2017-11-02 - Las Vegas Weekly

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Las Vegas Weekly 11.02.17

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

sat., noon

04

sat., 9:30 A.m.

Sunset Park’d Food Truck & Micro Brew Festival AT SUNSET PARK

Vegas Valley Comic Book Festival at Clark County Library

Clark County Parks and Recreation brings together 30-plus food trucks (including Stripchezze and Truk-NYaki), New Vista’s Brew’s Best beer festival and a vegan food fest in one of the Valley’s best green spots.

Noon-9 p,m.; main event free, beer fest $30$35, sunsetparkd. com. –Geoff Carter

The city’s longestrunning comicbook event returns for its 10th year with an expanded Artist Alley showcasing independent and local creators, plus panels, film screenings and guests including popular comics creators James Robinson, J.H. Williams III, Mairghread Scott and more. 9:30 a.m.-4:30 p.m., Free. –Josh Bell

BACK TO SKULL 02 throughout november

Dia de los Muertos FESTIVIDADES The City of Las Vegas hosts its Dia de Los Muertos celebration at Lorenzi Park—our pick for budget-minded folks (it’s free and open to the public). Expect all the usual festival fare: live entertainment, food and craft vendors, a children’s area, face-painting and more. The event highlight will be a display of altars to deceased loved ones, which were created for a contest by different local organizations.

November 2, 5-9 p.m., 720 Twin Lakes Drive.

Downtown’s Wonderland Gallery is celebrating the Mexican cultural holiday for the month of November. The gallery invited artists to submit creative interpretations of Dia de los Muertos, with the best paintings and sculptures on display November 2-23.

Tuesday-Thursday, noon4 p.m., Friday-Saturday noon6 p.m.; 107 E. Charleston Boulevard #100.

And the Springs Preserve will host a three-day Dia de los Muertos festival. In its ninth year, the event will include dance folklorico, theater, mariachi music, sugar skull decorating activities, face painting and an exhibition of art and altars. November 3-5, 4-9 p.m. $8-$10.

–C. Moon Reed

Wonderland Gallery’s Dia de los Muertos show awaits. (Mikayla Whitmore/Staff)

L o o k i n g f o r e v e n m o r e t o d o ? T u r n t o o u r l i s t i n g s o n pa g e 6 8 .

07 LAS VEGAS WEEKLY 11.02.17

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04 05 THRU DAY NOVEMBER 9

THE PHARCYDE ASDKFH LASKJHF & ISH LKJ SDLSD SOULS OF MISCHIEF FASHUHH AT BROOKLYN BOWL asdkjfha slkjakjsfi ausdfuilahsdfl iu serious asdifuhasldidfi Ask any hip-hoplu hasdlidfi u lhlaiushadfhll head to list the best iua shdf liuadsfl iuadsfi debut albums from theuhTin Itatem 1990s,rernat. and The Phar-as ipsam, tem accabo. cyde’s Bizarre Ride IIIm qui ducia consecto the cus Pharcyde (1992) and moluptat voluptatum Souls of Mischief’s 93 ‘til con consed quiare ilias doInfinity (1993) sure lore, omnihil igenisquiae to make the cut. The nonsequame porresponauda California crews nonsequi tore susdae sible for those influential dolupta LPs—thequatur, formerendam, from explabo.

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Mostly Mozart’s Brook Bunker & Ginger Land-van Buuren. (Josh Hawkins/Courtesy)

TASTY THROWBACK REMEMBER WHEN WE USED TO PARK A BUNCH OF FOOD TRUCKS TOGETHER AND CALL IT A PARTY? SUNSET PARK’D BRINGS BACK THE BYGONE DAYS OF VEGAS STREATS, ETC. BRING AN APPETITE—AND PANTS THAT CAN TAKE A FEW GRASS STAINS.

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08 LAS VEGAS WEEKLY 11.02.17

‘THE BEST OF ALL OF US’

the inter W H E R E

I D E A S

R.I.P. Tori Inouye, Downtown spirit-maker—and spirit-lifter

BY MATT KELEMEN

M

any Las Vegans knew Tori Inouye like I did, from her tenure as a craft bartender at Atomic Liquors in Downtown Las Vegas. Tori glowed brighter than the Atomic’s neon, with an effervescent and authentic personality that kept customers coming back wherever she worked. She greeted people with a dynamite smile and the graceful posture of a trained dancer—she didn’t turn from the register to the bar, she pivoted. She enabled regulars to exchange ails for ales.

So it came as a heartbreaking shock for her extended family of friends to learn Tori Lynne Inouye, 32, was taken off life support on the evening of October 24, eight days after attempting to take her own life. She had privately battled depression since her beloved father died while she was a student at Valley High School.

Tori rebounded with the support of lifelong friends, and she rediscovered her insatiable appetite for life. “She was the best one out of all of us,” says her childhood friend Sophia Rivera. She was enterprising and ambitious, kind and charismatic, and loved punk rock and raves—she was equally at home dancing all night to drum ’n’ bass as she was in the pit for her favorite band, New York City’s Bayside.

She found her career-calling as a craft bartender, enthusiastically participating in competitions and creating new concoctions. “Behind the bar was Tori’s happy place,” says her boyfriend Noal Hendricks. “Her endgame was to open a bar.”

The birth of their daughter Margot Jean in April delayed those plans, and although the proud mom was “bouncing back, getting motivated,” a bout with post-partum depression and its medication’s side effects overwhelmed her.

Tori’s passing is devastating to anyone who was affected by her sparkling personality, but that glow that warmed everyone around her can still be felt by summoning up the memory of that unforgettable smile. She was indeed the best of all of us.

A benefit memorial is planned for November 7 at Atomic.

HEADS UP: THE ‘CENTERED’ PUBLIC-ART PROGRAM IS COMPLETE If you’ve exited the eastbound 215 at Eastern Avenue recently, you’ve surely noticed them—two massive, black-metallic heads rising from the median, as if giants were emerging from the earth. Titled “Norte y Suerte,” they’re the work of Las Vegas artist Luis Varela-Rico, and they mark the final chapter of Clark County’s “Centered,” a 10site public-art project intended to beautify traffic islands around town with work by Chris Bauder, Kd Matheson and Miguel Rodriguez, among others.

“We started seeing false plants and animals popping up on medians, so this was the art committee’s response—instead of those prefabricated items, to put some legitimate art there,” says Mickey Sprott, cultural supervisor for public art within the County’s parks and recreation department.

And the response? “A range of different opinions,” she says. “Some people love the pieces; some don’t understand them. That’s what public art is all about, the start of that conversation.” –Spencer Patterson

rsection A ND L IF E M E ET

09 LAS VEGAS WEEKLY 11.02.17

DOWNLOAD AND DELETE Take a moment to de-clutter your digital life

BY GEOFF CARTER

+

1 BIG PHOTO

Luis Varela-Rico’s “Norte y Suerte” has changed the look of Eastern Avenue just south of the 215. (Mikayla Whitmore/Staff/Photo Illustration)

LOCALS, GIVE PARKING FEES UNTO CAESARS

Nevada residents: Your free self-parking options on the Strip just got significantly smaller. Starting November 2, Caesars Entertainment will charge locals $7-$10 to park for up to 24 hours at Paris, Bally’s, the Cromwell, the Flamingo, the Linq (both garage and backlot) and Harrah’s, and $10-$12 at Caesars Palace, with free one-hour parking. Caesars rep Richard Broome said in a statement that the change was prompted by “people coming to our properties only to park ... especially during concerts and sporting events taking place elsewhere on the Las Vegas Strip.” So what are the work-arounds? Self-parking will remain free at the Rio and Planet Hollywood; for Total Rewards members who maintain Platinum, Diamond and Seven Stars status; and Total Rewards Visa Cardholders who upgrade to Platinum and maintain $5,000 in annual purchases. Valet will continue to charge all users (cost: $13-$25 at all Caesars properties except Rio).

For more info, visit caesars.com/parking. –Mike Prevatt

Your phone is brimming with junk—old photos, old emails, all kinds of useless data adding unnecessary drag to your sleek digital frame. These things are slowing your phone’s CPU to a crawl and draining your battery dry. Thanksgiving is less than a month out; do you really to be forced to engage with that other half of your family when your phone fails? In this political climate? Purge your phone now, before it’s too late.

Deal with Facebook. The Facebook app is both a power and storage hog. There are several ways to deal with it, from disabling location services to clearing the cache to disabling the automatic app refresh—but many users seem to recommend deleting the app entirely and using the mobile web browser version, which you can drop on your main screen as a bookmark. You’ll lose all those instant notifications, but did you really use them? For that matter, does anyone actually like Facebook Messenger?

Aspire to inbox zero. There are a number of web apps that will make the tough email-purging decisions that you can’t, including Mailstrom (mailstrom.co), which analyzes your reading habits to sort your emails into neat batches for deletion or unsubscription, and Unroll Me (unroll.me), which automatically sorts your emails into bulk “digests.” But if you’re a Gmail user, I strongly recommend Inbox by Gmail (google.com/ inbox), which archives huge batches of emails with one touch and rewards you with a tranquil, blue-sky image when your inbox is completely emptied.

Archive all those photos. There are so many cloud backups now available, it’s not unusual to have more than one on your phone. (I recommend having more than one, actually. You really should store all your important photos on redundant clouds/drives, both online and off. No telling when one might fail.) Nearly all the popular online backup services—Apple’s iCloud, Microsoft’s OneDrive, Amazon Prime Photos, Google Photos, Dropbox—offer some kind of free service (usually capped by storage size: iCloud caps at 5GB free, while Google allows free unlimited storage as long as the photos are compressed.) And they’re all pretty much automatic; just set it and forget it. Then clear out the unwanted originals, and you’re ready to load up your phone with even more junk.

Delete Twitter. See above about uncomfortable political conversations with the family wingnut.

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LAS VEGAS WEEKLY 11.02.17

DO

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LAS VEGAS WEEKLY

DOUBLING DOWN

11.02.17

Vegas art couple Brian and Jennifer Henry continue lighting up the town

By Leslie Ventura

Photograph by Mikayla Whitmore/Staff

I

f you’ve stepped foot anywhere on the Strip, you’ve likely a new collection of their work every month for three years. They now seen the work of Brian and Jennifer Henry. At any given jokingly refer to it as their “art boot-camp” phase. moment, the artist couple’s digital and conceptual pieces Eventually Brian, a self-taught designer, began working at the local can be viewed within Las Vegas’ casinos and galleries and sign company YESCO, where he spent 15 years creating indoor and even on its streets. They’re a local power couple, no doubt, outdoor signs for casinos and resorts. His work has been critical in the driven by their cerebral design aesthetic, intense work ethic and city’s evolution from neon playground to vast, digitized wonderland. unwavering support for one another.

And while neon is still near and dear to Brian’s heart, creating custom With their joint business Brian Henry Design—Jennifer, 37, is motion graphics for high-resolution displays like the giant Harmon the creative director; Brian, 40, is the principal—they have created corner LED sign on Las Vegas Boulevard has been a groundbreaking content for the SLS, the Cosmopolitan, Aria, achievement. With a pixel count of 7,000, his revoFashion Show Mall and beyond, including animalutionary design is one of the largest LED displays tions for the highest-resolution LED screen in New in the world.

York City’s Times Square and work for clients like “We’re really lucky we’ve always developed We’ve been Swarovski and Samsung. Separately, they continue in similar ways,” Jennifer says of the pair’s problem-solving for to create visually striking and thought-provoking artistic growth over the years. After receiving so many years that art in our Valley and beyond. her bachelor’s degree in English from UNLV in “We didn’t start making artwork or doing any2002, Jennifer launched her vintage clothing we feel comfortable thing other than decorating our house until we had boutique Flock Flock Flock, which later evolved approaching the been in a relationship for seven years,” Jennifer into an alternative-couture concept that utilizes explains one October afternoon inside Downtown’s unconventional materials to make flowing, unfamiliar.”

Cube gallery, home to her recent exhibit Supercell. fashion-forward art garments that have shown in “I think we always had a good way of communicatgalleries and at New York Fashion Week, South by ing, and it begins with that. A lot of what we’re Southwest and elsewhere. doing is a collaborative experience from beginning to end.”

Inside the Cube, the Henrys talk me through the keys to their sucThat both of them have been so successful is a testament to the thoucess, including the way their personal and business relationships work. sands of hours they’ve put in over the years. “Work is really important, “There is no balance,” Brian laughs—but in their case that hasn’t been and I think we’re willing to make the same kinds of sacrifices,” she a bad thing. Their intertwined work pursuits fuel their creative interadds. “We really value each other’s strengths, and we try to aid and ests. And it doesn’t just stop at art. As proponents of the local music assist each other in the ways that we’re not strong. We’re really supscene, they can often be found at live shows Downtown or traveling portive of each other’s ideas, but we’re super-critical, too.” and exploring different aesthetic scenes. At the core of their collective The Henrys will celebrate their 16th wedding anniversary in May, interests: experiencing new and unusual things, from the material and but their relationship dates back much further, to 1995, when they met digital art realm to philosophy, music and film. They complete each while working at now-shuttered slot machine company Anchor Gamother’s sentences, boast about their partner’s accomplishments and ing. For more than 15 years, the pair have been heavily involved in Las demonstrate strong mutual adoration and respect for one another.

