas, my opinion never wavered, even as the story gained rapid and fierce momentum. See, I moved here right before Week 2 of the 1994 NFL season, and in the 22-plus years since, I’ve worked as both a sports journalist and in the sports-betting industry. Which means I’ve been keenly aware of the National Football League’s long-held (and wildly hypocritical) antiVegas stance. Oh, sure, behind the locked doors of a Park Avenue corner office, NFL commissioner Roger Goodell and his predecessor, Paul Tagliabue, hit
N
(Illustration by Ian Racoma/Staff)
their knees daily to give thanks for the existence of sports gambling. Because without it, they knew their league would be about as appealing as water polo. There was just was no way Goodell, Tagliabue or any of the league’s 32 uber-rich owners would ever admit as much publicly. Even as casino gambling leaked beyond Nevada’s borders in the latter part of the 20th century—and even as many of those uber-rich owners crawled under the sheets with casino companies—the rhetoric remained the same: Nevada is and always will be the devil. Just go back to January 2003, when the Las Vegas Convention and Visitors Authority wanted to buy an ad to run during the Super Bowl XXXVII broadcast. The NFL’s response: Thanks, but no thanks. Then again, that was a measly $2.2 million the NFL rejected. When
Nevada lawmakers multiplied that figure by 340, which they did by approving an unprecedented $750 million in public financing for a new $1.9 billion, 65,000-seat domed stadium to entice the Raiders—well, that got the League’s attention. Add to that an estimated $350 million relocation fee Raiders owner Mark Davis must shell out—a fee Davis’ 31 colleagues get to divvy up—and suddenly Nevada’s pitchfork, horned ears and tail disappeared like a bad Penn & Teller bit. So, against all conceivable odds, Las Vegas will soon be an NFL city. Throw in the Vegas Golden Knights, who will make their NHL debut in the fall, and we’re on the verge of being one of 19 U.S. municipalities that’s home to both an NFL and NHL franchise. The enormity of that cannot be understated, for it makes official what was once a pipe dream: Las Vegas is
now a big-league city. And now the real work begins—to prove we deserve it. That’s why it doesn’t matter if you’re not a fan of the tax hike that will foot the stadium bill. Nor does it matter if you’re a hockey fan, a (gulp!) Raiders fan or a sports fan of any kind. Like it or not, major-league sports franchises give cities a major-league identity, and now we’ve got one. Say goodbye to the “dusty desert outpost” references and “You actually live in Las Vegas?” questions. We’re big time. But to remain big time and prove the doubters—and there are many—wrong, it’s crucial that we throw our full support behind the Golden Knights and Raiders and whatever pro teams might follow. As the cliché goes, you only get one chance to make a first impression, and while it’s taken more than 110 years to get that chance, it’s now before us. We can’t afford to blow it.
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LAS VEGAS WEEKLY 03.30.17
CAMERON CALLOWAY EP RELEASE SHOW May 19, 8 p.m., $15-$20. Vinyl, 702-6935000.
HOW LOCAL SOUL MAN CAMERON CALLOWAY SPREADS HIS SOUND ALL AROUND STORY BY BROCK RADKE | PHOTO BY MIKAYLA WHITMORE
t’s a crisp December day on the Las Vegas Strip, and pedestrians are getting something unexpected as they stroll past the faux Brooklyn Bridge in front of New York-New York casino. Cameron Calloway is there with his guitar, mic and amp—not to mention his talent and passion—and tourists are literally stopping in their tracks to take in his version of “Killing Me Softly With His Song.” There’s something about his voice, pristine and comforting, conveying such a familiar and beloved song. It makes all of us wonder if this beautiful music is bouncing all the way up Las Vegas Boulevard, so everyone can get this experience. ¶ It’s hard to believe that such a talented performer is doing the street-performance thing on the world’s most-traveled tourist thoroughfare, but that has become far more common on this part of the Strip since MGM Resorts built outdoor entertainment into New York-New York, the Park and the Monte Carlo. We’re not talking about the costumed folks hoping you’ll take a selfie and leave a tip. These are professionals hired by MGM to provide musical ambience to complement the landscape.
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LAS VEGAS WEEKLY 03.30.17
“You walk through that Park, and if it’s the right feel and the right time and weather, you’ll lose yourself and forget you’re in Las Vegas,” says Daren Libonati, vice president and general manager of MGM’s outdoor venues. “You might stumble across a wonderful violinist or guitar player. Those experiences and artists fit the aesthetics of that area, as Cameron fits and fulfills through his artistry. He is a unique guy.” Away from the Strip, those who follow the local music scene know about Calloway’s unique talents. The 27-year-old Long Beach, California, native has been singing and playing guitar for less than three years, which you won’t believe when you hear his rich, soulful voice, reminiscent of some of his biggest influences like Al Green, Stevie Wonder and Donny Hathaway. The New York-New York gig—three-plus hours every Thursday—has been instrumental in helping Calloway develop a nuanced, experienced sound. “It’s all that practice and all those gigs when you think no one is listening,” he says. “That’s why I’m so grateful for these [long gigs]—it forces me to practice, forces me to try new things with my voice and push a little harder than I did last time. Being uncomfortable at certain moments has helped me grow, not just as an artist but as a person.” Calloway’s family moved to Las Vegas in 1992. He grew up thinking he’d be a football player but didn’t like playing much at Durango High School. While working in a chocolate shop, he thought about becoming a chef, a doctor or even a firefighter. Music eventually came naturally, and once he quit his day job, things started happening. In the two years since, entertaining tourists along the Boulevard has become more than a way for this young artist to pay the bills. “As a performer there you really have to set the vibe,” Calloway says. “You don’t want to play
too many slow songs or too many upbeat songs ... mapping out what to play for three hours can be a challenge, especially when there are moments when it seems like no one cares. That’s the tough part. But it helps me build that endurance, and it makes me appreciate it more when I play my own shows and people come to listen to my stuff.” Calloway is set to release his first EP of his own material next month, a collection he calls My Neighborhood and will celebrate with a May 19 show at Vinyl at the Hard Rock Hotel. He’s been writing songs for as long as he’s been performing, and while you can catch him on the Strip with just his guitar, his recordings feature a full band: Brittany Valen on guitar, Bre Shen on bass, Jason Corpuz on keys and Chris Foster on drums. “Original music is my focus right now. I just want to keep making music, and if something happens with a label later on, maybe I would consider it. But the way the business is changing, I don’t think that will be necessary,” Calloway says. “I just want to play some more festivals and [shows outside Las Vegas] and keep making music that brings people together.” When asked about his farthestfrom-home gig so far, he tells a story about a woman who sent him a video from her medical mission to Haiti. She was singing one of Calloway’s songs to children in an orphanage, teaching them the words and melody. That’s certainly not the typical gig, but he’s not your average young artist, and maybe his breakthrough gig is atypical, too. “[On the Strip], I’ve been able to connect with people from France and Germany and Australia,” Calloway says. “I can give them my music to take back with them.”
14 Cover story
WEEKLY | 03.30.17
Sinclair at Clairebnb, with a friend. (Photograph by Adam Shane, makeup by Tai Shane, hair by Antonio Simpson)
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15 COVER STORY
WEEKLY | 03.30.17
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By Jason Scavone
laire Sinclair is apprehensive, not what you’d expect from someone who’s spent much of her adult life semi- or entirely nude. ¶ She’s sitting on a pink settee in the Jayne Mansfield-inspired glitz room at her burgeoning Clairebnb rental project in a cream-colored lace dress, her dark hair, wet from the tub, settling in waves on her shoulders. It smells like a bottle of Herbal Essence exploded in her luggage and she didn’t have time to send out the dry cleaning. ¶ If you ever have a photo shoot and no bubble bath, turns out that’s a good substitute. ¶ “I’m nervous even to put it out,” she says. “It makes me break out into sweats to think about putting out a Kickstarter. It could be nothing, it could be huge. Doing anything in my career has always been that risk. There’s no fun if there’s no risk.” ¶ Sinclair smiles at that. It’s not the stage smile. It’s the camera smile, the one that creeps up toward her bangs, like she’s going to tell you a dirty joke or maybe take you out for ice cream. It’s the smile that made Hef stand up and take notice … which led to her run in Pin Up on the Las Vegas Strip … which led her here. ¶ “[Pin Up] was a four-year lesson I keep going back to. ¶ There was no fun there, there was no risk, there was no anything. It was just dead. I’m just happy I get the chance to try.” ¶ Maybe it’s better to start from the end. The end of Pin Up, anyway.
16 COVER STORY
WEEKLY | 03.30.17
(Photograph by Adam Shane/ Special to Weekly)
our years ago, on her 21st birthday, Sinclair—fresh off a 2011 Playmate of the Year win and an appearance on Holly Madison’s reality show, Holly’s World—was attending Frankie Moreno’s show at the Stratosphere. He told her about a new, vintage-themed dance production he’d hatched up, and asked if she’d be interested in fronting it, the way Madison, another Playboy celeb-turned-Strip showgirl, had starred in Peepshow. Pin Up was born. It launched with typical Vegas fanfare in March 2013, but it wasn’t long before something felt wrong. It operated under a kind of showgirl hijab—it never got racier than corsets, as if it was some stage version of Leave It to Beaver. By June, Sinclair had pushed the show from PG to PG-13 by stripping down to pasties … with a bunch of Yelp reviewers in attendance. Stratosphere brass might not have approved of her rogue ta-tas, but the crowd’s reaction meant more, so the show’s change stood. Her relationship with the property began to show cracks, however. She says annual contacts became monthly arrangements and that the resort pulled back on marketing efforts. “They put up a billboard that said, ‘Best free parking in town,’ where ours had been,” Sinclair says. The audience began to dwindle. “Some nights we’d have unenthusiastic audiences that would be silent,” she said. “You could hear the crickets. There would be two drunk people sleeping, and you’d be pulling out your pasties, like greeeeaaaat.” When word down came in January that a March 4 performance would mark the show’s end, Sinclair wasn’t surprised, or all that crushed. “Not that it wasn’t an amazing opportunity, but four years of doing the same thing?” she says. “And I lived at the Stratosphere for four years. I think I got disconnected from humanity doing that for so long. [So] it was like, f*ck it. I’d rather have one cent in my pocket and be free. If they gave me another year contract, I would have done it, but I wouldn’t be happy.”