Vegas’ art world, creating culture from the inside. In 2003, the Henrys Yet, even as they work and live in close proximity, the Henrys mainlaunched Capital H gallery inside Downtown’s Arts Factory, showing tain very distinct artistic identities.

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LAS VEGAS WEEKLY 11.02.17

Top: A parametric light art machine by Brian Henry.

Below: A garment by Jennifer Henry in Supercell. (Courtesy photos)

A

t first glance, the walls inside Jennifer’s Supercell exhibit appear to be white, but they’re actually painted to resemble the show’s focal point: iridescent, dichroic cellophane, for which Jennifer has become known. The colors are so subtle that the room mimics the transparent, pastelcolored material. Within the walls of the Cube, Jennifer highlights what she does best—capturing an object or an idea’s essence and conveying her own perspective in vivid color. In the middle of the room, three transparent yellow chairs hang from the ceiling, and a fourth sits on the floor—a tonguein-cheek nod to Joseph Kosuth’s One and Three Chairs.

“So much of what happened in this room was largely facilitated

by Brian,” Jennifer says. Even the name of the show was Brian’s suggestion, taken from an extreme weather phenomenon in which an organized thunderstorm has several distinct parts.

By pulling back the veil on her process, each step has become a piece of art. “You never know what’s happening inside of a supercell, but it’s all connected,” Jennifer says. (Supercell closed last month, but a satellite version, titled Singlecell, is open through November 11 at UNLV’s Grant Hall Gallery).

In 2016, Brian created a new digital-motion graphic for 365 straight days—each month featuring a different Pantone hue— and logged his creations on his Instagram account, @bri4nh3nry.

And while those whimsical, stimulating designs are the result of Brian’s tedious process, it’s also a product of the couple’s combined brainstorming strength. In one of his creations, a fuzzy brown rocking chair grows long spiky hair— that was Jen’s idea.

“I can just mention some halfbaked thing to Jen, like, What if we do something with clowns and stars in the sky? And Jen will develop it into this magical thing,” Brian says. “Even if I have an aw-

ful idea, somehow she has a way to make it all make sense. … She knows enough technical stuff to be dangerous. Her ideas always materialize beautifully.”

Brian’s latest exhibit, Perfect Circle, will debut at the Cube on November 2. A continuation of his Machina Ex Machina series, it evokes Plato’s The Allegory of the Cave, challenging our expectations and perceptions through a custom computer program that draws images at random.

“The computer is the artist,’ Brian explains. “Each experience with it is entirely unique, it’s unrepeatable, but at the same time it’s also instantly recognizable.”

Jennifer cuts in, glowing proudly as she recalls Brian’s accolades.

“For somebody who started as a traditional artist—a painter, hand renderer, photographer, videographer—I think it’s interesting to be so drawn to an idea that removes his influence,” she says.

Although he’s not physically drawing each work in Perfect Circle, the outcome feels both aesthetically pleasing and uniquely methodical—something for which Brian has become known.

Like Supercell, it’s the kind of show that challenges viewers’ preconceived notions of what art is and isn’t—a concept into which the Henrys continuously delve through their individual and collective pursuits.

Their fast-paced, trend-andculture savvy lifestyle takes teamwork, but they’ve been “problem-solving for so many years that we feel comfortable approaching the unfamiliar.,” Jennifer says.

The two artists are currently working on additional content for the Cosmopolitan and other local clients as Jennifer finishes her MFA. And while future directions of their artistic reach might be impossible to predict, one thing is certain: The Henrys are already woven deeply into our visual landscape. Like the neon that once defined Las Vegas, whatever they think of next is sure to have a lasting impact.

Courtesy Photo/Photo Illustration

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las vegas weekly WEEKLY | 11.02.17

‘Accidental pop star’ Shamir comes around again—this time on his own terms

BY GEOFF CARTER

or a minute, it looked like Shamir Bailey—you can simply call him Shamir—might become a huge pop star. Two years ago, the North Las Vegas native was riding an incredible wave of industry buzz. His debut LP Ratchet—a booming disco and house set released on XL Recordings, the label of Vampire Weekend and Adele—got rapturously positive reviews from Pitchfork, NME and Spin, and he was profiled in The New York Times, Out and The Guardian. He performed at Coachella, Bonnaroo and Sasquatch, and opened shows for Duran Duran. And his single “On the Regular” was a sensation, appearing on multiple year-end best-of lists and even finding its way into commercials for Old Navy and Android. ¶ What critics and fans didn’t know was that one key person was opposed to Shamir’s rapid ascent: Shamir himself. While he was celebrated, and rightly so, for some of the things that set him apart from anyone else currently making music—his exquisite countertenor voice and his proud repudiation of gender conventions (“I have no gender, no sexuality, and no f*cks to give,” he once tweeted)—he felt increasingly constrained by the direction of his career. And one night in November 2015, shortly before he performed “On the Regular” on The Late Show With Stephen Colbert, he experienced a cold, uncomfortable realization.

“I wanted to do literally any other song, and it just wasn’t happening,” Shamir, now 22, says by phone. “I realized that if I was going to do something again, I would have to do something along the lines of “On the Regular”, even though there’s no other music on my EP or record like it.”

That was the first time Shamir weighed his success against his happiness and found the latter inadequate.

“I thought, ‘I’d rather not have a career at all than continue to do this.’

That’s just how I felt. … I didn’t even think ‘On the Regular’ was good when I made it.”

But that wasn’t the moment when everything changed for Shamir. That was still ahead, after nearly another year of performing a song he couldn’t stomach, and a traumatic episode that would change his life.

Shamir is a pleasure to talk to. He’s soft-spoken, polite, self-deprecating (“Oh my God, what the hell? I’m not cool,” he protests, when I suggest that he is), and when you compliment him on his music, he blankets you with profuse, genuine thanks. I like to

think Shamir is the way he is because he’s as much a Las Vegas native as one can be. Both of his parents were born and raised here; his grandmother moved to town from Arkansas “when she was 6 or 7,” Shamir says. “So I’m like Vegas as hell.”

He grew up in North Las Vegas, within sniffing distance of the buffet leftovers-fed pigs of R.C. Farms.

His family encouraged his musical gifts practically from the beginning; his mother gifted him an Epiphone guitar at age 9, and his aunt, a fellow songwriter and “my best friend in the family,” turned him onto artists ranging from Nina Simone to OutKast.

While attending Legacy High School, he and his friend Christina Thompson formed a lo-fi pop band, Anorexia, which performed at South

by Southwest in 2013. His first solo EP, 2014’s Northtown, was both a gift to his hometown and a lament for how dull and dispiriting it can be, growing up in a city made by and for adults of drinking age. (“We stay stuck in one place with nothing to do,” he sings in Northtown’s “Sometimes a Man.”) And that’s the problem with being a Vegas musical wunderkind: There

aren’t a lot of places for an under-21 performer to be seen and heard.

Shamir has played Las Vegas as a solo artist only twice: at the 2015 Life Is Beautiful festival and at the April 2016 opening of T-Mobile Arena, on a schizophrenic Vegas-centric bill that also included Wayne Newton and The Killers. Shamir has never stepped foot inside Beauty Bar, the Bunkhouse, the Griffin or any of the other small venues where our local bands hone their skills and simultaneously shape this city’s independent musical identity. He has little connection to our local music scene because, until recently, he was rarely allowed within 10 yards of it.

“You’re in publications and playing South by Southwest, but we could barely find a venue to have [Anorexia’s] album-release show in Vegas,” Shamir says. There were hardcore-punk showcases the band could have joined, he admits, but he surmised that Anorexia’s post-punk style wouldn’t go over well with those audiences. (Pressed for his punk and indie influences, Shamir names The Slits, along with a bunch of 1990s indie-pop bands that, like him, knew

how to mix sweet vocals with buzzy guitars: Velocity Girl, Blake Babies, Black Tambourine and others.)

“We didn’t have a choice but to get outside of Vegas, because we couldn’t play anywhere,” he says. “You know, I think that helped me in that sense, that I never felt tied to the city. I just did music because I loved it.”

So Shamir decamped, first to New York City and then to Philadelphia, where he now lives. But Shamir wasn’t done with Las Vegas just yet.

This city, home to both Shamir’s beloved family and his earliest musical frustrations, would yet play an unexpected role in his career.

If you haven’t yet heard Shamir’s music, start with his new album, Revelations, set for a November 3 release but already streaming online.

While it’s tempting to call it a return to the lo-fi honesty of Anorexia (and it is that, to a degree), that’s also a dismissal of all the living and learning Shamir has done since he was a high-school kid—experiences that have found their way into the songs, giving them a full spectrum of

16 COVER STORY WEEKLY | 11.02.17

Owen Sweeney/AP/Photo Illustration

17 COVER STORY WEEKLY | 11.02.17

emotional shadings. This is indie rock as catharsis.

If you like that, check out Hope, the ragged, recorded-in-a-weekend album he dropped for free last April. If Revelations is an answer, Hope is the question.

Made while Shamir was in the grip of uncertainty and tumult, Hope asks, What should I do now? And Revelations replies, this. You should do this.

Then, and only then, should you drop the needle on Northtown or Ratchet.

After listening to Shamir’s two latest albums, you’ll understand what he’s given up. In essence, he’s abandoning a machine that, given another Ratchet or two, could have been induced to print money for him. But the more the industry wanted to package Shamir, the more he wanted to wiggle his way out.

He was, in his own words, “an accidental pop star.”

“Ratchet feels like a whole other artist. It is a whole other artist,” he says. “I feel like I’m really starting over. I really have. I think Ratchet still has its own fanbase that doesn’t even know about Hope and Revelations.” He chuckles.

“It’s kind of cool. It’s, like, a Hannah Montana situation.”

The story isn’t without its ready-fortelevision dramatic turns. Unwilling to conform to a type, Shamir was dropped

by XL and spiraled into a depression that didn’t let up even when he poured Hope into a 4-track recorder last spring.

It was tempting to see it as the record that brought Shamir back to music, back to wanting to be a recording artist. He even intimated as much, in a post accompanying the free release. (“My music only feels exciting for me if it’s in the moment, and that’s what this album is,” he wrote.) But Hope wasn’t the happyending rebound it appeared to be.

“I was kinda thinking that Hope was going to be my last thing, because I thought that nobody would like it and that everyone was gonna be like, ‘What the f*ck?’ and then that would have been the end of me. I was totally prepared for that,” he says. “I just wanted Hope to be my last statement, and at least show the world the real me … who I am as an artist, and what I can do on

Revelations, Shamir’s latest album, officially drops on November 3.

my own. And it was bad, but at least I was able to show the world me.”

But Hope proved to be more than that: It was “the beginning of a manic episode for me that eventually turned into psychosis,” he says. “I had a really bad manic episode and was hospitalized for a whole week.”

While in a Philadelphia hospital, he was diagnosed with bipolar disorder, a realization that put the speedy recording of Hope into perspective for him. “Wanting to make an album in a weekend kind of was like the early signs of something a little bit more serious,” he said in a voice memo that was later released by Talkhouse Podcast. He was prescribed the necessary medications and flew back to Vegas to recuperate.

Shamir landed at the Southern Highlands home of his musician aunt and immediately felt antsy. The Las Vegas he knew was literally on the other side of the Valley, out of reach. “I had nothing to do but write and channel my boredom into something else, and that’s how Revelations came about.”

(Let’s just let that sink in for a second: One of this year’s most anticipated indie releases, an album that NPR has already called Shamir’s “most vulnerable and sure-footed work,” was

made in Southern Highlands. Rock on, Southern Highlands.)

“I still feel like it’s a sister record,” he continues. “I think Hope, even though it’s a full project, feels like a cliffhanger.

Revelations rounds out Hope and closes this chapter of my life.”

And opens another. The vulnerabilities laid bare on Revelations become strengths in the sureness of Shamir’s been-through-it delivery. “You’re from the dark, I’m from the light/I knew that you weren’t worth the fight,” he sings in “You Have a Song,” while “90s Kids” throws your millennial-bashing back in your face: “Well our parents say we’re dramatic/But they always ask for more than we do/So f*ck you/We out here strugglin’.” And his latest single, “Straight Boy,” sideswipes the constant, tiresome discussion of his sexuality (“They say I’m brave for being true/But act like it’s not something they can do”), while taking direct aim at the “vibe of toxic masculinity” that left him feeling “wronged and excommunicated.”

“Moving to Philly—as much as I love it, there seems to be a lack of feminine energy here. I guess that’s why they call it the City of Brotherly Love,” he says.

“I was surrounded by so many straight dudes, and it was hard for me to work

with, because I didn’t have so many female friends out here. That was kind of hard for me coming from Vegas, where all my friends are female and I had all of two straight guy friends. It was hard navigating that. And after I got out of the hospital, a lot of the same quoteunquote friends weren’t there for me while I was trying to get better. All of my queer and female friends were huge support systems for me, and none of my straight guy friends were there.

“It just really put things in perspective for me. I was just taking out my frustrations in that song. And I knew it was something a lot of people could relate to.”

It’s a safe bet that a lot of people will take “Straight Boys” to heart. And the song might not have existed if Shamir hadn’t turned his back on a future of Ratchet and retreated to the comfort of his guitar and 4-track. Ratchet made Shamir an unlikely star, but Revelations cements him as an artist who deserves to be widely heard.

I’m not at all ashamed to say that I spent a good chunk of our interview urging Shamir to give Vegas another chance. He really likes Philadelphia, calling it “a real city”—a term that sharply divides Las Vegans, even though they live in a city of 2 million people. “People think that Vegas is a city, because of the Strip, and I’m like, no one lives in the Strip. That’s one thing I always have to explain to everyone: Vegas is like the suburbs, y’all.”

I don’t think Shamir means that as a slight. He likes our suburbs well enough to visit them several times a year, and even felt comfortable enough to record an album in their midst. The next time he comes back here, it might well be to one of those small clubs he couldn’t visit as a pop star.

It’s not only Shamir who’s starting fresh; it’s Shamir and Las Vegas, pretty much meeting for the first time. The only way this could be more exciting is if that venue, whichever one he ends up playing, grants him an all ages-show.

“I think the youth definitely makes the scene,” Shamir says. He would know.

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We hope you like the new ’mello/Selena Gomez track “Wolves,” because he’ll definitely be playing it Friday and Sunday nights at XS at Encore.

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BROOKLYN BOWL

Your favorite chef/rapper is staying busy with new album Blue Chips 7000 and new cookbook F*ck, That’s Delicious.

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marshmello by wynn nightlife/courtesy; action bronson by charles sykes/ap; big boi by jack plunkett/ap; alesso by wynn nightlife/courtesy; fat joe by richard shotwell/ap; steve aoki by powers imagery/courtesy

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BI G BOI

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André 3000 recently told GQ something we already knew—that Big Boi is a superior MC. The active half of OutKast returns to Drai’s on Saturday.

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FAT JOE

05 sun

XS

The Swedish EDM producer teamed with Brazilian pop star Anitta on new single “Is That for Me.” Alesso spins for you Saturday.

DRAI’S

It’s always an elevated experience, but SunDrai’s goes all the way up when the Terror Squad CEO takes the stage.

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OMNIA

Tiësto, Zedd, Kaskade, Steve Aoki, Lil Jon, Nghtmre, Cash Cash, Party Favor and others come together, with all proceeds going to the victims of the October 1 tragedy.

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resh off teaming up on single “Cold Hearted,” the unlikely duo of Seven Lions (Jeff Montalvo) and Kill the Noise (Jacob Stanczak) have extended their collaboration, hitting the road alongside Tritonal (Chad Cisneros and Dave Reed) for the Horizon Tour. It stops at World Market Center Pavilions for an 18-and-up Saturday night show spanning a myriad of sounds, and we spoke with Montalvo all about it.

How did the tour come about? I actually did a remix for Tritonal a long time ago, and they’ve been friends of mine since the very beginning of their career, so it just kind of worked out to do a tour

with them. I actually met Jake a long time ago, too, and we always talked about working on music together and touring so we decided to make it happen this year—but definitely a long time in the making for sure.

What prompted the Horizon Tour name? We were all just really trying to think of something that fit all of us, because we’re all pretty different. Tritonal’s very much on the lighter side of things, and Kill the Noise is very much on the darker side of things, so it actually took a little brainstorming to come up with something that was going to be all-encompassing and that we all could get behind.

What about trance and dubstep enticed you to create this unexpected pairing of genres? I am a metalhead who got into trance, so for me, it made sense, the whole melodic music with broken beats behind it. … Even though there was a lot of stigma behind it at first, it worked out. The Horizon Tour with Seven Lions, Tritonal and Kill the Noise at World Market Center Pavilions, November 4. –Deanna Rilling

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is first album, Cloud Nine, debuted at No. 1 on both the iTunes Dance Albums Chart and Nielsen Soundscan’s Electronic Albums chart. Now the first artist in history to hit a billion streams on Spotify is back with his sophomore effort, Kids in Love, due November 3.

Kygo, who launched his first Las Vegas residency at Wynn earlier this year, has already released two songs from the new collection: the title track, a piano-heavy ballad with an ’80s arena-rock vibe; and the more recent “Never Let You Go,” featuring John Newman, which Billboard describes as “a shot of sunshine to the heart.” We caught up with the Norwegian super-producer to talk new sounds and more.

You’ve spent a lot of time in Vegas this year. How’s the residency going? It’s

been great, a lot of fun. There’s always a very good crowd in Vegas. People are there to party and have fun, and you can definitely see that in the crowd. There’s a lot of energy.

How much do you change your set when you’re playing at Wynn? [Vegas] crowds like to sing along, so I try to put in a couple more songs that may be popular on the radio and remixes they’ll know.

That’s the main difference between Vegas and a festival [set].

You’re moving away from collaborating with big stars on this new record.

That’s accurate. I’m going back to ... trying to find sounds from more unknown people that have great ideas. For example, the vocalist Martin Johnson is on “Kids in Love,” and he’s supertalented and an amazing guitar player.

We were playing around with a lot of

different stuff and sounds I couldn’t make on my own. It’s fun to work with people who can bring new elements to your production that you wouldn’t think about making yourself.

How has your recent success and those big hits affected your creative process?

It’s definitely in the back of my head, that I don’t want to create something that sounds like something I just put out.

You always try to go in a new direction, but on the other hand it’s good to have kind of an identity to your tracks that people can recognize. You don’t want a sound that can be made by anyone. I’m trying to make music that sounds like me, something my fans can listen to and, without knowing it’s me, hear that it’s me. –Brock Radke

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fresh spin

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ou could say Adam Steck’s contributions to Las Vegas come from New York via Iowa. Born in Bayside, Queens, Steck spent a few of his formative years in Florida before moving to Fairfield, Iowa.

CHRISTOPHER DEVARGAS/STAFF

“That’s what got me into entertainment, being bored to death growing up in Iowa and going back to New York all the time,” says the founder and CEO of SPI Entertainment. “My sister had moved back to New York City to become a model and was immersed in that world, so she’d have her little brother hanging out. We’d go clubbing until 10 in the morning around all the drag queens and stockbrokers, then I’d go back to Iowa and wonder what the hell I was doing.”

Steck threw some rave-style dance parties in his small town, planting the seed for what would become his passion: promoting and producing live entertainment. “It sounds like a cliché, but bringing happiness to the masses is the coolest thing in the world. The business behind it is like a chess game, but when the customers come in from all different parts of the world, they don’t care about that. They leave their troubles at the door, the lights go down and the goosebumps happen. That’s my true passion.”

Steck saw a lot of opportunity when he first arrived in Las Vegas almost 20 years ago. His first breakthrough was Thunder From Down Under, now

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the longest-running male revue in the history of Las Vegas. It opened in 2001 and has been at the Excalibur for 15 years.

Thunder is one of SPI’s eight Vegas shows and attractions. The roster runs the gamut from Human Nature at Venetian to Boyz II Men at the Mirage, plus the newer Sex Tips for Straight Women From a Gay Man at Paris Las Vegas and Exhibitionism, the touring Rolling Stones exhibit, currently at Venetian.

Steck is always developing something new and growing his Vegas entertainment empire, looking for a fit on the Strip today and tomorrow.

“If you look at the shows we have now, nobody else was doing anything like them when we started,” he says.

“The rooms, the demographics at the properties, the deal structures, what the entertainment directors are looking for—you have to kind of know it all, and when you figure something out you pounce on it. Now we’re very fortunate, because people are calling me. Everybody wants to be in Vegas.”

–Brock Radke

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yan Weaver’s story is an incredible one, even before you get to the part where the Florida native becomes a headlining artist for this year’s PBR World Finals Week at T-Mobile Arena.

“Pressure is not the right word.

Excitement is the best word,” Weaver says. “I’ve been doing this since 2006, chasing this dream, working my way through the club and festival scene. To be able to kick it off like this is the opportunity to showcase everything I’ve worked my tail off for.”

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Weaver embarked on his musical journey while still on active duty as a Chief Warrant Officer and Black Hawk Aviator for the Army. He had followed in his two older brothers’ footsteps by going to flight school, but everything changed on January 8, 2004, when Weaver’s brother, Aaron, was killed in action when his Medivac helicopter was shot down in Iraq. His family suffered a second terrible loss in 2013 when Ryan’s brother-in-law, also a pilot, was killed in action.

“It’s unfortunate sometimes that

g e t s P B R W e e k

it takes circumstances like these to make you step back and take a look at your life and wonder if you’re taking the path you should be,” Weaver says.

He decided to chart a new course, using his family’s sacrifices to fuel his fire. “I’ve definitely hit some roadblocks—I call them speed bumps—but they are the reason I haven’t quit,” he says. “I promised myself every time I get onstage I’d tell their story and not let people forget.”

Now the up-and-comer who calls Garth Brooks and Travis Tritt his top performing influences is ready to tell those stories and connect with bigger audiences. “If the audience feels they could be up there with you, [and] you’re the kind of person they would love to sit down and talk with, that’s what I want people to see.” Ryan Weaver at T-Mobile Arena, November 4.

–Brock Radke

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omehow it’s not surprising. Las Vegas’ own house music legend, Jesse Saunders, is launching a new, true house music experience residency on Thursday, November 9 at Embassy Nightclub, the off-Strip venue that has made its name serving up diverse sounds not readily found at big-name clubs along Las Vegas Boulevard.

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Saunders did some rare local gigs over the summer, popping up at Drai’s Beachclub for a midweek industry daytime party. Now he’s looking to expand on that experience at Embassy. “We’re going to obviously play basic house music, but there’s going to be costumes and atmosphere and the whole nine yards,” he says. “Almost like a Studio-54-in-2017 kind of thing.”

Saunders’ vision for his Embassy takeover is the same thing he’s been conceptualizing for Las Vegas for years now. He just hasn’t found the right place to put it, until now.

“I need full creative control,” he says. “When I play Ibiza or Miami or Barcelona, it’s a different vibe, and that’s one of the things I love.

It’s more festive. The problem I’ve always seen in this town is that when things get corporate, you lose a lot of creativity. I see a niche here.”

Veteran Vegas clubbers might get excited when Saunders says he wants to take this residency back to the days and vibes of Club Utopia, but younger dance music fans are discovering and digging house sounds, too.

“I hear people say these millennials don’t have a clue what real dance music is about, because they didn’t grow up with it,” Saunders says. “But when they do come to an event, they come up and say, ‘This is amazing!

I haven’t heard any music like this before!’ I’ve played bigger festivals and seen kids come in at 16 and 17, and by the time they turn 21 and 22 they’re looking for something that actually has a pulse to it, some soul to it. It’s nice to see that evolution.”

Ibiza with Jesse Saunders at Embassy Nightclub, November 9.

–Brock Radke

Download Sizzle from the app store for an exclusive Brooklyn Bowl experience >

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W A D E V A N D ER V ORT / SPECI A L TO IN D U STRY WEE K LY

s an intellectual property and business attorney for the past 20 years, Nancy Ayala has met her fair share of entertainers and entrepreneurs—so much so that she decided to launch a business of her own.

Ayala knew she wanted to do something different—something trailblazing, but also something that would help her embrace her femininity. “Every woman knows that great hair can make you feel invincible,” Ayala says, “and I have always surrounded myself with strong, poised women.”

It was with that revelation that Ayala realized she wanted to open up a Blo Blow Dry Bar franchise in Las Vegas. It was a natural fit for a city that runs on weddings and bachelorette parties.

“It’s just fun to get people ready for big events—and for little events—just to feel a little more fierce,” she says.

Blo offers a menu of seven signature hairstyles, and the salon’s stylists take each client through an in-depth consultation before

choosing a proper ’do. There’s Ayala’s personal favorite, Pillow Talk, a sultry take on beachy, bed-head tousled waves, or the bouncy and voluminous Holly Would—plus a handful of updos like the perfectly coifed High Society.

Additional pampering and beauty services include manicures and pedicures, face and body waxing and full-service makeup applications that will make you feel your best for a memorable night on the town. “Las Vegas is a city where a woman wants to look her best,” Ayala says.

No matter the event, Blo has all the beauty bases covered. 3900 Paradise Road, 702-929-3342, blomedry.com. –Leslie Ventura

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ou can always tell the signs of a well-traveled chef—one who has a deep understanding of not just a region’s cuisine, but also its culture. And when you’re dining with not one, but two adventurous chefs, amazing things can happen.

smoky bacon, piquillo peppers, shallot and Pernod kick this hors d’oeuvre into overdrive, prepping your palate for what’s next—Mexican grilled octopus with spicy house-made chorizo, hearts of palm, heirloom tomatoes, a bright chimichurri and cool chipotle aioli.

Such has been the case since accomplished celebrity chef Hubert Keller and Fleur executive chef Jose “Lupe” Avila teamed up for the Mandalay Bay restaurant’s new menu concept, Tastes From Around the World, touching on the pair’s food-driven excursions with fresh seasonal touches.

Continue your tour as you venture overseas to France with a white onion soup velouté, a silky, velvety sauce enriched with truffle oil, followed by seared Hudson Valley foie gras with a cherry tart and hibiscus gastrique. The beef carpaccio adds more French flavor with thin slices of Wagyu beef, wild arugula frisée, crispy bacon bits, garlic aioli and crunchy brioche crisps.

The tour starts close to home with oysters Rockefeller. Creamy spinach,

Keller’s entrées deserve their own special attention, from the perfectly golden roasted halibut with confit artichokes, baby kale and tomato beurre blanc to the Mexican-style Angus short rib. Here, the tender beef is braised for 12 hours and served with pomme puree and red wine jus for a savory and robust bite that immediately melts in your mouth.