henever someone in the public eye ends a project, everyone immediately wants to know, what’s next? Which brings us back to now, in the Jayne Mansfield room with the pink settee, glitter pink walls and gold cylinder lights mounted on the ceiling. “There’s no feeling of, I need to find another show,” Sinclair says. “When everyone asks me, ‘What’s your next show? Are you looking?’ This is where my heart is.” So what, exactly, is this? It’s a funky little Downtown apartment building, built in 1971 with a nod to Modern style, at 427 11th Street. The street number is affixed to the building in janky, angular wood, straight out of a Saul Bass poster. The building sits in a residential neighborhood, but it’s a convenient fiveminute stroll to Huntridge Tavern to the south and the Bunkhouse Saloon and Atomic Liquors to the north. That’s outside. The real action is inside, where two apartments have been fully converted and are available to rent, a third is on the way and four more are in the planning stages for an all-Airbnb experience aimed right between the eyes of the quirk-centric. The concept itself proved to be something of a problem. After she bought the building, Sinclair learned she needed a special permit to run the operation, which can be tricky business obtaining. She enlisted the assistance of Artifice co-owner Trinity Schlottman and former planning commissioner Steve Evans, both of whom helped guide her through the licensing process. It took from April to August before she was official. And then foot met gas. Sinclair drew inspiration from two primary sources: Jayne Mansfield’s Pink Palace and San Luis Obispo’s Madonna Inn, where Sinclair stayed by chance on a road trip as a teen. Every room in the Madonna is themed out, from antique cars to William Tell. When Sinclair’s boyfriend—co-designer, art dude and all-around shop hand Jon Crowder—started renting out his own unit as he spent more and more time with Sinclair at the Stratosphere, the whole project came together in her mind. Crowder’s old apartment turned into a ’70s bachelor pad, and it’s as delightfully hideous as you’d imagine: shag throws, an infinity mirror, velvet nudes and walls so avocado green and burnt orange you’ll wake up feeling like you’re trapped in your great aunt’s refrigerator. The hi-fi works, and the record collection’s stocked with Bob Seger, John Lennon and the sweet, gettin’-it-on sounds of Marvin Gaye. The Beauty and the Beast room features deep blue and gold wallpaper and a four-poster bed that’s bigger than a Buick. Sinclair is hoping to cut a licensing deal for a PeeWee’s Playhouse room, for which Crowder is champing at the bit to build a Chairy. Other potential plans include a space based on Yayoi Kusami’s Infinity
17 COVER STORY
WEEKLY | 03.30.17
Room at the Broad in LA; a vintage ’80s grandmother’s basement and a 19th-century British explorer’s club, complete with sturdy leather and taxidermy. It sounds like an awful lot of renovation, and the many Lowe’s visits Sinclair and Crowder have been making don’t come cheap. There’s a Kickstarter in the works, but Sinclair’s also swinging for Mark Cuban’s fences. She’ll head to open auditions for entrepreneurial ABC reality series Shark Tank March 30 in Palm Springs. Seems hard to believe a former Playmate of the Year and Strip headliner won’t be interesting enough to make the cut, but nothing’s been settled yet. If the Kickstarter hits the mark, Sinclair expects to have the whole building done within three months, faster if there’s a TV cash infusion (Sinclair will also take a shot at Tilman Fertitta’s CNBC series Billion Dollar Buyer). If none of that pans out, the project could take until the fall to complete. fter four years hitting the stage at 9:30 every night, the first week must feel surreal. Anyone who’s ever left a job knows how strange it is the first couple of times you don’t make the commute, check in at the office and push whatever papers need pushing that day. “The last day it was weirding me out, because I started to think all of those things I’m going to miss,” she said. “But I don’t think I’ll miss it for a couple of years. It’ll take some time for me to want to do anything like that [again].” Oh, so there’s still a chance this isn’t the last we’ve seen of Claire Sinclair perform? “The show I would want to do is not a show on the Strip, but an HGTVstyle show renovating and doing themed places,” she says. “I love being in the public. It’s fun and natural for me to be a representative of something that I’m passionate about. To do this—not for a reality show with any drama, but showing the logistics and the process of it—would be something I’d be really happy about.” Snooki went from Jersey Shore to the Shore Flip. The Vanilla Ice Project showed the craftier side of Rob Van Winkle. If avocado green can be cool again, everything is up for grabs.
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There are plenty of ACM-related events this weekend, but this Flamingo party could be the wildest, with performances from Jackie Lee, Jerrod Niemann, Old Dominion and Dee Jay Silver.
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encore beach club
O O KAY
daylight
DU K E DU MONT
encore beach club
DJ S NAK E
intrigue
lax
CH U CK IE
intrigue
LAIDB ACK LU K E drai’s
LIMP B IZ K IT & ME T H O D MAN hakkasan
MATO MA
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light
rehab
SAINT CLAIR
DEE JAY SI LVER
intrigue
wet republic
CE DRIC G E RVAIS
t-mobile arena
ACM AWARDS
xs
DAVI D GUETTA
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ZEDD
ALESSO
tao beach
wet republic
WELLMAN
JAU Z
metro boomin by jon estrada; ricky martin by nino muñoz
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METRO B O O MI N
HYDE
The reality TV heartthrob-turned-DJ returns to the booth at Hyde Bellagio, the site of his most memorable Vegas appearances.
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The Mandalay Bay pool club keeps its new Lit Sundays party raging with a performance from one of the hottest hip-hop producers in the game.
RICKY MART IN
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An international superstar begins his new Vegas life Wednesday night. Ricky Martin’s Strip residency promises a musical spectacle unlike any other.
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ost people spend their entire lives chasing their dreams. Georgia Sinclair—aka Saint Clair—made hers a reality. The former Australian television personality-turned-DJ always had a passion for electronic dance music, but it wasn’t until she faced a life-changing diagnosis that music became her calling.
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“The real story is quite heavy,” she says about her foray into EDM. “I was feeling quite unwell, and I was eventually diagnosed with a benign brain tumor.” Forced to quit her job as a television host, Saint Clair turned to her first love—music. “My mother used to think I was insane, because I’d go to sleep listening to techno. It’s been ingrained in me since I was very young. I always wanted to DJ, but it wasn’t a thing girls did very often, so I pursued television, then I got sick, which forced me to hit reset on my life.” As she waited for her surgery, a friend brought over a set of turntables so she could teach herself. “He brought over this huge box of
CDs, and I literally sat at my kitchen bench for months on end learning how to beat-match, learning how everything worked. I taught myself to DJ that way.” Saint Clair has since moved to LA, where she’s working on two projects: her electronic hip-hop persona and a pop-oriented gig with producer and engineer Fis Shkreli. Catch her at Light on Friday and you’ll hear everything from Drake and Future to Polish DJ/producer Sikdope. “Everything [he puts] out is fire, and I play as much of [his] stuff as I possibly l can because it gets the best reaction,” she says. “I mix a lot of genres. My Vegas set will be high-energy but with lots and lots of hip-hop.” Saint Clair at Light at Mandalay Bay, March 31. –Leslie Ventura
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ast year, the Academy of Country Music’s annual awards show and Party for a Cause events spanned three days of outdoor concerts at the MGM Resorts Festival Grounds at the north end of the Las Vegas Strip. When the ACM announced it would change up the format this year by building a weekend around the awards show at T-Mobile Arena, some took that to mean it might shrink. Instead, it’s only gotten bigger. The main event, broadcast live from Vegas on CBS Sunday, just announced a massive wave of performers: country music megastars Keith Urban, Carrie Underwood, Cole Swindell, Chris Stapleton, Reba McEntire, Tim McGraw, Faith Hill and more. And the Party for a Cause has spread out with many more events at venues up and down the Strip. There are pool-centric parties at the Hard Rock Hotel, Mandalay Bay and Flamingo and concerts at the House of Blues, Stoney’s and the Pearl. Each night of the
weekend offers an afterparty, be it at the Park near T-Mobile or the new Redneck Riviera at Bally’s Grand Bazaar Shops. The best part about the Vegas takeover? The money it will raise for ACM Lifting Lives, which funds diverse causes including disaster relief, music education in schools and veterans-support services. That’s as inspiring as watching one of the biggest nights in music evolve into something more. Where else but Las Vegas? 52nd Academy of Country Music Awards at T-Mobile Arena, April 2.
GET REFRESHED FREE ENTRY To reserve your private cabana, email citruscabanas@downtowngrand.com
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@DowntownGrandLV
(855) DT-GRAND
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ast week’s news that SBE is set to merge with Hakkasan Group truly shook up the nightlife hospitality scene in Las Vegas, but that’s nothing new for SBE.
V e g a s
Established in 2002 by Sam Nazarian, the privately held company known for luxury and sophistication established itself as a leader on the Strip as soon as it opened Hyde Bellagio on New Year’s Eve 2011. More recently, SBE has expanded and diversified that brand with the exclusive Hyde Lounge experience at T-Mobile Arena. The 2014 opening of SLS Las Vegas made the biggest impact, bringing
renowned SBE restaurant brands Bazaar Meat by José Andrés, Katsuya, Umami Burger and Cleo to Las Vegas along with new nightlife offerings and the company’s first hotel operation on the Strip. Though SLS is now under a different operator, SBE held fast to Vegas when it acquired Morgans Hotel Group last year, a portfolio that includes the Delano Las Vegas hotel at Mandalay Bay. The Morgans and Hakkasan deals will also spread SBE’s brand around the world. Even before adding Hakkasan’s impressive offerings to the mix, SBE has a global portfolio featuring 23 world-class lifestyle hotel properties
in nine gateway markets and more than 136 hotel, entertainment and food and beverage outlets. It’s tough to argue with the claim that SBE will soon become the most dynamic hospitality, residential, restaurant and entertainment company in the industry.
X I V V e g a s S ess i o n s c o u r t es y H y d e B ell a g i o
the forecast
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4.01
ACM PARTY FOR A CAUSE —
BILLY CURRINGTON, DAN + SHAY, LAUREN ALAINA & SETH ENNIS
4.15
TIGER ARMY
4.03
MODERATTO XV
4.19
TECH N9NE
5.18
ENANITOS VERDES
4.06
MOCKSTROCITY TOUR FEAT. MAC SABBATH
4.21
JIMMY EAT WORLD
5.25
MARSHA AMBROSIUS & ERIC BENET
4.07
BADFISH — A TRIBUTE TO SUBLIME
4.22
BIZ MARKIE 80’S VS. 90’S PARTY
6.02
DSB — A TRIBUTE TO JOURNEY
4.08
ULTIMATE GRUNGE FEST — A TRIBUTE TO SMASHING PUMPKINS, PEARL JAM, STONE TEMPLE PILOTS & RAGE AGAINST THE MACHINE
4.23
NEW FOUND GLORY
6.09
BRIAN SETZER’S ROCKABILITY RIOT
4.09
THE DAMNED
4.23
EMO NIGHT BROOKLYN —
6.17
ONE DROP REDEMPTION —
4.13
ENVY SHOWCASE: METAL NIGHT — FEAT. PILLARS OF CREATION,
5.3-5.13
4.14
NF
5.07
VATICAN FALLING, EMDF, MYNAS, OPTICLEFT & SICOSIS
OFFICIAL NEW FOUND GLORY AFTER PARTY
BILLY IDOL FOREVER LEELA JAMES & DALEY
5.17-5.28
7.7-7.9 10.25
AN INTIMATE EVENING WITH SANTANA: GREATEST HITS LIVE
TRIBUTE TO BOB MARLEY
LOVE SHACK TAKEOVER — THE-B52s HANSON — 25th ANNIVERSARY TOUR
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encore beach c lub u lt i mat e b o di e s
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“We really want to get back to what it was that made the parties great 10 years ago, when it wasn’t about an event or a DJ,” Mancuso says of refining the approach at Rehab. “My idea is to go back in the direction of the Hard Rock where locals truly wanted to be there, when it was the spot not because of the talent but because of the people.” Huge headliners and dramatic venues can take the attention away from the fact that it’s always about the party, he says. Mancuso started his nightlife career up the street at Ice Nightclub, quickly rising up the ranks at Vegas venues like Pure and Wasted Space. In 2011 he moved to Miami to serve as GM at LIV inside the Fontainebleau, and climbed to director of operations. That different nightlife landscape offered lots of lessons. “Very rarely do you have the chance as an operator to share ideas
that are usually left up to the marketing team, but going to Miami gave me so much experience on that [marketing] side,” Mancuso says. “It opened my eyes to what throwing a great party was. In Vegas it was all about the venue, and the clubs out here are beautiful and that’s great, but what about the quality of the party? That’s what I want to bring back to Rehab, those memories of the Hard Rock when you’d see rock stars hanging out at Center Bar, the idea that this is truly an innovative spot.” Mancuso has some renovations in the works, but before Rehab gets a facelift you’ll see its programming expand in collaboration with other Hard Rock venues—the party will basically take over the whole resort for entire weekends. Keep your eyes on the Hard Rock. –Brock Radke
PHOTOGRAPH BY CHRISTOPHER DEVARGAS
ith the season of the sun upon us once again, all eyes at the Hard Rock Hotel turn to legendary pool party Rehab. While there are typically subtle changes to the Rehab experience, visitors can expect to see a more significant evolution there starting this year as industry veteran Leo Mancuso, who recently returned to Las Vegas after a turn in Miami, has taken on the role of general manager of nightlife and daylife.