From beginning to end, Fleur’s latest menu has your culinary wanderlust in mind. Fleur at Mandalay Bay, 702-6329400; daily 11 a.m.-11 p.m. –Leslie Ventura

TO

THIS

BREW

Saturday, November 11• 8pm Tickets Starting At $34

50% OFF DRINKS & PIZZAS

PLUS SELECT $5 APPETIZERS

Purchase tickets at the Silverton Box Office, by calling 702.263.7777 or online at silvertoncasino.com All ages show. Guests under 18 must be accompanied by an adult 21+. Ticket price subject to Live Entertainment Tax “L.E.T.” and fees where applicable. Entertainment subject to change without prior notice. Management reserves all rights.

Must be 21. Pizza and apps not valid at non-kitchen and PT's Pubs. Not valid on non-alcoholic beverages, specialty drinks, premium spirits, select craft beer and wine. Management reserves all rights.

See server or bar host for details.

I-15 & BLUE DIAMOND • 702.263.7777 • SILVERTONCASINO.COM

Download Sizzle from the app store for an exclusive PT’s Entertainment Group experience >

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ne of the most amazing things about Las Vegas is how it can transform to suit the situation. A great example is the small but funky Losers Bar at MGM Grand, a space previously known as the Rouge Lounge. At certain times in the fall (when the Professional Bull Riders World Finals Week was in town) and the spring (when the Academy of Country Music Awards hit the Strip), the lounge at the entrance to the resort’s restaurant district became a pop-up version of the legendary honky-tonk dive bar from Nashville, hosting spontaneous

performances from country-music stars and serving up cold beers and hot shots instead of craft cocktails.

On December 1, 2016, it officially and permanently opened as Las Vegas’ own Losers Bar, serving live music nightly to go along with the drinks and fun.

One year later, it’s one of the most popular country spots on the Strip, no matter the time of year. It could be the music that keeps ’em coming back, or it could be the signature Bootwacker frozen drink, a sort of goofy, grown-up version of a Capri Sun.

This is a great week to be a loser in Las Vegas, with PBR back in town and back on the really big screen at the bar. With so many regulars from out of town, it’s hard to believe this place didn’t always exist. Losers Bar at MGM Grand, 702-891-3003; MondayFriday 3 a.m.-3 p.m., Saturday & Sunday 10 a.m.-4 a.m.

MGM R e s o r t s I n t e r n a t io n a l / c o u r t e s y

first sip

THE FAB

IN ITS ENTIRETY - TRIBUTE TO THE BEATLES 1 ALBUM Sat, Nov 4 • 8pm Tickets $995 GA

PEACE FROG

TRIBUTE TO THE DOORS Sat, Nov 11 • 8pm Tickets $1495 GA

THE FAB

A VERY BEATLES CHRISTMAS Sat, Dec 2 • 8pm Tickets $1495 GA

Whoopi Goldberg

November 10

New Year’s Eve

IN-A-FECT Sun, Dec 31

Tickets start at $50 Doors open at 9pm with DJ DMC

SM

New Year’s Eve

NEXT MOVEMENT Sun, Dec 31

9PM TRE ASURE ISL AND THE ATRE TICKETS 702 . 894 .7722

Tickets start at $60 Doors open at 9pm with DJ DENIRO

ENTERTAINMENT Done Right Ticket prices do not include taxes and applicable fees. Management reserves all rights. ©2017 Boyd Gaming® Corporation, LLC. All rights reserved.

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s the manager of The Killers, Robert Reynolds is one of the best-known behind-the-scenes players on the Vegas music scene. We caught up with him during the band’s current tour to get his thoughts on continued success and future change.

How do you think the perception of Las Vegas as a music city has changed since The Killers first broke? I think Las Vegas has always been a music city, with residencies from Sinatra to Wayne Newton to Elton John. And great bands have toured here ever since I was a kid. If there’s been a change, I think it’s the idea that Las Vegas has a local music scene and is capable of breaking new artists. Since The Killers, our city has done this a couple of times.

You’re part of the Emerge Impact + Music Conference, set for April in Las Vegas. Why did you want to get involved? It’s harder now for bands to break than ever. My heart goes out to those who are struggling to cut through the noise, talented artists fighting impossible odds to make a living doing what they love. Above all, Emerge is designed for them. I love the mission. I also love our partners.

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The Killers’ first album in five years is also their first No. 1 in America and worldwide. Wonderful Wonderful was also our fifth consecutive No. 1 in the U.K. and received our highest Metacritic score ever. ... This is all great, but you have to take industry stats with a grain of salt. Hot Fuss and Sam’s Town ought to have been No. 1 albums and received similar acclaim.

The Killers consistently make the best albums they can and are proud of the results. All we can do is hope that our fans agree. Thankfully, this time around it seems like they do.

The Killers have two shows coming up in Las Vegas.

After all these years and so much success, what does it mean for the band to come back and play for the hometown crowd? I remember some of the earliest shows at Cafe Roma, Tramps and the Huntridge [Theatre]. At first, breaking in Vegas seemed almost insurmountable. Now, it’s become a celebration.

Everyone’s family and friends come out. Our guest list is through the roof. The band was thrilled to open the T-Mobile Arena, and it’s been a collective dream to play the MGM Grand. For me, being part of all this, particularly in your own hometown, is exciting, emotional and humbling. –Brock Radke

W a d e V a n d e r v o r t / S P E C I A L TO I ND U S TR Y W EE K L Y

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CH ATEAU 11/2 DJs Bayati & Casanova. 11/3 DJ J-Nice.

11/4 DJ ShadowRed. 11/8 DJ ShadowRed. 11/9 DJs Bayati & Casanova. 11/10 DJ Bayati. 11/11 DJ Dre Dae. 11/15 DJ Eddey. 11/16 DJs Bayati & Casanova. 11/17 DJ ShadowRed. 11/18 DJ P-Jay. Paris, Wed-Sat, 702-776-7770.

DRAI’ S

drai’s by Tony Tran/Tony Tran Photography

11/2 DJ Ross One. 11/3 DJ Esco. 11/4 Big Boi. 11/5 Fat Joe. 11/9 Kayper. 11/10 DJ Esco. 11/11 Trey Songz. 11/12 DJ Franzen. 11/16 DJ Ross One. 11/17 T.I. 11/19 DJ Franzen. Cromwell, Tue, Thu-Sun, 702-777-3800.

EM BASSY 3355 Procyon St., Thu-Sat, 702-609-6666.

FO U NDATIO N

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11/3 DJ Excel. 11/4 Dee Jay Silver. 11/10 DJ Konflikt. 11/11 DJ Crooked. 11/17 DJ D-Miles.

11/18 DJ Babu Yu. Mandalay Bay, nightly, 702632-7631. .

F OX TAIL SLS, Fri-Sat, 702-761-7621.

MARQUEE

XS

H Y DE 11/3 DJ Gordo. 11/4 DJ Ikon. 11/8 DJ D-Miles.

11/10 DJ Karma. 11/11 DJ D-Miles. 11/14 DJ Konflikt. 11/15 DJ Kittie. 11/17 DJ Konflikt. 11/18 DJ Ikon. Bellagio, nightly, 702-693-8700.

11/3 Ruckus. 11/4 Vice. 11/6 Ruckus. 11/10 Vice.

11/11 DJ Mustard. 11/13 Carnage. 11/17 Ruckus.

11/18 Carnage. 11/20 DJ Five. Cosmopolitan, Mon, Fri-Sat, 702-333-9000.

INTRIG U E

TAO

11/2 Flosstradamus. 11/3 Slander. 11/4 Sultan & Shepard. 11/9 Vice. 11/10 Valentino Khan. 11/11 Marshmello. 11/16 Robin Schulz. 11/17 Slander.

Wynn, Thu-Sat, 702-770-7300.

11/2 DJ Mustard. 11/3 Jerzy. 11/4 Eric DLux. 11/9 DJ Five. 11/10 Enferno. 11/11 Four Color Zack.

11/16 DJ Five. 11/17 DJ Wellman. 11/18 Vice.

Venetian, Thu-Sat, 702-388-8588.

11/3 Marshmello. 11/4 Alesso. 11/5 Marshmello.

11/10 Dillon Francis. 11/11 The Chainsmokers.

11/17 The Chainsmokers. 11/18 Marshmello.

11/25 The Chainsmokers. Encore, Fri-Mon, 702770-0097.

NEW

ALL OHJAH’S WILL OPEN DURING ALL MAJOR HOLIDAYS INCLUDING THANKSGIVING DAY.

OHJAH JAPANESE STEAKHOUSE IS OPENING SOON ALL OHJAH’S WILL OPEN DURING ALL MAJOR HOLIDAYS INCLUDING THANKSGIVING DAY.

LOCATIONS:

(702) 361-8888 | 2051 N. RAINBOW BLVD. #102 LAS VEGAS, 89108 (702) 567-8168 | 239 N. PECOS RD. HENDERSON, 89074 (702) 868-9888 | 8595 S. DECATUR BLVD. LAS VEGAS, 89139 (702) 868-2888 | 10144 W. FLAMINGO RD. #C2-C5 LAS VEGAS, 89147

COMP AREA LIMENTAR OF LAS Y Men tion JIN ER GL $1,2

50 V *Cann ALU ot b E Must e combine be bo d oked with any before oth 12/1 er offer.

5/17 .

E

LOCATIONS:

(702) 614-8888 | 7150 S DURANGO DR #190, LAS VEGAS, 89113 (702) 564-8888 | 35 E HORIZON RIDGE PKWY, HENDERSON, 89002

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11/4 Darryl Worley. 11/18 The Clairvoyants.

Aliante Casino, 702-692-7777.

11/3-11/4 Britney Spears. 11/8-11/18 Backstreet Boys. 11/26 Miss Universe. 12/6-12/16 Lionel Richie. 12/19-12/31 Britney Spears. 1/31-2/17 Backstreet Boys. Planet Hollywood, 702-7776737.

BOWL

11/3 Action Bronson. 11/4 The Pharcyde. 11/5 I Prevail. 11/10 Common Kings. 11/11 The Front Bottoms. 11/12 Matisyahu. 11/17 Beach Slang.

11/22 Periphery & Animals as Leaders. 11/27 Flobots. 11/30 Wax Tailor. 12/1 Jack & Jack.

12/3 Shaggy. 12/6 Anuhea. 12/7 Chris Robinson Brotherhood. 12/9 Corey Smith.

12/14 The Drums. 12/16 Descendents. 12/21 Lil Pump. 12/29 Dizzy Wright. 12/31 Ja Rule & Ashanti. 1/16 K. Flay. 1/17 G3. Linq Promenade, 702-862-2695.

TH E

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11/10 Adam Sandler. 11/17 Adam Sandler. 11/18 Ishe Smith vs. Julian Williams. 11/25 Wakin Chau. 12/8 Cole Swindell. 12/10 Dustin Lynch.

12/13 Dwight Yoakam. 12/15-12/16 Dierks Bentley. 12/22 Lindsey Stirling. 12/29 Zac Brown Band. 12/30 Duran Duran. 12/31 Foo Fighters. 1/12-1/13 Willie Nelson & Family. 1/20 Spoon. 1/27 Adam Sandler. Cosmopolitan, 702-698-6797.

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Dion. 1/31-2/3 Van Morrison. Caesars Palace, 866-227-5938.

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11/20 Belanova & Moenia. 11/22 Molotov. 11/24 The Used. 11/25 Steel Panther. 11/29 The Irreplaceables. 12/1 Steel Panther. 12/2 Nirvana Mania. 12/15 Steel Panther. 12/22 A Drag Queen Christmas. 12/31 Pennywise. 1/121/13 Marilyn Manson. 1/24-2/3 Santana.

Mandalay Bay, 702-632-7600.

11/4 Billy Kenny. 12/29-12/30 Boys Noize & Gorgon City. 200 S. Third St., 800-745-3000.

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11/3-11/11 Tony Bennett. 11/17-11/18 Harry Connick Jr. 12/1-12/2 Harry Connick Jr. 12/1312/16 Alabama. 1/10-1/20 John Fogerty. 1/261/31 Moody Blues. Wynn, 702-770-9966.

T HE

11/3 Bret Michaels. 11/4 The Singing Trump.

11/26 Snails. 12/2 Patton Oswalt. 12/3 Kelly Clarkson. 12/6 Holiday Havoc with Rise Against, Portugal. The Man, Royal Bood & more. 12/8-12/9 Gary Allan. 12/18 Mondays Dark 4th Anniversary Show. 1/7 Markiplier.

1/20 The National. Hard Rock Hotel, 702-6935000.

FOUN DRY

11/3-11/4 Jon Lovitz & Dana Carvey. 11/18 Boney James. 12/15-12/16 Dave Koz. 12/10 Parmalee. 1/12 Dylan Scott. SLS, 702-761-7617.

GOLDEN N UGGET SHOW ROOM 11/3 Jay & The Americans. 11/10 The Buckinghams. 11/17 Herman’s Hermits. 11/24 Eric Burdon & The Animals. 12/1 The Grass Roots. 12/7 John Michael Montgomery. 12/8 Brenda Lee. 12/9 Pam Tillis & Lorrie Morgan.

12/10 Charlie Daniels Band. 12/11 Ronnie Milsap. 12/12 Tanya Tucker. 12/13 Lonestar.

12/14 Clint Black. 12/15 Jamey Johnson. 12/29 Loverboy. Golden Nugget, 866-946-5336.

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11/3 The Tenors. 11/17 Richard Cheese. 11/18 Imomsohard. Green Valley Ranch Resort, 702617-7777.

M A N D A L AY B AY EVENTS CENTER

12/30-12/31 Maroon 5. Mandalay Bay, 702-6327777.

MGM GRAND GARDEN ARENA 11/16 Latin Grammy Awards. 12/5 UNLV vs.

Oral Roberts. 12/9 UNLV vs. Illinois. 12/28 The Original Misfits. MGM Grand, 702-521-3826.

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11/23-11/24 Continental Tire Las Vegas Invitational. 11/25 PJ Masks Live. Orleans, 702365-7469.

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11/3-11/4 Elton John. 11/7-11/25 Celine Dion.

11/29-12/10 Reba, Brooks & Dunn. 12/6 Jeff Dunham. 12/14-12/22 Mariah Carey. 12/15 Bill O’Reilly & Dennis Miller. 12/30-1/20 Celine

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11/3-11/12 Santana. 11/7 Blues Traveler. 11/1611/19 Joe Walsh. 11/17 Steel Panther.

11/24 Timothy B. Schmit. Orleans, 702-3657111.

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11/8-11/25 Cher. 12/30-12/31 Bruno Mars. 1/121/13 Frankie Valli & The Four Seasons. Monte Carlo, 844-600-7275.

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11/17 So You Think You Can Dance. 11/25 Ana Gabriel. 12/11 Holiday Havoc with The Killers & more. Palms, 702-944-3200.

P H

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11/2-11/5 America’s Got Talent Live. Planet Hollywood, 702-777-2782.

TH E

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11/2 Selwyn Birchwood. 11/11 Foghat. 11/16 Roy Rogers. 11/18 The Edgar Winter Bad. 12/16 Keiko Matsui & Euge Groove. 12/22 Christmas with the Celts. Boulder Station, 702-432-7777.

R O CKS

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guns N’ roses by Owen SweenEy/

11/3-11/4 Rita Rudner. 11/9-11/11 Andrew Dice Clay. Red Rock Resort, 702-797-7777.

TH EAT ER

11/3-11/4 Tim Allen. 11/10-11/11 Daniel Tosh.

11/10-11/25 Boyz II Men. 11/17-11/18 Ray Romano & David Spade. 11/24-11/25 Howie Mandel & Puddles Pity Party. 12/1-12/2 Ray Romano & David Spade. 12/8-12/16 Ron White. 12/22-12/24 Boyz II Men. 12/29 Joe Rogan. 12/30 Jay Leno. 1/19-1/21 John Mulaney. Mirage, 702-792-7777.

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ARENA

11/2-11/5 PBR World Finals. 11/17 Guns N’ Roses. 11/20-11/22 MGM Resorts Main Event Basketball Tournament. 12/8-12/9 George Strait. 12/16 Lady Gaga. 1/5-1/6 Ice Vegas Invitational. 1/20 Katy Perry. 3780 Las Vegas Blvd. S., 702-692-1600.

V EIL

PAV I L I O N

11/11 Christopher Cross. Silverton, 702-2637777.

V EN ET IAN

TR O P ICANA

TH EATER

11/11 Peter Cetera. 11/18 Great White & Slaughter. Tropicana, 800-829-9034.

T HEAT RE

11/5 Vegas Cares Benefit. 1/24-1/25 Jeff Foxworthy. 1/26-2/3 Styx & Don Felder.

Venetian, 702-414-9000.

VI N Y L 11/2 Daniel Caesar. 11/3 Bayside. 11/10 Justin Jay’s Fantastic Voyage. 11/15 Bad Suns. 11/16 Propaghandi. 12/1 Syd. 12/5 Dance Gavin Dance. 12/7 Daryle Singletary. 12/8-12/9 Mark Wills. 12/10-12/11 David Ball. 12/12-12/13 Andy Griggs. 12/14 Daryle Singletary. Hard Rock Hotel, 702-693-5000.

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GRUNGE OUT AT FREEDOM BEAT AS WE CELEBRATE THE AMERICAN MUSIC SCENE. GROOVE TO THE SONIC SOUNDS FROM SEATTLE WHERE THE ALTERNATIVE ROCK WAVES BEGAN. LIVE MUSIC HAPPENS HERE!

downtowngrand.com

55 las vegas weekly 11.02.17

Don’t Stop Now It would appear Guided By Voices has found a home in Las Vegas. After going nearly a quarter-century of touring without playing a non-festival set here, the Ohio indie vets headlined the Bunkhouse on October 27, and they surely liked what they experienced. Leader Robert Pollard, an avid vinyl collector, left 11th Street Records with a stack of 45s under his arm, and then he and his band laid down a new track inside National Southwestern Recording. Best of all, GBV received a wildly enthusiastic reception inside the sold-out Bunkhouse to cap the night. The only bummer? Vegas got just 40-odd songs, compared to more than 50 two nights earlier in Denver. Maybe it’s good to have goals left over for the band’s return visit?

(Spencer Burton/Special to Weekly)

Arts & entertainment Croissants with a certain je ne sais quoi 1. Bouchon Bakery

The Weekly 5

The sister bakery to Thomas Keller’s renowned Venetian restaurant is helmed by pastry chef Scott Wheatfill and offers a variety treats.

702-414-6203.

2. Delices Gourmands For just $4, you can grab a flaky, buttery croissant for breakfast— and a fresh, soft baguette for the road. 3620 W. Sahara Ave, 702-331-2526.

3. La Belle Terre

4. Patisserie Manon

5. Rosallie

Artisan breads, French pastries, and Peet’s Coffee—you’ll want one of everything, but at least the smells are free.

8390 W. Sahara Ave., 702-685-7712.

This family business boasts a wide range of cakes, pastries and Viennoiseries, including the irresistible croissant.

8751 W. Charleston Blvd. #110, 702-586-2666.

Birthed in southern France, this café offers an authentic experience, and the classic croissant with ham and cheese is a must. 6090 S. Rainbow Blvd., 702-998-4121.

–Leslie Ventura

56 las vegas weekly 11.02.17

SCREEN

Chris Hemsworth, a god among men. (Disney/Courtesy)

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las vegas weekly 11.02.17

Thunderstruck Thor returns in the colorful, funny Ragnarok

By Josh Bell he range of quality in the movies that make a grand time), who forces prisoners to fight in up the Marvel Cinematic Universe is fairly gladiator-style contests. There Thor reconnects narrow. Thanks to strong oversight by with old Avengers teammate Bruce Banner (Mark producer and Marvel Studios head Kevin Ruffalo), aka the Hulk, and comes across exiled Feige, almost every movie his company puts out is Asgardian Valkyrie (Tessa Thompson), who pretty good—but rarely either terrible or great. proves to be a formidable ally (and a promising Thor: Ragnarok, the third movie starring hero for future Marvel movies). The colorful superhero and Norse god of thunder Thor production design, synth-heavy score by Mark (Chris Hemsworth), is neither terrible nor Mothersbaugh, mishmash of alien characters and great, although it’s a definite improvement over loose, jokey performances give off a sort of campy the previous two Thor movies. Director Taika Flash Gordon/Barbarella vibe, with a little more Waititi, known for quirky comedies What We Do self-awareness. Even if the quippy space adventure in the Shadows and Hunt for the Wilderpeople, is itself already an MCU staple (thanks to the along with his work on Flight of the Conchords, Guardians of the Galaxy movies), it’s new to Thor, gets to play with the established MCU format a and Waititi puts his own deadpan spin on it. bit, without deviating significantly from what While the comedic approach sets Ragnarok Marvel movies do best. apart from the previous two Thor movies, it Part of the problem with the eventually becomes overkill, with previous Thor movies is that Thor jokes undermining nearly every himself, an essentially immortal emotional connection and action aaacc being from a mystical realm, is scene, as well as the potential THOR: hard to relate to as a protagonist, menace from Hela. Waititi casts RAGNAROK never really seeming like he’s in himself (via motion capture) as the Chris Hemsworth, much danger even when the world rock-covered alien Korg, who serves Tom Hiddleston, is potentially ending around him.

Cate Blanchett. as comic relief on top of comic Directed by He’s worked better as a member of relief, making goofy, lowbrow jokes Taika Waititi. an ensemble in the Avengers movies, that sound like they come from an Rated PG-13. and here Waititi and screenwriters Opens Friday entirely different movie. By the time citywide.

Craig Kyle, Christopher L. Yost Korg interrupts the movie’s final and Eric Pearson surround Thor bonding moment, the humor has with plenty of colorful, more flawed fully worn out its welcome. supporting characters, freeing him from having Before that, though, Waititi creates a to carry the entire movie. There’s still a villain fun, relaxed vibe among Thor and his allies, with a half-baked plan to conquer and/or end particularly the now more articulate Hulk and the the universe (Cate Blanchett, entertaining but sullen, perpetually drunk Valkyrie. Hemsworth underused as Hela, goddess of death), and there gets a chance to loosen up in his performance, are still the requisite CGI-filled battles that often and he still has strong chemistry with Hiddleston feel weightless. And the first 20 minutes are mostly as Loki, whose endless double-crosses haven’t devoted to addressing plot points from previous quite lost their charm. Both Blanchett and Marvel movies.

Goldblum fall victim to the MCU’s tendency to But Waititi asserts his own off-kilter vision in undersell its villains, each disappearing for large the middle of the movie, as Thor and his trickster portions of the story. Everything is still coated in brother Loki (Tom Hiddleston) are stranded on the trademark Marvel sheen, with requisite setup the remote planet of Sakaar, ruled by the genially for future adventures. Those will probably be sadistic Grandmaster (Jeff Goldblum, having pretty good, too.

T

Bah humbug There’s no cheer in A Bad Moms Christmas

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Like just about every comedy sequel, A Bad Moms Christmas—yes, they’re now releasing Christmas movies before we’ve even gotten around to removing the pumpkins from the front porch—offers the same attractions as its predecessor, but louder and cruder. More numerous, too.

This time, each of the three protagonists must cope not just with the usual trials and tribulations of motherhood, but also with their own equally bad moms. Amy (Mila Kunis), the most conventional of the trio, suffers a visit from Ruth (Christine Baranski), who’s turned smiling disapproval into an art form.

There’s an ongoing battle of codependency between Kiki (Kristen Bell) and Sandy (Cheryl Hines). And who else but Susan Sarandon could have played Isis (really!), the wild woman who raised a foul-mouthed dynamo like Carla (Kathryn Hahn, once again outclassing the field)?

Like the original film (which came out only 16 months ago—this is quite a rush job), Christmas was written and directed by the team of Jon Lucas and Scott Moore, who are apparently jointly convinced that there’s nothing more hilarious than people doing outrageous things in slow motion, set to a recent pop hit. In between montages, the film alternates between raunchy (including an attempt to top The 40-YearOld Virgin by having Carla wax a stripper’s junk) and heartwarming (see: Christmas movie) with the regularity of a metronome. ’Tis the season for diminishing returns. –Mike D’Angelo

aaccc A BAD MOMS CHRISTMAS Mila Kunis, Kristen Bell, Kathryn Hahn.

Directed by Jon Lucas and Scott Moore. Rated R. Now playing citywide.

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WEEKLY | 11.02.17

Fractured fable The Killing of a Sacred Deer tells a dark but unaffecting story

Sarah Gadon is held prisoner in Alias Grace. (Netflix/Courtesy)

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The surreal deadpan of director Yorgos Lanthimos’ work takes an especially dark turn in The Killing of a Sacred Deer, a sort of modernized folk tale with all of the unsparing brutality of an unfiltered Brothers Grimm tale. It’s an archetypal revenge story told via Lanthimos’ typically absurdist take on human behavior, as characters speak in a detached, formal manner that’s deliberately alienating, both to the audience and to each other.

Colin Farrell, who starred in Lanthimos’ The Lobster, plays Steven Murphy, a successful surgeon who’s hiding a secret related to his clandestine meetings with creepy, affectless teenager Martin (Barry Keoghan). At first Martin seems harmless, but soon he’s placed a curse on Steven’s family, in retaliation for what he believes is Steven’s responsibility for his father’s death.

This kind of stark morality play is familiar from folklore going back thousands of years, and Lanthimos mostly plays it straight from a plot standpoint, through to its grim end. But stylistically, the movie is cold and off-putting, the awkward, stilted dialogue and almost robotic performances at odds with the necessary emotional investment to care about the story. Lanthimos knows how to push buttons and antagonize his audience, but here it just serves to make his movie less effective. –Josh Bell

aabcc THE KILLING OF A SACRED DEER Colin Farrell, Nicole Kidman, Barry Keoghan. Directed

by Yorgos Lanthimos.

Rated R. Opens Friday at Downtown Summerlin.