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wenty-three-year-old DJ and producer Tanner Petulla— you know him as Getter—has only been in the biz since he started making music in high school, but he’s already collaborated with huge EDM artists like Datsik, Skrillex and Borgore, and he’s already seen a side of the industry he’d rather avoid. “I’ve met a lot of people that I love and a lot of people that want something out of you, and I just wanted to eliminate that part and make an environment that is true and honest and fair with my friends,” Getter says. That’s why he recently launched Shred Collective with his fellow artists, a group that runs the gamut, from music to fashion to visual art. “If you’re the only person out of your friends who gets rich, it’s not really that fun. I’d
rather we all be rich so we can rage and do dumb sh*t. And it gets fans more involved, too, because it’s not just, hey, buy this song. It’s more like, look at all this weird sh*t and then buy all this stuff.” The Shred launch was accompanied by the release of Getter’s new track, “Inhalant Abuse,” an unpredictable grime-fest that demonstrates his wild style and varied influences. Using Shred as a platform grants him more creative freedom. “There are a lot of labels out there that want to maintain an image, which is totally fine and cool, but maybe that image won’t match something I want to put out,” he says. “I used to be with a label that was all about the really gnarly dubstep stuff, and I wanted to
come back and make some more fromthe-heart, vibey sh*t, and it wasn’t the right place to release it. You can never look at Shred Collective and say it’s a dubstep thing or a house thing. It’s whatever anyone wants to do.” Getter’s current musical direction includes metal, one of his earliest influences, along with hip-hop. He’s working on an old-school, Mobb Deepinfluenced album under the name Terror Reid. “I just want to make all the music I can before I die and put it out whenever and however I want to,” he says. Getter at Surrender at Encore, March 31. –Brock Radke
PHOTOGRAPH BY TYLER SHIELDS
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asily one of the most unique entertainment venues in all of Las Vegas, the Mandalay Bay Beach kicks off its seasonal concert series with a bang this weekend, hosting the two-day Academy of Country Music Awards Bash at the Beach featuring stars Jake Owen, Lee Brice, the Brothers Osborne, Big & Rich, Florida Georgia Line and Cole Swindell. It’s a massive opener for one of the Strip’s most beloved outdoor music spots—the rare venue on the Boulevard that also attracts Las Vegas locals—and it’s only the beginning. “It’s a great way to start the season, a chance to see performers that are major arena acts in other markets in an intimate, up-close environment
at the Beach,” says Darren Davis, vice president of entertainment at Mandalay Bay. “We’ve got a few favorites coming back this year, and we’re bringing some new acts in as well. I’ve watched this venue from afar before I worked [here], and I’m very excited to be put in charge of a property with such a cool outdoor experience.” Next up is the Snoop Dogg-starring Wellness Retreat Tour on April 21, followed by country hitmaker Randy Houser on June 2. Rebelution, Ziggy Marley, UB40 and 311 are among others set for summer concerts at the Beach. The best way to see a show here is the new Beachfront Experience, an upgrade
that takes guests to an exclusive area closer to the artists with lounge chair seating, cocktail service and expedited entry. “In the past we’ve had a VIP area up at Moorea Beach Club, and it was a great experience, but it didn’t bring guests closer to the artist, which is the ultimate goal,” Davis says. “Now we’ve created something that really builds around where the guests were already flocking to, a premium area. It’s kind of like what nightclubs do inside, and we’re creating that in this outdoor space.” –Brock Radke
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he lost art of the business lunch isn’t lost at all at Rick Moonen’s RM Seafood, the signature restaurant at the Shoppes at Mandalay Place. The three-course prix fixe lunch menu is a classic experience built with enough flexibility to allow Moonen’s dedication to fresh, sustainable seafood to shine through. And RM’s bustling bistro setting is the ideal environment to close the deal, conveniently located near the Mandalay Place valet, which remains free of charge.
Rich New England clam chowder, Maryland blue crab cakes and wokseared edamame are among the first course options, but the one that can’t be skipped is tender grilled octopus with fingerling potatoes and Meyer lemon aioli, a memorable assortment of flavors and textures in one tremendous dish. For the main attraction, choose between spicy cioppino fra diavolo, sweet Maine lobster rolls and curry-spiced True North salmon, or let the kitchen prepare its fresh catch of the day. For dessert, keep Key Lime pie or tiramisu
all to yourself, or play Moonen’s infamous ice cream tasting game with 16 different flavors ice cream, sorbet and ice milk. Call it the most fun team-building exercise your office will ever try. RM Seafood at the Shoppes at Mandalay Place, 702-632-7600; daily 11:30 a.m.-11 p.m. –Brock Radke
photograph by roni fields-moonen
hot plate
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he Universal Whisky Experience returns to Encore Las Vegas April 5-8, this year growing to four days to accommodate even more events and exclusive tastings of the world’s finest spirits for whiskey connoisseurs and collectors. “This will be the biggest one, and I’ve been to every single event since the original,” says Mitch Bechard, Senior Glenfiddich Ambassador for William Grant & Sons, the legendary family-owned Scottish distiller and distributor. “The liquids you see at this show and get to taste make for a
once-in-a-lifetime experience, that’s for sure.” Bechard, who has spent 10 years working with Scotch, points to last year’s event, when a group of show attendees jumped into five helicopters, flew into the Grand Canyon and opened 30-, 40- and 50-year-old bottles of Glenfiddich—the ultimate whiskey tasting trip. That’s the kind of experience that sets this event apart. What do Bechard and Glenfiddich have in store this year? “We are getting people to rethink the way they look at Glenfiddich,” he says, describing
a new twist on the beloved spirit in which the whiskey is aged in IPA beer casks. “This is the first time ever we’ve used beer casks in the maturation process, and it’s just the tip of the iceberg for us.” He’ll showcase the stuff for the first time at Encore. Universalwhiskyexperience.com. –Brock Radke
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3/31 DJ Que. 4/1 DJ Stretch. 4/2 DJ Karma. Bellagio, Thu-Sun, 702-693-8300. CH ATEAU 3/31 DJ Dynamiq. 4/1 DJ Casanova. 4/2 Disco Inferno. 4/5 DJ Shadowred. 4/7 Jes Button. 4/14 DJ Darkerdaze. 4/15 T3d Morri5. Paris, Wed, Fri-Sat, 702-776-7770. DRAI’ S 3/30 DJ Esco. 4/1 Limp Bizkit & Method Man. 4/2 DJ Franzen. 4/6 DJ Esco. 4/7 Rev Run & Ruckus. 4/8 T.I. 4/9 DJ Franzen. 4/13 DJ Esco. 4/14 Nelly. 4/16 DJ Franzen. Cromwell, Tue, Thu-Sun, 702-777-3800. EM BASSY 3/30 Eddie Portillo & Maxo. 3/31 Chappy. 4/14 Bryant Myers. 3355 Procyon St, Thu-Sun, 702-609-6666. FO U NDATIO N
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3/31-4/2 Dee Jay Silver. 4/7 Konflikt. 4/8 Dee Jay Silver. 4/14 Marc Mac. 4/15 DJ Greg Lopez. Mandalay Bay, nightly, 702-632-7631. FOX TAIL
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3/31 DJ Turbulence. 4/1 DJ Gusto. Mirage, Wed, Fri-Sat, 702-693-8300. TH E
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3/30 Jauz. 3/31 Cash Cash. 4/1 Tiësto. 4/2 Matoma. 4/6 Steve Aoki. 4/7 Zedd. 4/8 Tiësto. 4/9 Above & Beyond. 4/13 Borgeous. 4/14 Cash Cash. 4/15 Lil Jon. 4/16 Mark Eteson. MGM Grand, Wed-Sun, 702-891-3838.
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OM N I A 3/31 Zedd. 4/1 Party Favor. 4/4 Julian Jordan. 4/7 Cash Cash. 4/8 Afrojack. 4/11 Afrojack. 4/14 Martin Garrix. 4/15 Burns. Caesars Palace, Tue, Thu-Sun, 702-785-6200. S U R R EN D ER
4/1 Brody Jenner. 4/4 DJ Crooked. 4/5 DJ D-Miles. 4/7 DJ Ikon. 4/8 DJ C-L.A. 4/11 Konflikt. 4/12 DJ D-Miles. 4/14 DJ Karma. 4/15 J. Espinosa. Bellagio, nightly, 702-693-8700.
3/31 Getter. 4/1 Dillon Francis. 4/5 Skrillex. 4/7 Alison Wonderland. 4/8 Chuckie. 4/12 Brillz. 4/14 EDX. 4/15 Dillon Francis. Encore, Wed, Fri-Sat, 702-770-7300. TAO
IN T RIGUE 3/30 Chuckie. 3/31 Laidback Luke. 4/1 Cedric Gervais. 4/6 Stafford Brothers. 4/7 RL Grime. 4/8 MakJ. 4/13 Flosstradamus. 4/14 Sultan & Shepard. 4/15 A-Trak. Wynn, Thu-Sat, 702770-7300. JEW EL 3/31 DJ Irie. 4/1 GTA. 4/3 LA Leakers. 4/7 DJ Irie. 4/8 Steve Aoki. 4/10 Justin Credible. 4/14 DJ Shift. Aria, Mon, Thu-Sat, 702-590-8000.
3/30 DJ Five. 3/31 DJ Scene. 4/1 DJ Mustard. 4/6 DJ Mustard. 4/7 Politik. 4/8 Eric DLux. 4/13 DJ Five. 4/14 Jerzy. 4/15 Justin Credible. Venetian, Thu-Sat, 702-388-8588. XS 3/31 David Guetta. 4/1 Alesso. 4/3 MakJ. 4/7 DJ Snake. 4/8 David Guetta. 4/7 4/10 Virgil Abloh. 4/14 Marshmello. 4/15 David Guetta. Encore, Fri-Mon, 702-770-0097.
L AX 3/30 Coolio. 4/1 Mark McGrath. Luxor, ThuSat, 702-262-4529. LIGHT 3/31 Saint Clair. 4/1 Metro Boomin. 4/7 Stevie J. 4/8 Konflikt & Deville. 4/12 Metro Boomin. 4/14 Deux. 4/15 DJ E-Rock. Mandalay Bay, Wed, Fri-Sat, 702-632-4700. MARQUEE
BAR
3/30 DJ Benny Black. 3/31 Exodus. 4/1 Mark Stylz. 4/2 Exodus. 4/3-4/4 DJ Seany Mac. 4/5 DJ Presto One. Palms, nightly, 702-942-6832.
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3/31 Ruckus. 4/1 Vice. 4/3 DJ Mustard. 4/7 DJ Carnage. 4/8 Dash Berlin. 4/10 Eric DLux. 4/14 Ruckus. 4/15 Tritonal. Cosmopolitan, Mon, Fri-Sat, 702-333-9000.
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Go Pool BY Wade Vandervort
DAY L I G H T 3/30 DJ Neva. 3/31 DJ Ikon. 4/1 Duke Dumont. 4/2 Metro Boomin. 4/6 DJ Neva. 4/7 DJ Cobra. 4/8 Morgan Page. 4/9 Sage the Gemini. 4/13 DJ Neva. 4/14 DJ E-Rock. 4/15 Otto Knows. 4/16 DJs Crooked & Neva. Mandalay Bay, Thu-Sun, 702-632-4700. DRA I ’ S
BEACH CLUB
3/31 Deux. 4/1 Audien. 4/2 DJ Franzen. 4/7 Jesse Marco. 4/8 Grandtheft. 4/14 Savi. 4/15 Bingo Players. Cromwell, Fri-Sun, 702-7773800. E NCO RE
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3/31 Ookay. 4/1 David Guetta. 4/2 DJ Snake. 4/7 Dillon Francis. 4/8 David Guetta. 4/9 RL Grime. 4/14 Ookay. 4/15 David Guetta. 4/16 Stafford Brothers. Encore, Thu-Sun, 702-7707300. G O
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3/30 Cash Cash. 3/31 Mikey Francis. 4/1 DJ Irie. 4/2 DJ C-L.A. 4/6 M!KE ATTACK. 4/7 DJ Crooked. 4/8 BRKLYN. 4/9 Frank Rempe. 4/13 DJ Karma. 4/14 WeAreTreo. 4/15 DJ Shift. 4/16 Joseph Gettright. Aria, Wed-Sun, 702-6938300.
Tropicana, 702-739-2588.
P O O L MARQUEE
3/30 Jenna Palmer. 3/31 DJ Live. 4/1 ACM Pool Party for a Cause. 4/2 DJ Vegas Vibe. 4/3 DJ Tavo. 4/4 DJ Greg Lopez. 4/6 Jenna Palmer. 4/7 DJ Live. 4/8 DJ Eric Forbes. 4/9 DJ Vegas Vibe. 4/10 DJ Tavo. 4/11 DJ Greg Lopez. 4/14 Aaron Carter. Flamingo, daily, 702-697-2888. T H E
P O O L
Linq, 702-835-5713.
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3/31 Savi. 4/1 Dash Berlin. 4/7 M!KEATTACK. 4/8 Vice. 4/9 Savi. 4/14 Lema. 4/15 Vice. 4/16 Lema. Cosmopolitan, daily, 702-333-9000. PALMS
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Palms, daily, 702-942-6832. REHAB 3/31 Dee Jay Silver. 4/1 Koko & Bayati. 4/2 Hish & Dee Jay Silver. 4/8 Austin Mahone. Hard Rock Hotel, Fri-Sun, 702-693-5505.
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3/30 Angie Vee. 3/31 Javier Alba. 4/1 DJ C-L.A. 4/2 DJ Wellman. 4/6 DJ C-L.A. 4/7 Javier Alba. 4/8 Eric DLux. 4/9 Veronica. 4/13 M!KEATTACK. 4/14 Javier Alba 4/15 Eric DLux. 4/16 Mark Rodriguez. Venetian, Thu-Sun, 702388-8588. WE T
R E PU BL I C
3/31 DJ Shift. 4/1 Zedd. 4/2 Jauz. 4/7 DJ Shift. 4/8 Steve Aoki. 4/9 Zedd. 4/14 DJ Shift. 4/15 Matoma. 4/16 Fergie DJ. MGM Grand, ThuMon, 702-891-3563.
ON SALE FRIDAY AT 10 AM RAMMSTEIN, KORN & STONE SOUR T-MOBILE ARENA
JULY 1 COUNTING CROWS & MATCHBOX TWENTY MANDALAY BAY EVENTS CENTER
JULY 29 MANA MGM GRAND GARDEN ARENA
SEPTEMBER 15 & 16
THIS WEEKEND JIMMY BUFFETT MGM GRAND GARDEN ARENA
APRIL 1
ON SALE NOW STEELY DAN THE VENETIAN LAS VEGAS
APRIL 12, 14, 15, 19, 21, 22, 26, 28, 29 RICKY MARTIN PARK THEATER @ MONTE CARLO
APRIL 5 – 15 GREEN DAY MGM GRAND GARDEN ARENA
APRIL 7 HANS ZIMMER PARK THEATER @ MONTE CARLO
APRIL 21 CARLOS VIVES THE PEARL @ THE PALMS
MAY 5 B U Y T I C K E T S A T L I V E N A T I O N .C O M
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3/31-4/8 Britney Spears. 4/12-4/28 Backstreet Boys. 5/3-5/20 Britney Spears. 5/24-6/11 Jennifer Lopez. 6/14-7/1 Backstreet Boys. 7/21-8/5 Pitbull. Planet Hollywood, 702-7776737. BOWL
3/30 Battle Tapes. 3/31-4/1 STS9. 4/6 Katchafire. 4/8 Sammy J. 4/9 Rebel Souljahz. 4/10 Red. 4/11 The Head and the Heart. 4/12 Oh Wonder. 4/15 Toots & the Maytals. 4/19 Phantogram. 4/20 Kehlani. 4/21 Tove Lo. 4/23 Orgone x Monophonics. 4/28 Jamey Johnson. 4/29 Spawnbreezie. 5/13 Blue October. 5/19 Roots of Creation. 5/20 Testament. 5/25 Ben Harper & the Innocent Criminals. 5/27 Pink Talking Fish. 6/1 Trey Songz. 6/3 Modest Mouse. 6/8 Somo. 6/21 The Revolution. Linq Promenade, 702-862-2695. TH E
CH ELSEA
4/14 Bastille. 4/15 Empire of the Sun. 4/29 Severina. 5/26 Band of Horses. 6/23 The Shins. 8/12 Deep Purple & Alice Cooper. 8/17 Bryan Ferry. 8/26 Trombone Shorty. 10/21 Pixies. Cosmopolitan, 702-698-6797. TH E
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3/31-4/1 Rod Stewart. 4/4-4/22 Celine Dion. 4/9 Steve Martin & Martin Short. 4/25-5/5 Elton John. 5/6-5/7 Jim Gaffigan. 5/9-6/3 Celine Dion. 6/16 Jeff Dunham. 6/17-6/18 Jerry Seinfeld. 6/21-7/2 Reba, Brooks & Dunn. 6/23 Jeff Dunham. 6/30 Jeff Dunham. 7/7 Jeff Dunham. 7/8-7/18 Mariah Carey. 7/23 Steve Martin & Martin Short. 7/29-8/11 The Who. Caesars Palace, 866-227-5938. DOWNTOWN LAS VEGAS EVENTS CENTER 4/21-4/22 Las Rageous. 5/26-5/29 Punk Rock Bowling. 6/3 3 Doors Down. 7/8 Deftones & Rise Against. 7/15 Goo Goo Dolls. 7/21 I Love
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4/18 King Gizzard and the Lizard Wizard. 5/19 Kongos. 5/25 Lukas Graham. 5/26 Highly Suspect. 6/23 Vans Warped Tour. 7/27 Taking Back Sunday. Hard Rock, 702-693-5555. HOUSE
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3/30 Ozomatli & Squirrel Nut Zippers. 3/31 Locash. 4/1 ACM Party for a Cause. 4/3 Moderatto. 4/6 Mockstrocity Tour. 4/7 Badfish. 4/9 The Damned. 4/14 NF. 4/15 Tiger Army. 4/19 Tech N9ne. 4/21 Jimmy Eat World. 4/22 Biz Markie. 4/23 New Found Glory. 5/3-5/13 Billy Idol. 5/7 Leela James & Daley. 5/17-5/28 Santana. 5/18 Enanitos Verdes. 5/25 Marsha Ambrosius & Eric Benét. 6/9 Brian Setzer. Mandalay Bay, 702-632-7600. T HE
JOIN T
4/1 ACM Party for a Cause. 4/2 ACM Awards Afterpary. 4/8 Bring Me the Horizon. 4/13 Bon Iver. 4/15 Jay Cutler Desert Classic. 5/35/20 Journey. 6/15 Bassrush Massive. 6/23 Vans Warped Tour. 7/14 Prince Royce. 7/22 Third Eye Blind. Hard Rock Hotel, 702-6935000. M A N DA L AY
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3/31-4/1 ACM Bash at the Beach. 4/12 Snoop Dogg. 6/2 Randy Houser. 6/16 Rebelution. 6/17 Ziggy Marley. 7/15 Dirty Heads. 7/29 UB40. 8/18 311. 9/2 I Love the ’90s Tour. 9/9 Lost ’80s Live. Mandalay Bay, 702-632-7777. MGM GRAND GRAND ARENA 4/1 Jimmy Buffett. 4/7 Green Day. 5/12 Train. 5/20 Chris Brown. 5/27 Dead & Company. 6/17 Def Leppard. 7/8 J. Cole. MGM Grand, 702-521-3826.
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3/31-4/2 WORCS Racing. 4/7 Las Vegas West Fest with Ice Cube, E-40, Too Short & more. 10/20 Andre Rieu. Orleans, 702-365-7469. PAR K
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4/2 ACM Awards Afterparty. 4/5-4/15 Ricky Martin. 4/21 Hans Zimmer. 4/28 Brett Eldredge. 5/3-5/20 Cher. 6/9 Chicago & The Doobie Brothers. 6/17 Boston & Night Ranger. 6/23-7/2 Ricky Martin. Monte Carlo, 844-6007275. T H E
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3/30 Chris Stapleton. 4/6-4/8 A Perfect Circle. 5/5 Carlos Vives. 7/8 Blondie & Garbage. 8/18 Young the Giant. Palms, 702944-3200.
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4/2 Academy of Country Music Awards. 4/7-4/8 George Strait. 4/22 John Mayer. 5/6 Canelo vs. Chavez Jr. 5/28 New Kids on the Block. 6/16 Roger Waters. 6/24 Queen + Adam Lambert. 6/30 Future. 7/3 Iron Maiden. 7/13 Tim McGraw & Faith Hill. 7/15 Bruno Mars. 7/22 Hall & Oates & Tears for Fears. 7/28-7/29 George Strait. 3780 Las Vegas Blvd. S., 702692-1600. VI N Y L 3/30 Pouya. 3/31 Mayday Parade. 4/1 Fortunate Youth. 4/2 Old 97’s. 4/7 The American Weather. 4/24 Bayside & Say Anything. 4/25 State Champs. 5/5-5/6 The Growlers. 5/11 Suburban Legends & Pilfers. 5/19 Cameron Calloway. 5/26 Ian Bagg. 6/2 The Protomen. 6/15 Damien Escobar. Hard Rock Hotel, 702-693-5000.