Domestic violence Alias Grace explores the mind of a notorious murderer

By Josh Bell t first glance, Netflix miniseries Alias migrant working as a household servant who’s Grace seems to have little in common convicted of participating in the murders of her with fellow Margaret Atwood adaptaemployer, Thomas Kinnear (Paul Gross), and tion The Handmaid’s Tale, which has his housekeeper, Nancy Montgomery (Anna Pabeen one of the most acclaimed TV series of quin). The story is framed mainly by interviews 2017. Handmaid is a politically oriented piece taking place 15 years later between Grace and of dystopian science fiction, while Alias Grace the American Dr. Jordan (Edward Holcroft), is a more straightforward historical story, a who’s been hired to prepare a report on her fictionalized take on a real-life murder case mental state, for a potential pardon. that scandalized Toronto in the Grace lays out her entire life story 1840s. But while the six-episode Alias in flashbacks (the murder itself isn’t AABCC Grace, adapted from Atwood’s 1996 depicted until the fifth episode), and ALIAS GRACE novel by screenwriter Sarah Polley a lot of it feels like standard periodAvailable and director Mary Harron, starts out drama material, and probably would November 3 as the kind of restrained and respecthave benefited from being conon Netflix. able period piece that might air on densed into a feature film. Holcroft’s PBS, it gradually questions its own performance is stiff and unconvincnarrative integrity, turning into a story about ing, and Jordan never comes off as a fully the unknowability of events whose participants realized character, despite getting his own have conflicting views on the truth. distracting subplots. Grace’s inscrutability is It’s still mostly restrained and respectable, fascinating but also distancing, and the story though, with modest production values and ends with neither Jordan nor the audience any uneven performances. Sarah Gadon makes for closer to understanding this fundamentally a compelling lead as Grace Marks, an Irish imunreliable woman.

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59 short takes WEEKLY | 11.02.17

Special screenings Pokemon the Movie: I Choose You! 11/5-11/6, Japanese animated movie plus bonus giveaways, Sun 12:55 p.m., Mon 7 p.m., $10.50$12.50. Select theaters. Info: fathomevents.com.

The Price of Fame 11/7, faith-based documentary about pro wrestler Ted “Million Dollar Man” Dibiase, 7 p.m., $10.50-$12.50. Santa Fe, Village Square.

Info: fathomevents.com.

Sci Fi Center Mon, Cinemondays, 8 p.m., free. Sun, Star Trek: Discovery viewing party, free, 6 p.m. 11/4, The Phantom of the Opera (1925), 3 p.m., $2. 5077 Arville St., 855-501-4335, thescificenter.com.

Thursday Night at the Asylum Thu, movies from production company The Asylum, 10:30 p.m., $5-$10. 11/2, Zombie Spring Breakers. 11/9, Bad Girl. Sam’s Town, Santa Fe. Info: cinemark.com/asylum.

Tuesday Afternoon at the Bijou Tue, 1 p.m., free. 11/7, Four Jills in a Jeep.

Clark County Library, 1401 E. Flamingo Road, 702-507-3400.

New this week A Bad Moms Christmas aaccc Mila Kunis, Kristen Bell, Kathryn Hahn. Directed

by Jon Lucas and Scott Moore. 104 minutes.

Rated R. See review Page 57. Theaters citywide.

Jane (Not reviewed) Directed by Brett Morgen. 90 minutes. Rated PG. Documentary about renowned primate researcher Jane Goodall. Village Square.

The Killing of a Sacred Deer aabcc Colin Farrell, Nicole Kidman, Barry Keoghan.

Directed by Yorgos Lanthimos. 121 minutes.

Rated R. See review Page 58. Downtown Summerlin.

LBJ (Not reviewed) Woody Harrelson, Jennifer Jason Leigh, Bill Pullman. Directed by Rob Reiner. 98 minutes.

Rated R. Biopic chronicling the life of U.S. president Lyndon Johnson. Select theaters.

Thor: Ragnarok aaacc Chris Hemsworth, Tom Hiddleston, Cate Blanchett. Directed by Taika Waititi. 130 minutes. Rated PG-13. See review Page 56.

Theaters citywide.

Now playing Blade Runner 2049 aaabc Ryan Gosling, Ana de Armas, Sylvia Hoeks.

Directed by Denis Villeneuve. 163 minutes.

Rated R. The long-awaited sci-fi sequel, starring Gosling as an android cop investigating a case that eventually (after many detours) leads to original blade runner Deckard (Harrison Ford), is moody, methodical and meticulous, with stunning visuals, strong performances and an overlong sci-fi story that’s more ponderous than thrilling. –JB Theaters citywide.

The Foreigner aabcc Pierce Brosnan, Jackie Chan, Charlie Murphy.

Directed by Martin Campbell. 114 minutes. Rated R. Chan gets a refreshingly serious role as a

London father who loses his daughter in a suspected IRA bombing and tries to find the killers, but the movie simply leaves him behind to focus on Brosnan in a showier role as a cabinet minister, as well as frequent, pathetic explanations of the plot. –JMA Theaters citywide.

Happy Death Day aaacc Jessica Rothe, Israel Broussard, Ruby Modine.

Directed by Christopher Landon. 96 minutes.

Rated PG-13. A spoiled sorority girl (Rothe) relives the day of her murder over and over again in this surprisingly entertaining (if completely silly) horror movie. The filmmakers have fun with the goofy premise, and Rothe gives a winning performance as the seemingly vapid hero who embraces her supernatural fate. –JB Theaters citywide.

Jigsaw abccc Matt Passmore, Callum Keith Rennie, Hannah Emily Anderson. Directed by Michael Spierig and Peter Spierig. 92 minutes. Rated R. The Saw horror series returns after a long hiatus with no new ideas, merely rehashing the same elaborate death traps and moralistic lessons, and further convoluting the back story of serial killer Jigsaw.

The performances are especially bad, and even the gore is uninspired. –JB Theaters citywide.

Loving Vincent aabcc Voices of Douglas Booth, Eleanor Tomlinson, Saoirse Ronan. Directed by Dorota Kobiela and Hugh Welchman. 94 minutes. Rated PG-13.

Animated from hundreds of actual oil paintings, this biopic about artist Vincent Van Gogh is a visual achievement that stifles its own dull, contrived storytelling. A series of talking heads describe Van Gogh’s last days in a stilted investigation awkwardly incorporating the painter’s most famous images. –JB Village Square.

Only the Brave aaccc Josh Brolin, Miles Teller, Taylor Kitsch.

Directed by Joseph Kosinski. 133 minutes.

Rated PG-13. This plodding true-life drama is yet another reminder that real-life heroism doesn’t necessarily make for effective movie storytelling. As a tribute to the 19 firefighters who died in the 2013 Yarnell Hill wildfire, Brave is honorable and well-intentioned, but it’s about as narratively satisfying as reading a memorial plaque. –JB Theaters citywide.

Suburbicon aabcc Matt Damon, Julianne Moore, Oscar Isaac.

Directed by George Clooney. 104 minutes.

Rated R. This clumsy mix of black-comic noir and social satire divides its time between a white-collar businessman (Damon) in 1959 who’s up to no good and the struggles of the first black family that moves into the businessman’s prefab community. Based on an ancient Coen brothers screenplay that should have been left in the drawer. –MD Theaters citywide.

Thank You for Your Service aabcc Miles Teller, Haley Bennett, Beulah Koale.

Directed by Jason Hall. 108 minutes. Rated R. Like the platitude expressed by its title, Thank You for Your Service has the best of intentions but rings a bit hollow in its efforts to honor the sacrifices made by America’s troops. Mostly following one soldier (Teller) as he adjusts to life back home, it’s full of clunky lesson-learning moments. –JB Theaters citywide.

JMA Jeffrey M. Anderson; JB Josh Bell; MD Mike D’Angelo For complete movie listings, visit lasvegasweekly.com/movie-listings.

60

Arévalo (far left) and Chicano Batman play Backstage Bar & Billiards on Friday. (Josue Rivas/Courtesy)

LAS VEGAS WEEKLY 11.02.17

CHICANO BATMAN with Khruangbin, The Shacks. November 3, 8 p.m., $15-$20.

Backstage Bar & Billiards, 702-382-2227.

BAM! KAPOW! GENRE-BLENDING LA BAND CHICANO BATMAN BLASTS INTO DOWNTOWN

BY ANNIE ZALESKI hicano Batman’s latest record, Freedom Is Free, pairs contemporary political urgency with timeless music—a mélange of soul, Latin music, psychedelia and rock ’n’ roll.

The Weekly caught up with guitarist Carlos Arévalo just after the LA foursome finished soundcheck for its show San Antonio, Texas.

How did making Freedom Is Free compare with previous projects? We worked with Leon Michels, who’s essentially a soul producer. He he has an amazing ear for a soul aesthetic, but not in a throwback way. He’s a fan of the timeless instruments and amplifiers and studio gear that those records are made on, and we used that equipment and added our modern songwriting style. We also worked with Mariachi Flor de Toloache, New York City’s first female mariachi group. Having female backup singers really added to the vibe of the record.

What were some of the lyrical inspirations?

[Bandmates] Bardo [Martinez] wrote lyrics with Eduardo [Arenas] on a track called “La Jura,” which is essentially a Black Lives Matter, anti-police-brutality song. It documents a moment that happened

C

in Eduardo’s neighborhood when he was a teenager in Boyle Heights [LA], in which the police killed an unarmed teenager. There was no outcry at the time.

There were no cell phones, no cameras like there are now to document these moments. [The Black Lives Matter] movement was kind of at its height in 2015 when these songs were being written.

Then you have a song like “The Taker Story,” which was inspired by Daniel Quinn’s book Ishmael.

Bardo’s lyrics [ask] how man can consume and deplete resources—and how bad that can be for the environment and for sustainability—all in the name of economics.

Earlier this year, you guys performed “This Land Is Your Land” in a Johnnie Walker ad. What was that experience like? It was a big deal. We’ve never teamed up with a company to do an advertisement before, and we were kind of reluctant. But once we heard about the topic and the premise of the ad campaign—which is about progressing as a country, to keep walking, to not let oppression or nativism tear us apart—we thought it lined up with our beliefs and who we are as people. It ended up

being the thesis statement of our new record.

When bands do ads, it’s one of those damnedif-they-do, damned-if-they-don’t things. Exactly.

But at the end of the day, it helps us buy more equipment, and it’s going to help us record our next record. It’s hard to be constantly touring all the time to make income as a musician, and people don’t buy records anymore, when you can stream unlimited albums for $10 a month. So you’ve got to find other ways.

And it can be meaningful in terms of representation—a kid might see your ad and get excited.

Exactly. When I was 17, I saw At the Drive-In on [Late Show With] David Letterman. I remember seeing the singer [Cedric Bixler-Zavala], who was Latino, and so was the guitar player [Omar Rodríguez-López]. I’d never seen anyone who looked like me on a late-night show. It was so inspiring. I remember thinking, “I can do this! I need to form a band now, because of this!” And I did.

For more of our interview with Arévalo, visit lasvegasweekly.com.

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noise

las vegas weekly 11.02.17

Top: Purity; below: Wristmeetrazor. (Courtesy)

9TH ISLAND SHOWDOWN From the ashes Vegas band Presagers splits into two heavy extremes

Presagers is dead. Long live Presagers.

The Vegas metallic hardcore quartet didn’t exactly call it quits.

Rather, it shuffled members and shifted into second gear. Enter: Purity. This new iteration—consisting of veterans Jett Stotts (guitar) and A.J. Perez (vocals), with Austin, Texas-based newcomer Shane Michael Harris on bass—is more of an evolution than anything, and it clearly paves the way for a new band with a similar sound.

“Purity, as a whole, is our embodiment of honesty,” Stott says.

“A.J. and I have been friends for over 10 years. It’s so easy to make music with someone you’ve been so close with for over a decade. We met Shane while he was touring through Vegas ... and connected right away.” It’ll be interesting to track the band’s trajectory, with one remote member.

The new outfit retains the dark, heavy elements of Presagers, but with a twist. “Writing songs that are directly relative to our day-to-day emotional responses to life is the most important dynamic to us as we create and evolve as a band,” Stotts says. “I think a lot of music out there is made in an attempt to make people forget about the negative aspects of their lives. We write music that focuses on those negative aspects.” Expect to hear new

music within the coming months.

But what about Presagers bassist and founder Justin Fornof? He’s working on a screamo/skramz project called Wristmeetrazor, also boasting members in different states. Initially a solo project for Virginia guitarist Jonah Thorne, the project has evolved into a full band with Fornof on bass.

“I had only known Jonah online.

He had done artwork for previous projects I was involved with,” Fornof says. “We function almost entirely through group text and conference phone calls. Jonah and I write the riffs and vocals, while Zach [Wilbourn], our drummer, will adjust the drums.”

Sonically, Wristmeetrazor is far more melodic than Presagers, and the band’s most recent release, I Talk to God…, draws heavily from the screamo genre, while expanding into metal, punk and even post-rock.

Though the two post-Presagers bands will rely on technology to keep them going, both have already hit the road as units. Purity recently wrapped a jaunt through Texas with hardcore heavyweights Trust Issues and Dwell, and Wristmeetrazor embarked on a threeshow run in Texas and Florida.

Both bands are planning further tours, with Vegas as a tentative stop. –Ian Caramanzana

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62 NOISE

WEEKLY | 11.02.17

Sound Judgment Converge

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METALCORE ELCTRONIC POP SOUL POP-ROCK

The Dusk in Us aaaac

FEVER RAY

Plunge aaabc

Sam Smith

WEEZER

What’s left to say about Converge? The Boston metalcore savants have practically defined the genre by fusing some of metal’s most technical, punishing elements with hardcore/punk’s raw intensity and breakneck pacing. They’ve been a band for nearly 30 years, and with every new release, continue to refine the formula with releases like 2001’s Jane Doe and 2012’s All We Love We Leave Behind.