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The Killers, who recently logged some studio time at Downtown’s 11th Street Records in preparation for their upcoming fifth studio album, are set to headline Lollapalooza in Chicago August 3-6 with Chance the Rapper, Muse and Arcade Fire. Other Lolla acts include DJ Snake, Blink-182, Justice, Migos, Big Sean and Wiz Khalifa. ... Following his recent set at Drai’s Beachclub, Destructo returns to Las Vegas April 21 to co-headline (with Lil Uzi Vert) RVLTN’s first event at the World Market Center Downtown. ... Big restaurant renovations on the way: Powerhouse Jean Georges Steakhouse at Aria will close May 29 and reopen in July with a fresh look; Brand Steakhouse at Monte Carlo will shutter May 11 in order to evolve along with its resort; and Japonais at the Mirage will (finally) transform into something else, Otoro Robata Grill & Sushi, on May 1.
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55 LAS VEGAS WEEKLY 03.30.17
CARRIE BROWNSTEIN IS A BELIEVER On April 21-22, the Sleater-Kinney guitarist and Portlandia star will appear as a headliner at American Dreams: The Festival, a co-production from The Believer magazine and Las Vegas’ Black Mountain Institute. It’s like a literary Coachella: Brownstein will read her works alongside largeprint names like Dave Eggers, Miranda July, Jim James, Luís Alberto Urrea, ZZ Packer, Sally Wen Mao, Ben Marcus, local writers Laura McBride and Dayvid Figler and more. The best part? Tickets to the readings are free, and can be reserved online at festival.blackmountaininstitute.org. Get yours now. Don’t disappoint Carrie. (AP Images)
ARTS & ENTERTAINMENT PLACES TO FIND ADDICTIVE HUMMUS
THE WEEKLY 5
1. THE HUMMUS FACTORY
2. SABABA MEDITERRANEAN GRILL
Their classic “Factory” hummus is a must, and adventurous eaters can attempt the ghost pepper-infused version. 7875 W. Sahara Ave #101, 702-675-6020.
This kosher grill’s delectable hummus is served with an assortment of toppings, from fava beans to shawarma. 3220 S. Durango Drive, 702-547-5556.
3. PANINI CAFÉ
4. AMENA
Everything is worth savoring at this kosher Israeli restaurant, but the mushroom hummus with sauteéd ’shrooms and olive oil is perfect. 2521 S. Fort Apache Road #100, 702-558-6555.
The hummus at this bakery and cafe—blended with chickpeas, tahini and lemon—makes lunch complete. Add shawarma for an even bigger flavor explosion. 2101 S. Decatur Blvd. #9 702-382-1010.
5. ZAYTOON MARKET & RESTAURANT Enjoy a generations-old Iranian hummus recipe. Or try the fried eggplant dip kashke bademjaan. 3655 S. Durango Drive, 702-685-1875 –Leslie Ventura
56 las vegas weekly 03.30.17
you can’t go home again T2 Trainspotting fails to recapture the original film’s energy By Mike D’Angelo arly in T2 Trainspotting—a belated, rather clumsily titled sequel to Danny Boyle’s 1996 film (adapted from Irvine Welsh’s novel) about Edinburgh heroin addicts—the movie’s central figure, Mark Renton (Ewan McGregor), visits his childhood bedroom and puts a record on his old turntable. We hear literally less than a second of the opening drumbeat to Iggy Pop’s “Lust for Life” before Renton lifts the needle. That song memorably accompanied Trainspotting’s frantic opening sequence, as Renton, then 26 years old, ran through the streets following a shoplifting spree, with security guards in hot pursuit; now, at age 46, he can’t bear to listen to it. Trainspotting depicted what it was like to be a young, heedless junkie. T2, though based in part on Welsh’s 2002 follow-up novel, Porno, is fundamentally a portrait of middle-aged regret, throwing in constant visual references to the first movie by way of emphasizing how little has changed.
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Indeed, if you’ve never seen Trainspotting—or referential. The very first shot, for example, is even just haven’t seen it for many years—watching a facsimile of the original’s opening shot, with (or rewatching) it in preparation would be a good Renton’s feet suddenly landing in the frame idea, as T2 assumes pretty strong familiarity. and running forward … except this time it turns One needs to know, for example, that out that he’s on a treadmill at the gym. AABCC Renton stole a lot of money from his The famous “Choose life” speech gets a T2 pals at the end of the first film, as the 21st-century update later on, and Boyle, easily enraged Begbie (Robert Carlyle), TRAINSPOTTING returning as director, repeatedly splices Ewan McGregor, who’s in prison as the sequel begins, has in moments from the original that serve Jonny Lee Miller, not forgiven that betrayal. Neither, for as stark reminders of the toll that time Robert Carlyle. that matter, has Sick Boy (Jonny Lee has taken. (Even in the midst of their Directed by Danny Boyle. Miller), now known as Simon, though self-generated squalor, they all look brandRated R. Opens that doesn’t stop him from enlisting new.) But the movie—which is 20 minutes Friday at Renton in a plan to convert an old pub longer than its fleet predecessor—loses Downtown Summerlin. into a brothel. The other surviving its way in the second half, focusing too member of the group, Spud (Ewen much on Begbie’s quest for revenge and on Bremner), is still hooked on heroin, but Veronika (Anjela Nedyalkova), a Bulgarian gradually discovers, over the course of the movie, sex worker who wasn’t in the first film at all and a hitherto untapped talent for writing, fashioning feels out of place here. “Lust for Life” eventually stories from the adventures seen in Trainspotting. gets played, but it’s a new remix, and it’s just not T2 works best at its most cheekily selfquite the same. Nothing ever is.
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LAS VEGAS WEEKLY 03.30.17
THE GREAT BEYOND THE DISCOVERY FUMBLES THE BIG QUESTIONS
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Miller (left) and McGregor wallow in middle-aged angst. (Sony PIctures/Courtesy)
BAD DAY AT THE OFFICE
expand Frazee’s simple premise into an elaborate, mind-boggling mythology about where babies come THE BOSS BABY DESERVES from, complete with a celestial corporation dediTO BE FIRED cated to preserving baby supremacy, baby formula What the hell do Hollywood studios think kids that conveys eternal babyhood and characters with like? That’s the main question raised by The Boss names like Super Colossal Big Fat Boss Baby. By Baby, a baffling, bizarrely misconceived animated the time Tim and his baby brother are racing to movie about a baby that dresses in a stop the launch of a rocket full business suit and spouts corporate speak AACCC of immortal, genetically in the voice of Alec Baldwin. The movie engineered puppies, THE starts out with a fairly solid central metaBOSS BABY something has gone Voices of phor, as young Tim Templeton (voiced by seriously wrong. Miles Bakshi, Miles Bakshi), a kid with an overactive Some of the visuals Alec Baldwin, imagination, envisions his new baby are well-designed, Lisa Kudrow. Directed by brother as, well, a boss, demanding all of and Baldwin gets in Tom McGrath. his parents’ time and attention, which a few funny lines, Rated PG. they used to devote to Tim. It’s a cute way but The Boss Baby Opens Friday citywide. to illustrate sibling rivalry, taken from the is so weirdly off the picture book by Marla Frazee. mark with its plot But there’s not nearly enough in that that everything else picture book for a feature-length film, so director is just background noise. Tom McGrath and screenwriter Michael McCullers –Josh Bell
With its big-name cast, Sundance premiere and sci-fi high concept, The Discovery seems like it might warrant a theatrical release, rather than a Netflix debut. But the movie’s ambitions turn out to be disappointingly small-scale, and what starts out as potentially thought-provoking science fiction quickly fizzles into a mediocre family drama and a dull romance. Director and co-writer Charlie McDowell offered up similarly half-baked, low-impact sci-fi with his 2015 debut The One I Love, and while The Discovery promises a wider scope, its world-building is sloppy and unconvincing. The eponymous discovery is definitive scientific proof of the afterlife, but even as scientist Thomas Harbor (Robert Redford) explains his findings directly to an interviewer in the opening scene, it’s never quite clear what this evidence is or why it’s so compelling that it’s inspired millions of people to commit suicide in order to reach this still-unknown new plane of existence. The setup suggests Children of Men, but the main story, involving a deep connection between Harbor’s son Will (Jason Segel) and Isla (Rooney Mara), one of Harbor’s followers, is more Eternal Sunshine of the Spotless Mind. The Discovery can’t come close to either of those inspirations, though, with its mundane and ill-defined revelations, its chemistryfree romantic leads and its dour, meandering plot. The movie opens by suggesting a world of possibilities, and then spends the rest of its time diminishing them. –Josh Bell
AACCC THE DISCOVERY Jason Segel, Rooney Mara, Robert Redford. Directed by Charlie McDowell. Not rated. Available March 31 on Netflix.
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Marvick in his horror-geek habitat. (Mikayla Whitmore/Staff)
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WEEKLY | 03.30.17
POOL PARTY MASSACRE
April 1, 9 p.m.; April 2, 4 p.m.; $16-$18. Eclipse Theaters.
MASTER OF HORROR DREW MARVICK IS BUILDING A VEGAS HORROR-MOVIE EMPIRE BY JOSH BELL ocal filmmaker Drew Marvick will launch his first feature, Pool Party Massacre, with local theatrical screenings this week, followed by an April 20 release on DVD, Blu-ray and VOD (plus limited-edition VHS!). It’s the latest step in his efforts to corner the Vegas horror-movie market and the culmination of a lifelong obsession with the slasher movies of the 1980s. It’s also just one of many horror-related projects the busy writer, director, producer and actor has on his schedule.
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On the origins of Pool Party Massacre: “I was actually on the phone with a cinematographer here in town named Brian Mills. He called me to let me know that he had just purchased a new camera and was eager to use it, and made a throwaway comment: ‘Man, I wish someone had
a script so I could shoot a feature film. I happen to have the next two months pretty open.’ I decided to capitalize on that, and lied to him and told him that I had the perfect script and that we could start shooting right away. He asked me what it was called, and the first thing that popped into my head was Pool Party Massacre.” On co-organizing October’s inaugural Sin City Horror Fest at Eclipse Theaters: “Aside from the fact that we’re all big horror fans and filmmakers, so we wanted something like this in Las Vegas anyway, with or without us, our big motivation was to bring another avenue for independent filmmakers here in town to get their work out, and to celebrate the local film community. We actually have a pretty big film community, and there’s a lot of people making great things. And there’s some great film festivals as well.