On their first album in five years (the band’s longest dormant period), Converge explores the more robust elements of the sound they’ve created.

Songs “Arkhipov Calm” and “I Can Tell You About Pain” are a one-two lesson on the band’s mathy sound, which sends drummer Ben Koller’s technical, experimental drumming to the forefront. That’s doesn’t mean the rest of the band falls behind, though.

Frontman Jacob Bannon explores the band’s melodic side, mixing gruff singing with his piercing screams on “Under Duress,” and guitarist Kurt Ballou’s sweeping guitar work shines across the speedy “Broken By Light.”

It all comes together on the excellent seven-minute title track, a brooding, introspective opus that could someday stand as the band’s “Stairway to Heaven.” –Ian Caramanzana

Karin Dreijer has been so good at creating spectacle—with ornate masks and costumes, through her secretive persona, on The Knife’s choreography-forward Shaking the Habitual “farewell” tour—that it’s been too easy to miss the meaning behind her music over the years. Not so on the second album from Dreijer’s solo project, Fever Ray. Where 2009’s eponymous debut felt shadowy and lyrically abstract, Plunge gets right to the point, with the Swedish singer declaring, “Wanna do it? If we do it, it’s my way” early in first track “Wanna Sip.” From there, Plunge continues as a condemnation of sexual politics—and an affirmation of personal power— peaking during the unambiguous “This Country,” which culminates with Dreijer repeating “This house makes it hard to f*ck/This country makes it hard to f*ck.” Of course, such sentiments hit hardest when accompanied by magical melodies, and though Plunge largely succeeds at that (stream especially: slinky psuedo-ballad “A Part of Us” and the pulsating, dancefloorready “To the Moon and Back”), the ethereal electronic tunes sometimes can’t quite compete with their creator’s stunningly plain-spoken message.

–Spencer Patterson

On The Thrill of It All, Sam Smith checks off all the soul music boxes—twinkling piano, curving strings, breezy horns, heartbroken lyrics—with the same care he brought to 2014 debut In the Lonely Hour. Yet these timeless signifiers feel curiously shallow this time around, perhaps because the music and arrangements are bland and generic.

The Thrill of It All succeeds most when Smith lets his guard down. On “Him,” a defiant statement about openly and honestly loving someone even if others disapprove, he uses a solemn, velvety low tone on the powerful lines, “Don’t you try and tell me that God doesn’t care for us/It is him I love.” The protagonist of “Midnight Train” wants out of a relationship despite guilt over disavowing gratitude (“Am I a monster?/What will your family think of me?”). And the album ends on a strong note with “Pray,” a Timbaland- and gospel choir-assisted R&B number that finds Smith dipping into his upper and lower range to reflect on faith. In such moments, Smith genuinely connects with the material, rather than just skimming along the emotional surface. –Annie Zaleski

After two straight albums of back-to-basics alt-rock (2014’s Everything Will be Alright in the End and last year’s self-titled “white album”) that brought the band its best reviews in years, Weezer slides back into glossy, trend-chasing pop with the vapid Pacific Daydream. The album opens deceptively with the guitar-driven “Mexican Fender,” a familiar Weezer boy-meets-girl story with some catchy, crunchy riffs. But frontman Rivers Cuomo’s obsession with distilling pop songwriting into a formula takes over afterward, starting with painful lead single “Feels Like Summer,” which sounds like Maroon 5’s recent dancepop efforts.

Working again with outside songwriters, Cuomo crafts flavorless and anonymous songs, with slick production that minimizes the contributions of his bandmates. Songs like “Happy Hour” and “Get Right” sound like they were designed to be sold to young aspiring pop singers, not performed by a rock band that’s been around for more than 20 years. When Cuomo sang about youthful romantic yearnings in the early ’90s, it felt endearing and real. The polished, calculated 2017 versions, as technically accomplished as they may be, just sound cynical and sad. –Josh Bell

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The Thrill of It All aabcc

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Pacific Daydream aabcc

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64 STAGE

WEEKLY | 11.02.17

REAL LOVE

Left to right: An Octoroon; Love Love Love and The Motherf*cker With the Hat. (Courtesy)

Smart stage comedies provide an antidote to holiday Sweetness ith Thanksgiving around the corner and Christmas close behind, it’s always good to help yourself to a dose of what’s real before the saccharine, over-the-top holiday entertainment arrives in earnest. Luckily, the Las Vegas theater community has conspired to bring us the antidote to all that sickly sweetness. A trio of funny and thought-provoking productions start their runs this weekend.

Beginning Thursday, Majestic Repertory Theatre brings us the Obie-winning An Octoroon by Branden Jacobs-Jenkins.

Based on a 19th-century tale of a plantation owner who falls in love with a mixedrace woman, the 2014 reimagining takes a satirical look at the racism of the original Dion Boucicault story in order to give us space to think about exactly how things have changed. If previous productions are any gauge, audiences are also in for a lot of laughs about the naiveté of the past, thanks to a cast that includes lead Jason Nious.

Director Andrew Paul says audiences can expect “ton of laughs” from Love,

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Love, Love, opening at Art Square Theatre Saturday. Set in 1967 London, this play from popular contemporary playwright Mike Bartlett regards the relationship between Kenneth and Sandra, who are going to have to see whether love is enough to sustain them after the party has died down.

This production is “a unique collaboration between local Cockroach Theatre and Pittsburgh’s Kinetic Theatre,” Paul says.

After its Vegas run concludes, the show will travel to Steel City along with its scenic designer Johnmichael Bohach and actors Aviana Glover, Mindy Woodhead, and Darren Weller. Before it leaves, though, Woodhead (Sandra) and Weller (Kenneth) will treat audiences to their “extraordinary chemistry as they age from 19 to 63 over the play’s three scenes,” Paul says. While Paul emphasizes the play’s comedic side, he also points out that it’s “as much an indictment of the Baby Boomers as it is a celebration,” asking questions about their hand in their kids’ debt and aimlessness.

Starting from a much less cheery place but contemplating similar questions

By Molly O’Donnell

about blame, The Motherf*cker With the Hat opens Friday and offers audiences comedy of darker variety. This Las Vegas Little Theatre production of Stephen Adly Guirgis’ play presents the newly sober character Jackie (played by D.J. Hale) who’s trying to make things work with his old flame Veronica (Amanda Guardado).

Unfortunately for them both, Veronica’s far from sober, and her potential infidelities conspire with other pressures to derail Jackie’s recovery. Rapid-fire witty dialogue should keep audiences enthralled as the pair’s beyond-complex relationship slowly unravels.

Important and timely questions of race, generation, class, and addiction are all raised in the context of love. These onstage conversation-starters should be enough to remind us just how complex, abstract, and sometimes elusive love can be, a sure cure for the simplistic love stories headed our way soon. There are few better ways to protect yourself from sugar overload than by seriously enjoying a night of laughter.

An Octoroon Majestic Repertory Theatre, November 2-19, $25, 702-4236366.

Love, Love, Love Cockroach Theatre, November 4-19, $15-$25, 725-222-9661.

The Motherf*cker With the Hat Las Vegas Little Theatre, November 3-19, $10-$15, 702-362-7996.

The vibrant, abstract work of Benjamin Schmitt at Priscilla Fowler Fine Art. (Mikayla Whitmore/Staff)

65 FINE ART

WEEKLY | 11.02.17

HIGH-GLOSS ART IN CELESTIAL ABSTRACTIONS , PAINTER BENJAMIN SCHMITT DREAMS IN ENAMEL

BY C. MOON REED ome people come home from work and relax with a eye developed over the years, Schmitt’s subjects evolved, drink or a smoke. Benjamin Schmitt paints. becoming more vague. He’ll still start with molecules and “I just want to go for it,” Schmitt says. He’ll start biological structures, but then he’ll morph it into somewith a sketch of an oil slick or a raindrop under a thing completely different. He’s inspired by maps, geograpiece of glass. Then he’ll project that onto a wood panel phy, views from airplane windows, water and land masses and riff off the image. “I let my paintings tell me what to and even typography. “I don’t like hard angles,” Schmitt do. I want to go in the studio and take a ride.” That ride can says. “I like more fluid forms.” last till the wee hours of the morning. “I get By day, Schmitt leads the installation BENJAMIN SCHMITT: department at Global Art Transport. That very little sleep, but it works for me.”

CELESTIAL The resulting paintings are shiny, vibrant means he spends his time hanging everything and abstract—like a disco inkblot test. from family photos to Blue Chip art, like ABSTRACTIONS Through January 27, Schmitt’s bright, contrasting colors and pieces by Damien Hirst and Andy Warhol.

Wednesday-Saturday, squiggly lines create a sense of movement.

The proximity to such greatness constantly noon-6 p.m.

His material of choice is an enamel made for inspires Schmitt. For example, he loves porPriscilla Fowler Fine Art, 1025 S. 1st St., trait painter Chuck Close. And Schmitt’s selfprofessional sign painters. Schmitt loves its 719-371-5640. hard-candy texture. portrait—the only figurative piece in Celestial Receptions November In Celestial Abstractions, Schmitt’s new Abstractions—resembles Close’s globular 2-3, 5-9 p.m., free. solo show at Priscilla Fowler Fine Art, the painting style. “He’s one of my favorites,” paintings will keep you guessing. They could be Schmitt says. “Only he’s way more detailed microscopic bacteria on a slide or deep-space nebula. Preand meticulous than me.” ferring the otherworldly definition of “celestial,” Schmitt Schmitt dreams of one day branching out into sculpture. is interested in exploring themes of the “extraterrestrial, But it’s hard for him to find time for new projects amid his unknown, abstract and foreign.” Indeed, each painting responsibilities, which include two young children. If one whisks the viewer away into some other place. thing could help him as an artist, it’d be more time to creBack when he was an art student, Schmitt was trying ate. And to get that, he says he—and the rest of the Vegas to bridge the gap between art and the medical field. His art scene—needs one thing: “More patrons. We need more source material: diseases under a microscope. But as his people who invest in artists, who buy emerging art.”

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66 LAS VEGAS WEEKLY 11.02.17

HOME-RINK ADVANTAGE SUMMERLIN’S HOCKEY HEADQUARTERS SERVES UP MACKENZIE RIVER PIZZA

BY BROCK RADKE owntown Summerlin’s new City National Arena exists to provide the Vegas Golden Knights with a top-flight practice facility, but it also has a pub and restaurant on the second floor, with huge windows overlooking the dual rinks. So not only is it a great place to watch the Knights practice or play on TV (or to check out UNLV hockey), it’s a cool place just to hang out.

Even though Mackenzie River Pizza is a franchise (born in Montana), Las Vegas’ first location doesn’t feel like it, probably because of the hockey factor.

All it really needs to succeed is a solid selection of suds on the taps, and you can check that box. Montana’s own Great Northern Brewing Co. supplies the favored Driftboat amber ale, and the hometown Able Baker Atomic Duck IPA packs a punch.

The grub is solid, too. The signature appetizer is a plate of “lodgepoles” ($5.50)—pizza-crust breadsticks baked with garlic, olive oil and mozzarella and served with marinara for dipping. Equally satisfying are fish taco skewers ($10.50), ancho chili-glazed cod chunks you’ll wrap with flour tortillas and add avocado, coleslaw and pineapple salsa.

If you’re feeling Canadian, the happy hour menu’s classic poutine ($7) delivers with crispy fries coated in ultra-savory beef gravy and white cheddar curds.

The pizza is legit. The dough is fluffy and light, but it will fill you up fast, unless you opt for the crispy thin crust. The small is 10 inches and will feed more than two; the large will feed everyone, especially if you order the Rancher ($15/$24.50) with ground beef, pepperoni, bacon, tomatoes, green pepper and red onion. Need more meat?

The aptly named Stockman ($15/$24.50) has pepperoni, bacon, spicy sausage and steak strips. More creative pie options include the corned beef, ’kraut and caraway-coated Reuben and the Thai pizza with peanut sauce, chicken, fresh cilantro and mandarin oranges (both $15/$24.50).

This pizza pub has plenty more to snack on, from salads and sandwiches to chili, wings and cheesecake. No matter what part of the Valley you actually call home, this will feel like your neighborhood sports bar.

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MACKENZIE RIVER PIZZA City National Arena, 1550 S. Pavilion Center Drive, 702-916-2999. SundayThursday, 11 a.m.-10 p.m.; Friday & Saturday, 11 a.m.-11 p.m.

Pizza, fish tacos and more await within Mackenzie River Pizza’s cool environs. (Mikayla Whitmore/Staff)

67

food & drink

las vegas weekly 11.02.17

Transport yourself at the House of Alchemy

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Starboard Tack makes it fun to eat while drinking.