But there wasn’t anything that’s horror-specific, and that’s where our sensibilities lie.” On finishing Ten Violent Women: Part Two, the final movie by late Vegas B-movie legend Ted V. Mikels: “It’s been slow going, unfortunately, just because I’ve been overwhelmed with everything else that’s in my life. But that is definitely still going to happen, for sure. I promised Ted that it would get finished, and I would never break a promise to Ted. After he passed, his daughter gave me four pages of handwritten notes of everything that I’m supposed to shoot and how I’m supposed to shoot it. I really want to try to keep it true to what Ted was doing. Ted had his own style, whether you liked it or not. He had his way of doing things. He didn’t have a budget, and he didn’t have access to a lot of gear, and so everything had a certain Ted aspect to it.”
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WEEKLY | 03.30.17
VEGAS’ MOST FUN CASINO
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Television prison
Would a return to the set bring me back to the future? By C. Moon Reed or most of my adult life, I was one of those smug boors who quietly bragged about not owning a television set. I had the zeal of a religious convert and the same aversion to sitcoms reformed smokers have to cigarettes. Not that I went around snuffing out other people’s TVs, but I did refuse to split the cable bill with my college roommate. (Sorry, Stephanie.) What made me so un-American? As an only child of divorced parents, I often had to entertain myself, which meant logging countless hours of television. I still remember the feel of the newsprint TV guide in my hands as I pieced together my summer days. We didn’t have cable, so it was mostly classic reruns (Gilligan’s Island, The Beverly Hillbillies, Bewitched) peppered with ads for personal injury lawyers and ITT Tech. My mood fluctuated every 30 minutes: Get Smart made me happy, while The Price Is Right caused claustrophobic dread. Lunchtime legal drama Perry Mason? A bit staid for my tastes, but I often watched anyway. Friday nights were the best because they brought ABC’s TGIF lineup: Full House, Family Matters, Perfect Strangers and Boy Meets World. If I managed to turn off the tube, I felt listless and confused. What was I supposed to do with myself in the physical plane? This was no way to live. When I went off to college, I broke free, opting against buying a TV for my freshman dorm room (though I did keep
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up with The Simpsons in the common room). More recently, I’ve kept tabs on the prestige dramas (Game of Thrones, True Detective, The Wire) at my boyfriend’s house. Last month, when I realized I’d been wasting more time on my phone than I ever had on ALF or Growing Pains, I broke down, buying a 43-inch 4K smart TV for $300 on sale. My boyfriend helped me set it up, and the first thing we watched was Planet Earth. I will never look at shallow seas in the same way. My screen was so luminous! I’d arrived in the future! Alone, I binged on a sexy series that actually passed the Bechdel test: Witches of East End, about a family of fabulous witches who fight evil. Turns out the show originally ran on the Lifetime network. Embarrassing, but I embraced it. How many other fun shows had I missed? I raced through the first seasons of American Horror Story (creepy yet enthralling) and Netflix’s Sense8 (dark but life-affirming). Next came Master of None, A Series of Unfortunate Events and The Crown (yes, all Netflix originals—I draw the line at paying for cable). After a week, I began experiencing diminishing returns. It was like the fifth round of an all-you-can-eat buffet, when nothing looks good anymore. My habit tapered down to a reasonable level, and I turned back to my phone. I still love my new TV—it really makes my house feel like a home—but I think I’ll skip Netflix’s Fuller House. Some things are better left in the past.
Applicants must audition in dance-wear, GoGo attire or swimwear.
60 LAS VEGAS WEEKLY 03.30.17
NOISE
STS9
March 31 (with SunSquabi) & April 1 (with TAUK), 8 p.m., $38-$70. Brooklyn Bowl, 702-862-2695.
DESERT JAMS BY MIKE PREVATT lectronic dance music and improvisational rock. It’s a musical Reese’s Peanut Butter Cup that has brought us a few notable acts over the past two decades, none as accomplished and as mighty as Sound Tribe Sector 9, a crowd favorite thanks to its rhythmic, goose-pimpling merging of electronic subgenres, blues-based rock, funk, acid jazz and occasionally hip-hop. Among its 10 Vegas gigs since 1999, here are five performances that were particularly exploratory and ecstatic.
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“Squares and Cubes” ->“Evasive Maneuvers” -> “Kamuy” (Area 51 Soundtest, October 9, 2004) The two STS9 performances at the Indian Springs jam fest are legendary among the Tribe faithful. The band closed Set 1 with the meditative, soulful, LTJ Bukem-esque “Squares” before seamlessly segueing into the funkier, spacier pairing “Evasive”/“Kamuy,” resulting in more than 20 minutes of headswimming bliss that surely whetted the attendees’ appetite for Set 2 and Night 2.
What’s that sound? The Tribe’s back in town. (Courtesy)
FIVE NOTEWORTHY PERFORMANCES FROM STS9’S VEGAS GIGOGRAPHY
“Tap-In” (House of Blues, October 29, 2005) The first of STS9’s three HOB appearances was also the first of its three excellent Vegoose at Night shows. Highlights abounded that night, but maybe none more than the Set 2 closer. “Tap In” quickly struck a Pink Floydian chord with its warm-up by then-bassist Murph (David Murphy) and drummer Zach Velmer, shortly joined by Hunter Brown’s assured riffage and David Phipps’ atmospheric synths. That build pulled back a bit, and then snapped into a fervent, percussive jam—a dynamic that was repeated one more time to climactic effect. “Orbital” (The Joint, October 28, 2006) Another Vegoose at Night show, and after a day spent at the festival, it was mercifully and consistently propulsive. STS9 peaked just before its encore with this chestnut, largely a live drum ’n’ bass number that showcased countless movements and tone changes, highlighting all the musicians’ handiwork and the band’s various disparate styles—basically, STS9 in a rapturous nutshell.
“Ramone & Emiglio” (Vegoose, October 27, 2007) Most festivals offer non-headliners 45 to 60 minutes to play, which can be tricky for a sonically expansive band like STS9. The jam-friendly Vegoose afforded STS9 nearly 90 minutes, and after spiking with electro rocker “1103,” the band went into this fan fave, which began in the same steady, Floydian spirit of “Tap-In,” but took a breakbeat-heavy left turn a la “Orbital.” Funk and jazz flourishes played prominent parts before the song’s pounding end. “Moon Socket” (House of Blues, February 26, 2010) Though STS9 impressed with its live improvements on 2008’s evolutionary Peaceblaster album, nuggets like this truly demonstrated the band’s strengths—in part, how it could refresh its oldest songs. “Moon Socket” righteously closed out the aforementioned 2005 HOB show, but the better version came four and a half years later, sounding both transcendent and utterly bonkers, mostly due to Brown’s furious guitar work. The show didn’t end there, but it could have.
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las vegas weekly
Sound judgment
03.30.17
The Jesus and Mary Chain damage and joy aaacc
Jim and William Reid, the alpha and omega of The Jesus and Mary Chain (just don’t ask which one’s the alpha; there’ll be a riot), have produced their first album of new material since 1998’s Munki, and the results are … pleasant. Buttery-smooth, easy on the ear. You could host a wine tasting to Damage and Joy, or maybe throw it on in the background while you whip up a dozen macarons. That’s fine if you’re Vampire Weekend; less so if you’re the shoegaze godheads who made Psychocandy and “Happy When It Rains.” Damage and Joy is produced by Youth, and I have to wonder if the Killing Joke bassist was the one who chose to tame JAMC’s fierce guitar sound—a hive of worker bees, buzzing together for the common good—into the tuneful chug that dutifully supports “Amputation” and “Always Sad,” rather than challenging the vocals and melody for dominance. We get it; the Reids are getting along these days (“I hate my brother and he hates me/That’s the way it’s supposed to be,” winks “Facing Up to the Facts”), but there’s a pervasive sense that some of Damage and Joy’s almost-there cuts—particularly “Song for a Secret” and “Presidici (Et Chapaquiditch)”—could be improved by flinging some mud into the mix. –Geoff Carter
Jamiroquai
Automaton aaacc U.K. funk merchants Jamiroquai are best known in the U.S. for ’90s electro space cakes “Virtual Insanity” and “Cosmic Girl,” and the No. 1 dance hit “Space Cowboy.” Since then, though, the troupe has continued to enjoy international success and release studio albums, including the new Automaton. Led by soulful raconteur Jay Kay, the futuristic record is a debonair amalgam of sinewy R&B (“We Can Do It”), polished synth-funk (“Cloud 9”) and glittering disco grooves (“Hot Property”). At its best, Automaton comes off like a well-curated playlist of breezy, concise jams. Standout “Superfresh” would be a highlight of retro night at the roller rink; the soapy ’70s soft rock homage “Summer Girl” is the sound of sipping champagne on a fancy cruise; and the robo-swervin’ title track resembles the electro-rock favored by Duran Duran in the early ’80s. Automaton falters, however, when Jamiroquai gets mired in navel gazing grooves and lets its songwriting (and song lengths) meander. Both “Something About You” and “Vitamin,” for example, are sonically pristine but generally forgettable. Despite such lulls, Jamiroquai’s effervescence ultimately wins out, keeping the record firmly in camp fun(ky). –Annie Zaleski
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62 ART
WEEKLY | 03.30.17
THE ART OF ALI THE BELLAGIO GALLERY PAYS TRIBUTE TO THE LATE BOXING GREAT BY MATT JACOB
Sting like a bee. (Photo by Ken Regan/Courtesy of Muhammad Ali Enterprises LLC)
uhammad Ali and Las Vegas are as intertwined as Babe Ruth and the New York Yankees. Which is to say you can’t tell the story of one without the other. Although only seven of Ali’s 61 professional fights took place in Las Vegas, several were historic in nature and each helped propel a glittering desert gambling town into the Boxing Capital of the World. So it’s only fitting that an exhibition celebrating Ali’s life and legacy would find a home here. I Am the Greatest: Muhammad Ali, which begins a six-month run at the Bellagio Gallery of Fine Art on March 31, will feature artifacts from the late champion’s legendary career, along with family photos, stories shared by his closest friends and video footage from some of his most memorable fights. More than just a tribute to Ali’s boxing exploits, the exhibit will provide insight into the humanitarian and social achievements that helped make Ali a global icon. It includes a detailed journey through the six core principles through which Ali lived his life: confidence, conviction, dedication, giving, respect and spirituality. “It’s something different for us, but that’s what we like,” says Tarissa Tiberti, the gallery’s
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executive director, who worked in concert with Muhammad Ali Enterprises to stage the exhibition. “It just seemed fitting to celebrate and share the life of an athlete who is so widely appreciated throughout the world.” Among more than 30 items and eight videos set to be displayed in BGFA’s first-ever sports-related exhibit: boxing robes; torches and medals from the 1960 Rome Olympics; autographed gloves and shorts Ali once gave to Elvis Presley; and championship rings from 1974 and ’78. The latter ring was awarded to Ali after he defeated Leon Spinks in New Orleans in September 1978—seven months after Ali lost his title to the little-known Spinks in one of the biggest upsets in boxing history, at what was then known as the Las Vegas Hilton. After winning the rematch, Ali announced his retirement, but two years later he returned to the ring in Las Vegas to face undefeated heavyweight champ Larry Holmes at Caesars Palace. It was a brutal fight in which Ali was overmatched by a younger, stronger opponent, with Ali’s corner throwing in the towel after the 10th round. Prior to the losses to Spinks and Holmes, however, Ali enjoyed nothing but success in Las Vegas, winning five consecutive fights at the Convention
Center from 1961 to 1975. In the first of those bouts, a 19-year-old Ali—then known as Cassius Clay— earned a 10-round victory over Duke Sabedong in just his seventh pro fight. When Ali next returned to the Convention Center in November 1965, he did so as a world champion, a title he successfully defended with a 12th-round knockout of the legendary Floyd Patterson. Ali’s 5-2 record in Las Vegas is part of his overall mark of 56-5, which included 37 knockouts. As remarkable as Ali’s 21-year career was, however, it only partially defines his life—something Tiberti says visitors will better appreciate upon touring I Am the Greatest. “In terms of where we are in the world today— not only the political climate, but everything—I think it’s important to look at how somebody came to greatness,” Tiberti says. “Maybe a younger person who visits the exhibit can be inspired by his dedication and his life. And maybe somebody else learns more about the humanitarian in Ali and be inspired that way.”
I AM THE GREATEST: MUHAMMAD ALI March 31-September 30; daily, 10 a.m.-8 p.m.; $16-$18. Bellagio Gallery of Fine Art; 702-693-7871.
63 PRINT
WEEKLY | 03.30.17
TRUE WEST
MOHSIN HAMID’S REFUGEE TALE TRAVELS FROM FABLE TO REALISM AND BACK BY HEATHER SCOTT PARTINGTON n a city swollen by refugees see what was on the other side …” but still mostly at peace, or Hamid’s doors are literal portals at least not openly at war, to other countries, opportunities a young man met a young to leave war-torn lands and pursue woman …” So begins Mohsin Hamid’s safety, but they work in the context timely novel of refugees and magical of the novel. Hamid asks us to reconrealism, Exit West. Saeed and Nadia sider the everyday magic we already live in a nameless Middle Eastern accept: things like modern travel, city. Though Nadia dresses in a concell phones, the instantaneous servative robe from chin to toe, she reporting of news. does this so men will leave her alone; Hamid uses several recurring she is also the more liberal of the motifs: The night sky, the pluralyoung lovers. The couple spend all of ity of languages and the shame their time together until it is of refugees are refrains AAAAC woven artfully into this no longer safe to do so. Their family members are dying, tale about the difficulties of EXIT WEST By and their favorite haunts are sustaining a relationship Mohsin Hamid, shuttered. Eventually they through trauma. There’s $26. hear that doors are opening a decidedly absurdist to other cities around the overtone to Exit West, as in world, and they escape. Hamid massome ways the lovers (and others) terfully juxtaposes the unexpected seem to be filling their time, waitand the ordinary to both complicate ing for something they have yet to the lovers’ tale and offer an important discover. When Saeed and Nadia critique of current refugee crises. consider doors—the binary choices The tone of Exit West is one of to travel to Mykonos, then London, gritty realism, but Hamid narrates then Marin, California—they it in third person, evoking fables of are also making choices within the past; he offers peeks into various themselves and about their future doors and lives around the world. together. Hamid’s apposition of the “But the nearby blackness unsettled magic and the pedestrian forces his him,” he writes, “and reminded reader to think differently about him of something, of a feeling, of a refugees and the idea of leaving an feeling he associated with children’s entire country or life behind. In books … [He] thought he might Exit West, we see how “[we] are all step through the door, just once, to migrants through time.”
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64 LAS VEGAS WEEKLY 03.30.17
FOOD & DRINK ANDRE’S BISTRO & BAR
6115 S. Fort Apache Road; 702-798-7151. Monday-Thursday, 11:30 a.m.-9 p.m.; Friday, 11:30 a.m.-10 p.m.; Saturday, 10 a.m.-10 p.m.; Sunday, 10 a.m.9 p.m.
Don’t skip Andre’s braised lamb shank. (Mikayla Whitmore/Staff)
65 LAS VEGAS WEEKLY 03.30.17
INSTANT CLASSIC
ON THE BORDER
THE NEW ANDRE’S BISTRO BLENDS CLASSIC FRENCH RECIPES WITH MORE CASUAL FARE BY JIM BEGLEY t was a sad day last year when Andre’s at the Monte Carlo shuttered. The French fine-dining hub, which featured a friendly and anachronistic cigar lounge and comfortable high-backed booths, had long been a favorite for both locals and tourists. But change is the only constant on the Strip, and a forthcoming resort remodel forced Andre’s to close. Luckily for Las Vegans, the restaurant team behind André’s quickly unveiled its next endeavor: a casual bistro in the old DW Bistro space on the southwest side of town. And right from its opening, the new Andre’s Bistro & Bar ranks among the best restaurants on our local scene. If Marché Bacchus and Bouchon had a love child, it might be Andre’s Bistro, its classic French preparations commingling with more casual fare to cater to a wide swath of tastes. Simple dishes like well-seasoned crispy calamari ($12) are available alongside garlicladen frog legs Provencal ($10), the latter hearkening back to the old Andre’s menu. The meaty and satisfying burger ($12) begs to be ordered with buttery escargots de Bourgogne ($12). And braised lamb shank ($28)—falling off the bone atop orzo swimming in a rich lamb jus—can be paired with a lighter
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Lyonnaise salad ($12), frisée accented with a flavor-forward warm sherry vinaigrette, smoky bacon lardons and a poached egg. The variety allows meals to be as palate-challenging as you’d like, and as heavy as your appetite allows. Don’t miss the golden trout amandine ($22), a hauntingly good dish that has the California fish arriving in an immaculate beurre noisette and garnished with almond slivers. In case your junior high French is a little rusty, beurre noisette is brown butter sauce, but you needn’t know a word of Français to appreciate its quality. It’s the stuff of which dreams are made. Andre’s Bistro isn’t just about the food. Beverages are well-thought-out, with a trio of gin and tonics (get the cardamom-laced Piney) leading the way. More alcohol-forward drinks, like the smoky Oaxacan Sour and the coffee-forward Afternoon Joe, are available in the High Proof section of the menu, but even more interesting are the easy-drinking Low Proof options. These minimal-ABV cocktails are crafted with an afternoon on the patio in mind, an outstanding plan as the weather gets nice. If you’re missing the original Andre’s, the inviting and comfortable new version could be your new favorite spot. Andrew’s Bistro & Bar is destination dining no matter where you reside.
EMERIL ALL-STAR TEAM, ASSEMBLE!
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Emeril Lagasse is the proprietor of 13 award-winning restaurants, including four Las Vegas spots that rank among the most consistent and popular dining destinations on the Strip. What if his top chefs got together to cook you dinner, one fantastic Emerilstyle Vegas masterpiece meal? It’s happening. The Tour de Emeril collaborative dinner series launches March 31 at Emeril’s New Orleans Fish House. The restaurant’s chef, Vegas veteran Jean Paul Labadie, will welcome Delmonico’s Ronnie Rainwater, Lagasse’s Stadium’s Scott Pajak and Table 10’s James Richards to cook up a five-course feast. Sample dish: Labadie’s grilled Colorado lamb chop, stuffed shank and house-made sausage with fava bean puree and Drunken Goat cheese tater tots. Tickets cost $90 (or $150 with wine pairings) and can be obtained by calling 702-8917374. If you can’t make this one, the fab four will get together again on June 23 at the Stadium at Palazzo, September 8 at Delmonico and December 8 at Table 10. –Brock Radke
INGREDIENTS 1 1/2 oz. Sauza Hornitos Black Barrel Tequila /4 oz. Marie Brizard Crème de Cacao Brown
3
/2 oz. Grand Marnier
1
/2 oz. lime juice
1
Orange peel for garnish Nutella and cacao nibs for rim
METHOD Rim a highball glass with Nutella and cacao nibs and fill with ice. Combine ingredients in a shaker with ice. Shake well and strain into the glass. Garnish and serve.
Smoky tequila, cocoa crème liqueur, touches of refreshing citrus and a Nutella-rimmed glass—this cocktail is doing the most, and then some. It strikes the perfect balance between rich chocolate flavors and light, crisp citrus. The chocolate hazelnut spread rim is an added treat to an already delectable drink.
Cocktail created by Francesco Lafranconi, Executive Director of Mixology and Spirits Education at Southern Glazer’s Wine and Spirits.
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Blackjack Collective
1860 Western Ave., 89102
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5347 S. Decatur Blvd., 89118
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2307 Las Vegas Blvd. S., 89104
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50 N. Gibson Road, 89014
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Zenleaf
9120 W. Post Road, 89148
(702) 462-6706
4
Essence
4300 E. Sunset Road #A3, 89014
(702) 978-7687
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las vegas weekly 03.30.17
Live Music
Performing Arts
Alios Majestic Repertory: Hand to God Thru 4/15, days & times vary, $20-$23. 1217 S. Main St., 702-478-9636. Clark County Library (Jewel Box) The Year of Magical Thinking Staged reading 3/31, 7 pm, free. 1401 E. Flamingo Road, 702-507-3400. Henderson Pavilion The Little Mermaid 3/31-4/1, 7:30 pm, $20-$50. 200 S. Green Valley Parkway, 702-267-4849. Las Vegas Little Theatre (Black Box) 4,000 Miles 3/24-4/9, Thu-Sat, 8 pm; Sun, 2 pm; $10-$15. 3920 Schiff Drive, 702-362-7996. The Space Dean Cameron: The Nigerian Spam Scam Scam 3/31, 8 pm; 4/1, 7 & 10 pm, $30-$65. 3460 Cavaretta Court, 702-903-1070. Summerlin Library & Performing Arts Center Signature Productions: Fiddler on the Roof 4/4-4/29, days & times vary, $20-$30. 1771 Inner Circle Drive, 702-507-3860. UNLV (Artemus W. Ham Hall) UNLV Music: Community Concert & New Horizons Bands 4/5, 7:30 pm, $8-$10. (Black Box Theatre) Nevada Conservatory Theatre/Cockroach Theatre: Disgraced Thru 4/9, days & times vary, $15-$17. 702-895-3332.