(Steve Marcus/Staff)

Island-style snacking Stay for the pupus and skewers at Starboard Tack

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Bryant Jane and Lyle Cervenka are a wellwhy you’ve never had it before. The poke of the day known duo on the local mixology scene. ($11)—tuna on a recent visit—is an unexpected find, Boasting formidable résumés filled with rife with chili and vinegar undertones. some of the Valley’s best cocktail destinations—VesMore standard bar fare includes the nicely charred per Bar, Atomic Liquors, Velveteen Rabbit Starboard cheeseburger ($9) with a kasundi STARBOARD and more—they recently brought another (Indian chutney) mayo on a toasted black TACK expectedly strong program to east-side bar sesame bun, and a Mongolian cheesesteak 2601 Atlantic St., Starboard Tack. ($11) with marinated tri-tip on a crisp ba702-684-5769.

The real Starboard surprise is the concise guette. The fish sauce-laden chicken wings 24/7. food menu assembled by Jane. The menu is ($11) are a funky, fabulous find. mostly split between pupus—island-style Don’t overlook Jane’s outstanding skewappetizers reflecting the Tack’s tropical and nautiers ($4 each or four for $13). Ranging from Szechuan cal themes—and a section “fo da’ haoles,” offering chimichurri beef with hints of heat to toasted more standard American dishes, along with skewers coconut-crusted shrimp, the meats-on-a-stick are thrown in for good measure. Pupus include lonan effective treat on their own. Paired with an adganisa empanadas ($6) stuffed with savory Filipino dictive, spicy peanut sauce you’ll want to slather on sausage, olives and egg, and fried chicken fried everything, these simple sticks are fast becoming rice ($12), a dish so genius, it’ll make you wonder destination dishes. –Jim Begley

You know when you find a cool new spot and can only describe it by saying It totally feels like you’re in a different city, somewhere other than Las Vegas? What’s up with that? Is that an insult or a compliment? And are you insulting/complimenting the cool new spot or all of Las Vegas? It’s confusing.

You might fall in love with it instantly, or you might be confused about where it came from, but House of Alchemy elicits such a response. Maybe it’s because the super-chill juice bar and coffee house is planted in a particularly barren portion of the massive Grand Canyon Parkway center west of the Beltway. With its industrial-chic decor and constantly changing menu scribbled on giant wallchalkboards, it’s definitely worth the search and might even be the perfect westside oasis for detaching from everything but your laptop and headphones and getting caffeinated and productive.

Start with a healthy, delicious smoothie like the peanut buttery Cheeky Monkey ($8.75 for 14 ounces or $12 for 20 ounces) and an antioxidant-rich acai bowl ($11.50) and grab a seat on the couch swing to start to your day. When it’s time to go back for an energy boost, the Pick Me Up, which also comes pre-bottled for those on the go, blends cashews, almonds, dates, espresso and filtered water with a pinch of Himalayan salt for those must-have minerals ($11.50). Come back in the afternoon to relax beneath the living wall and sip a stellar, straight-up Vittoria coffee from Australia. What city are we in again?

–Brock Radke

HOUSE OF ALCHEMY 4245 S. Grand Canyon Drive #103, 702-659-0961.

Monday-Friday, 8 a.m.-5 p.m.; Saturday & Sunday, 9 a.m.-4 p.m.

68

CALENDAR

LAS VEGAS WEEKLY 11.02.17

MUSIC BACKSTAGE BAR & BILLIARDS Lo-Pan, Lazer/ Wulf 11/2, 8 pm, $8-$12. Chicano Batman, Khruangbin, The Shacks, DJ Hektor Rawkerz 11/3, 8 pm, $18-$20. Audio Sesh LV ft. The Landlord & more 11/5, 8 pm, $10-$15. 601 E. Fremont St., 702-382-2227.

BEAUTY BAR My Life With the Thrill Kill Kult, The Ramona Flowers, The Nocturnal Affair, Chainsaw Fight 11/2, 8 pm, $15. NE Obliviscaris, Allegaeon, Cordyceps, Sicocis 11/3, 8 pm, $15.

Society 1, Bipolar, The Darkest Day, Mastiv 11/4, 8 p, $10. Stacked Like Pancakes, Honest Alibi, Light ’em Up, Muertos Heist 11/5, 8 pm, $10. D.R.I., Deathwish, Last Rites, False Cause, Unfair Fight 11/8, 7:30 pm, $15. 517 Fremont St., 702-598-3757.

BUNKHOUSE SALOON The Soft White Sixties, Dan Luke & The Raid, The Ramona Flowers 11/2, 9 pm, $10-$12. Mild High Club, Shy Boys, Hidden Levels 11/3, 8 pm, $10-$12. Community Center, Bad Girls Smoking Lounge 11/7, 9 pm, $5. 124 S. 11th St., 702-854-1414.

THE CHXRCH Angelo Munji, Mars Luna, Joshua Landon, Camdel West 11/3, 6:30 pm, $10-$12.

5818 Spring Mountain Road #217.

COUNT’S VAMP’D Bong 11/2, 10 pm, free. Franky Perez, Christian Brady 11/3, 10 pm, free. Petty & The Heartshakers (Tom Petty tribute), Kid Cocky (Kid Rock tribute) 11/4, 9:30 pm, free. 750 W. Sahara Ave., 702-220-8849.

DIVE BAR 1349, Goatwhore, Tombs, Sicarius, Dreadbore 11/2, 8 pm, $17-$20. Broken Patron Saints, Wolfhounds, Super Zeroes, Lambs to Lions 11/3, 9 pm, $5. Truckfighters, Sasquatch, Mothership, House of Broken Promises 11/4, 7 pm, $25-$30. Dope, Hed PE, NE Last Words, Dim 11/7, 8 pm, $17-$20. Rittz, Donnie Menace, Luck Factor Zero, Bom Green 11/8, 8 pm, $22. 4110 S. Maryland Parkway, 702-586-3483.

DOUBLE DOWN SALOON The Octanes, Bounty Hunter Brothers, Stereo Assault, Agent 86 11/3. Three Rounds, Callshot, Def Yeti, Jerk!, In Theaters Friday 11/4 The Burly-Q Revue w/ Johnny Zig & The Highlighters 11/5, 9 pm. Prof.

Rex Dart & The Bargain DJ Collective 11/6.

Unique Massive 11/7, midnight. Johnny Zig & The Highlighters 11/8. Shows 10 pm, free unless noted. 640 Paradise Road, 702-791-5775.

Norwegian black-metal band 1349 makes a Vegas visit November 2 at Dive Bar. (Jorn Veberg/Courtesy)

Catfish John, Donzo’s Cosmos 11/4, 9 pm. Johnny B & The Road Dogs 11/5. Sam Pace & The Gilded Grit 11/7. Gold Top Bob 11/8. Shows 10 pm, free.

3355 Spring Mountain Road, 702-485-5401.

STONEY’S ROCKIN’ COUNTRY Mike Ryan 11/3, 9 pm, $5-$20. Trent Tomlinson 11/4, 9 pm, $15-$30.

Town Square, 702-435-2855.

PERFORMING ARTS & CULTURE CENTENNIAL HILLS LIBRARY Walking in Balance: A Native American Cultural Adventure 11/4, 2 pm, free. 6711 N. Buffalo Drive, 702-507-6100.

CLARK COUNTY LIBRARY Vegas Valley Comic Book Festival 11/4, 9:30 am-4:30 pm, free. One Man Dark Knight: A Batman Parody 11/4, 3 pm, free. Las Vegas Brass: A Salute to Veterans 11/5, 2 pm, free. UNLV Contemporary Jazz Ensemble 11/8, 7 pm, free. 1401 E. Flamingo Road, 702-507-3400.

EAGLE AERIE HALL Within the Ruins, Aversions Crown, Currents, Mephitic Origins, Brooklyn Edge, Enterprise Earth 11/2, 5 pm, $15, all-ages. Rings of Saturn, Oscillation, Drown a Deity, Omniversa, Brooklyn THE Edge 11/5, 5 pm, $15. 310 W. RESOURCE Pacific Ave., 702-568-8927 EVEL PIE The Riot Gang, New Cold War, The Pluralses, War Called Home 11/3, 9 pm, $5. 508 Fremont St., 702-840-6460.

For comprehensive casino venue listings, look inside Industry Weekly.

FREMONT COUNTRY CLUB Bone Thugs-n-Harmony 11/3, 9 pm, $37. 601 E. Fremont St., 702-382-6601.

GILLEY’S SALOON Chancey Williams and the Younger Brothers Band 11/2, 9 pm. Rob Staley Band 11/4, 10 pm; 11/5, 9 pm. Shows $10-$20.

Treasure Island, 702-894-7722.

SAND DOLLAR LOUNGE Danny Brooks 11/2.

SAMMY DAVIS JR. FESTIVAL PLAZA Dia de los Muertos celebration 11/2, 5-9 pm, free. Lorenzi Park, 720 Twin Lakes Drive, 702229-3514.

THE SMITH CENTER (Reynolds Hall) Las Vegas Philharmonic: Copland in Mexico 11/4, 7:30 pm, $30$109. (Cabaret Jazz) Tom Dreesen: The Sinatra Stories 11/3, 7 pm, $39-$59. The Lon Bronson Band: The Music of Gregg Allman 11/4, 9 pm, $15-$35. Serpentine Fire (Earth, Wind & Fire tribute) 11/6, 8 pm, $22-$35. Clint Holmes 11/8, 7 pm, $37-$59. 702-749-2000.

THE SPACE Dizzy With a Dame 11/2, 10 pm; $25. Mondays Dark 11/6, 9 pm, $20-$50. Uli Geissendoerfer 11/7, 9 pm, $10. 3460 Cavaretta Court, 702-903-1070.

UNLV (Artemus W. Ham Hall) Cantus 11/3, 7:30 pm, $20-$50. (Beam Music Center) UNLV Opera Theater: Die Fledermaus 11/8-11/9, 7:30 pm, $8-$10.

702-895-2787.

WEST CHARLESTON LIBRARY I Moved a Mountain 11/5, 3 pm, free. 6301 W. Charleston Blvd., 702-507-3940.

WINCHESTER CULTURAL CENTER Life in Death festival 11/2, 5-9 pm, free. Sin City Opera: Mostly Mozart 11/4, 7 pm; 11/5, 2 pm; $15-$20. 3130 S. McLeod Drive, 702-455-7340.

WINDMILL LIBRARY One-man Dark Knight 11/5, 3 pm, free. 7060 W. Windmill Lane, 702-507-6019.

THE WRITER’S BLOCK Bryan McCormick: The Road Trip Report 11/2, 7 pm. Megan Edwards reading & signing 11/7, 5:30 pm. All events free unless noted. 1020 Fremont St., 702-550-6399.

LOCAL THEATER COCKROACH THEATRE Love, Love, Love 11/411/19, days & times vary, $15-$25. Art Square Theatre, 1025 S. 1st St., #110, 725-222-9661.

A PUBLIC FIT W;t Thru 11/19, days & times vary, $25-$30. 100 S. Maryland Parkway, 702-735-2114.

SIGNATURE PRODUCTIONS Oliver! Thru 11/18, days & times vary, $20-$30. Summerlin Library, 1771 Inner Circle Drive, 702-507-3860.

TSTMRKT Cancer Dog 11/2-11/12, days & times vary, $15. Center for Science & Wonder, 1651 E Sunset Road, tstmrkt.com.

GALLERIES & MUSEUMS BELLAGIO GALLERY OF FINE ART Samurai 11/34/29. Daily, 10 am-8 pm, $16-$18. 702-693-7871.

BUBBLEGUM GALLERY Studio Ghibli group show 11/3-11/27. Reception 11/3, 6-9 pm, free.

Downtown Spaces, 1800 S. Industrial Road #207D, 702-806-0930.

THE CUBE Brian Henry: Perfect Circle 11/2-12/16.

Thu-Sat, noon-7 pm. Art Square, 1025 S. 1st St. #150, 702-483-8844, thecubelv.com.

CSN THEATRE PROGRAM (Nicholas J. Horn Theatre) Passage 11/2-11/12, days & times vary, $10-$12. 3200 E. Cheyenne Ave., 702-651-5483.

MICHELE C. QUINN FINE ART Raymond Pettibon Thru 11/3. Tim Bavington: Sounds of Silence 11/8-1/5. Reception 11/8, 6 pm, free. MonFri, 9 am-5 pm, free. 620 S. 7th St., 702-366-9339.

LAS VEGAS LITTLE THEATRE (Mainstage) The Birds Thru 11/5, days & times vary, $21-$24.

(Black Box) The Motherf*cker With the Hat 11/311/19, days & times vary, $10-$15. 3920 Schiff Drive, 702-362-7996.

OBSIDIAN FINE ART Mandy Joy & Steve Anthony 11/3-11/30, Hours vary. Arts Factory, 107 E. Charleston Blvd. #240., 702-540-9331.

MAJESTIC REPERTORY THEATRE An Octoroon 11/2-11/19, days & times vary, $25. Alios 1217 S. Main St., 702-478-9636.

PRISCILLA FOWLER FINE ART Benjamin Schmitt: Celestial Abstractions 11/2-1/27.

Receptions 11/2-11/3, 5-9 pm, free. Wed-Sat, noon-6 pm. 1025 S. 1st St. #155, 719-371-5640.

NEVADA CONSERVATORY THEATER Good Kids Thru 11/5, days & times vary, $15-$17. UNLV’s Alta Ham Fine Arts, 702-895-2787.

WONDERLAND GALLERY Dia de los Muertos 11/211/23. Tue-Sat, noon-4 pm. Downtown Spaces, 1800 S. Industrial Road #110 & #160, 702-686-4010.

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