THe Strip & Nearby Brooklyn Bowl Battle Tapes, Fitness, Beginners 3/30, 7:30 pm, $10. STS9, SunSquabi 3/31, 8 pm, $38-$139. STS9, Tauk 4/1, 8 pm, $38-$139. Katchafire, Inna Vision 4/6, 8 pm, $25. Catfish John (Grateful Dead tribute) 4/7, 8 pm, free. Sammy J, Jordan T, Analea 4/8, 7:30 pm, $22. Linq, 702-862-2695. Caesars Palace (Colosseum) Rod Stewart 3/314/1, 7:30 pm, $49-$250. Celine Dion 4/4-4/5, 4/74/8, 4/11-4/12, 4/14-4/15, 4/18-4/19, 4/21-4/22, 7:30 pm, $55-$500. 702-731-7333. Double Down The Negative Nancys, The Drabs, The Fabulous Miss Wendy, Mythological Horses, The Drabs, Classhole 3/31. Bogtrotter’s Union, Thee Swank Bastards, Go Bold, Anti-Vision 4/1. Johnny Zig & The Highlighters 4/2, 9 pm. Franks & Deans’ Weenie Roast 4/5. Rex Dart & The Bargain DJ Collective Mon, 10 pm. Unique Massive Tue, midnight. Shows 10 pm, free unless noted. 640 Paradise Road, 702-791-5775. Hard Rock Hotel (The Joint) ACM Party for a Cause ft. Drew Baldridge, Kelsea Ballerini, Ryan Hurd, Lady Antebellum, Kip Moore, Eric Paslay, Brett Young 4/1, 5:30 pm, $45-$104. ACM Awards After Party ft. Kane Brown, Easton Corbin, Clare Dunn, Walker Hayes, LANCO, Scotty McCreery, Dee Jay Silver 4/2, 8 pm, $55-$114. Bring Me the Horizon, Underoath, Beartooth 4/8, 7 pm, $40-$150. (Vinyl) Pouya, Fat Nick, Ghostemane, WY8MF, Flexatelli 3/30, 7:30 pm, $25-$45. Mayday Parade, Knuckle Puck, Milestones 3/31, 7:30 pm, $27-$45. Fortunate Youth, Josh Heinrichs w/For Peace Band, Iya Terra 4/1, 9 pm, $13-$22. Old 97’s, Ha Ha Tonka, Paige Overton 4/2, 8 pm, $22-$45. Raiding the Rock Vault 4/3-4/5, 8:30 pm, $39-$109. 702-693-5000. Hard Rock Live Helicopter Showdown, Mantis, Bommer, SQUNTO, AR7 3/30, 9:30 pm, $15-$25. Siana King 4/2, 9 pm, free. Hard Rock Cafe (Strip), 702-733-7625. House of Blues Ozomatli, Squirrel Nut Zippers 3/30, 8:30 pm, $25. Locash 3/31, 7 pm, $19. ACM Party for a Cause ft. Billy Currington, Dan + Shay, Lauren Alaina, Seth Ennis 4/1, 6 pm, $35-$55. Moderatto 4/3, 7 pm, $25. Mandalay Bay, 702-632-7600. Mandalay Bay (Beach) Bash at the Beach ft. Jake Owen, Lee Brice, Brothers Osborne, Big & Rich 3/31, 7 pm, $64-$129. Bash at the Beach ft. Florida Georgia Line, Dustin Lynch, Chris Lane 4/1, 7 pm, $64-$129. 702-632-7777. Mirage (Terry Fator Theatre) Boyz II Men Fri-Sun, 7:30 pm, $44-$163. 702-791-7111. MGM Grand (Garden Arena) Jimmy Buffet & The Coral Reefer Band 4/1, 8 pm, $40-$212. 702891-1111. Monte Carlo (Park Theater) ACM Awards After Party ft. Russell Dickerson, Chris Janson, Tracy Lawrence, RaeLynn, Clay Walker 4/2, 8 pm, $89$175. Ricky Martin 4/5, 4/7-4/8, 4/11, 4/14-4/15, 8 pm, $82-$229. 844-600-7275. Palms (The Pearl) Chris Stapleton, Maren Morris 3/30, 8 pm, $56-$131. ACM Party for a Cause ft. Brandy Clark, Old Dominion, Dierks Bentley, Cam 3/31, 9 pm, $35-$60. A Perfect Circle, Prayers 4/6-4/8, 8 pm, $55-$115. 702-944-3200. Planet Hollywood (Axis) Britney Spears 3/31, 4/1, 4/5, 4/7-4/8, 9 pm, $69-$500. 702-777-2782. SLS (The Foundry) Phil Vassar 4/8, 8 pm, $25. 702761-7617. Stoney’s Rockin’ Country ACM After Party for a Cause ft. Alyssa Micaela, Midland, Michael Ray, The Swon Brothers 3/30, 10 pm, $20-$180.
Special Events
No foolin’, Chicago garage-rockers The Orwells play the Bunkhouse on April 1. (Kelly D Puleio/Courtesy)
Carter Winter, Brodie Stewart 3/31, 9 pm, $5-$10. ACM Tailgate Party ft. Chase Bryant, Dylan Scott, Aaron Watson & more 4/1, noon, $15-$85. Town Square, 702-435-2855. T-Mobile Arena ACM Awards 4/2, 5 pm, $387-$823. 702-692-1600.
Downtown Backstage Bar & Billiards Honor Amongst Thieves, Puppet, Astoria, Chase Grijalva 3/30, 8 pm, $7-$10. False Cause, Sector 7-G, New Cold War, Bitch ’n’ Dudes 4/1, 8 pm, $7. 601 E. Fremont St., 702-382-2227. Beauty Bar Nothington, Mercy Music, No Red Alice, Lawn Mower Death Riders 3/30, 8 pm, free. Brumby, Still Rebel, True Violet 3/31, 8 pm, free. Kosha Dillz, Late for Dinner, Eric Wayne + Paria Badd, Anglo Sax, The Ransom 4/1, 8 pm, $8. Mickey Avalon 4/3, 8 pm, $15-$18. 517 Fremont St., 702-598-3757. Bunkhouse Saloon The Orwells, The Walters 4/1, 10 pm, $13-$16. Lazar Jovic benefit ft. Hidden Levels, Indigo Kidd, James and Tsvet, LSD’s Bad Trip, M!KEATTACK 4/2, 7 pm, $15. Delicate Steve 4/3, 8 pm, $10-$12. Mucca Pazza 4/5, 9 pm, $12-$15. 124 S. 11th St., 702-854-1414. Downtown Spaces Sonia Seelinger, Elmer Abapo, Rasar, Zet Gold 4/1, 7 pm, $10. 1800 Industrial Road, 702-324-9137. Golden Nugget (Showroom) Christopher Cross 3/31, 8 pm, $32-$141. 866-946-5336. Hard Hat Lounge Super Zeroes, Kella Bo Bella, Kid, You’re No Fighter 4/1, 9 pm, $3. 1675 Industrial Road, 702-384-8987. Smith Center (Reynolds Hall) LV Philharmonic: Cabrera Conducts Brahams 4/1, 7:30 pm, $30$109. (Cabaret Jazz) Raiatea Helm 3/31-4/1, 7 pm, $35-$55. 702-749-2000. Velveteen Rabbit Sam Lemos, Halsey Harkins, Dia 3/30, 7 pm, $5. 1218 S. Main St., 702-685-9645.
Everywhere Else Aliante Casino (Access Showroom) Najee 4/1, 8 pm, $33. 702-692-7777. Cannery (The Club) Fan Halen (Van Halen tribute) 3/31-4/1, 8 pm, $10. 702-507-5700. Count’s Vamp’d Dario Lorina, Jason Walker 3/31, 9 pm, $10. 6750 W. Sahara Ave., 702-220-8849. Craig Ranch Regional Park Amphitheater Las Vegas Hemp Festival ft. Insane Clown Possee, NWA Family, Kottonmouth Kings & more 4/1, 11 am, $50-$200. 628 W. Craig Road, 702-633-2418. Dive Bar Duane Peters Gunfight, Salt Lake Spitfires, Dead 77, Detained 3/31, 9 pm, $10-$12. 4110 S. Maryland Parkway, 702-586-3483. Eagle Aerie Hall The Grindmother, Desolation, Drown a Deity, Asylum of Ashes, Phalloplasty, Looks Like Medusa, Meteor Fish 4/1, 5 pm, $12-$14. 310 W. Pacific Ave., 702-568-8927. Green Valley Ranch (Grand Events Center) Chris Janson 4/1, 8 pm, $29-$59. 702-367-2470. Primm Valley Resort Dwight Yoakam 4/1, 8 pm, $25-$55. 702-386-7867. Red Rock Resort (Ballroom) All-Star Guitar Pull ft. Darius Rucker, The Band Perry, Jon Pardi, Lauren Alaina, Chris Stapleton 3/30, 7 pm, $29-$100. (Rocks Lounge) Richard Cheese 4/1, 8 pm, $39-$64. 702-797-7777. Tommy Rocker’s Jim Hoehn, Rick Lamb, Eric Stone, Tommy Rocker 3/31, 5 pm, $30. 4275 Dean Martin Drive, 702-261-6688.
Comedy
Mirage (Terry Fator Theatre) Ron White 3/31-4/1, 10 pm, $65-$89. 702-792-7777. Neon Museum What’s Your Sign? Interactive improv ft. Cardio Spider 4/1, 2 pm, free, register @ neonmuseum.org. 702-387-6366. SLS (The Foundry) Jon Lovitz, Dana Carvey 3/31-4/1, 8:30 pm, $49-$89. (Sayers Club) 702-761-7000.
Glass Craft & Bead Expo 3/31-4/1, 9 am; 4/2, 10 am, $10-$15. South Point, glasscraftexpo.com. Kizuna Japanese Spring Festival 4/1, 10 am-5 pm, free. Lorenzi Park, 3343 W. Washington Ave., 702-626-0303. Las Vaudeville 3/31, 7 pm, $7-$10. Bunkhouse Saloon, 124 S. 11th St., 702-854-1414. Pet-A-Palooza 4/1, 10 am-6 pm, free. Sunset Park, 2601 E. Sunset Road. Saving Banksy Documentary film + Q&A w/filmmaker Colin Day 3/31, 7 pm; 4/1, 5:30 & 7:30 pm; $9-$10. UNLV’s Barrick Museum Auditorium, 702-895-3381. The Breakfast Club With live shadow cast 4/1, 6:30 & 10 pm, $10. 5077 Sci-Fi Center, Arville St., 855-501-4335. Super Fly: A Celebration of ’70s Disco 3/31, 10 pm, free. Velveteen Rabbit, 1218 S. Main St., 702-685-9645. Trans Day of Empowerment 3/31, 1 pm, free. The Center, 401 S. Maryland Parkway, 702-733-9800. Twin Peaks Cosplay Mixer 3/31, 8 pm, free. The Dispensary Lounge, 2451 E. Tropicana Ave., 702-458-6343. UNLVino 3/30-4/1, 7 pm, $75-$125. UNLVino.com. Writer’s Block Neon Lit 3/31, 4/28, 7 pm, free. 1020 Fremont St., 702-550-6399.
Galleries
Barrick Museum of Art (Main Gallery) Process Thru 5/13. (Teaching Gallery) Abandon All Hope, Ye Who Enter Here Thru 5/13. (Braunstein Gallery) Masking Thru 5/13. Mon-Fri, 9 am–5 pm; Thu, 9 am-8 pm; Sat, noon-5 pm. UNLV, 4505 S. Maryland Parkway, 702-895-3381. Clark County Government Center Rotunda Maureen Halligan Thru 5/5. Mon-Fri, 8 am-5 pm. 500 Grand Central Parkway, 702-455-7030. The Cube Farewell Europe by Kevin Chupik Thru 4/1, free. Thu-Sat, noon-6 pm. Art Square, 1025 S. 1st St. #150, 702-483-8844, thecubelv.com. Donna Beam Fine Art Thaddeus Celia-Zoellner: Object Language Thru 3/31. Mon-Fri, 9 am-5 pm. UNLV, 4505 S. Maryland Parkway, 702-895-3893. Left of Center A Room of One’s Own Thru 3/31. Tue-Fri, noon-5 pm; Sat, 10 am-3 pm. 2207 W. Gowan Road, 702-647-7378. Tilting the Basin: Contemporary Art of Nevada Thru May 14, free. Wed-Sun, 10 am-6 pm; Fri, 10 am-9 pm. 920 S. Commerce St., 702-201-4253.
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