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watching as other employees prepare for that night’s shutdown. A grand total of three players are sitting in front of slot machines. Ten years from now, will anyone mourn Las Vegas Club? After all, there weren’t many tears shed when Las Vegas Club became the Westerner, or when its neighbor the Northern Club transitioned into the Monte Carlo Club and eventually became La Bayou. The Mint fourished and was swallowed by Binion’s Horseshoe. Fremont Street has never stood still. New owners Derek and Greg Stevens have chosen to evaluate all possible uses before moving ahead. Speculation is that any redevelopment will complement their other properties, Golden Gate and The D (formerly Fitzgeralds), which have earned kudos for their liberal gambling rules and early-adopter moves. (Back in 2014, the properties became the frst in Las Vegas to accept Bitcoin for non-gaming transactions) While there aren’t any defnite plans—or even general suggestions—the expectation is that this property will be something special. If that’s the case, the low-key ending for Las Vegas Club might be appropriate. It will retain a fond place in the memories of dedicated gamblers, sports bettors and those who personally knew Gaughan and Exber’s golden touch. But for the vast majority of current visitors, whatever replaces it will be the only name that they associate with that corner of Main and Fremont.
Casino football contests represent an excellent gambling opportunity since you can enter for a low (or no) cost to get a season’s worth of action and a chance at a monster payday. This year again, the big dogs will play the Golden Nugget and Westgate, with entry fees of $2,000 and $1,500, respectively. Those are nice, but there are other options better suited to the casual player. Of the other pay contests, the best is Aliante’s $25 Airin’ It Out Football Contest. With $100,000 in prizes guaranteed, it needs 4,000 entries to reach even equity (the point where the money collected equals the prize money). Aliante’s way-out location on the north side makes it too inconvenient for most; hence, this one is pretty much a lock to be undersubscribed, offering a theoretical advantage to all who play it. Having an advantage is guaranteed when you play a free contest, and the biggest news this year is Station Casinos' switch from the $25-entry-fee Great Giveaway to the free Gridiron Glory. Each week there’s $10,000 up for grabs, but the bigger value is in “instant prizes” that will be awarded throughout the season for scoring “touchdowns” that are attached to your win total. There’s no way yet to know definitively, but I estimate that your first touchdown will be accomplished after 2-4 weeks of play, at which point you’ll win something (free-play, bonus points, comps). And everyone who plays all 17 weeks or scores four touchdowns will be eligible for two additional post-season contests with a combined $100,000 in additional prizes. One of my favorites, the free Pick the Pros contest, is back at the Boyd casinos. Aside from the price being right, it’s easy to play and you can win some serious coin if you pop a big card. An important change this year is that they’ve gone back to giving everyone three free entries after allowing only one last year. It doesn’t have a big effect on your chances, because everyone gets the extra shots, but it gives you two more cards to sweat, thus enhancing the entertainment factor. It’s a winner-take-all format and there’s a lot of competition, so you’ll usually have to go perfect to win, but with a $30,000 prize on the line every week, just getting close will get the juices flowing. The Rampart’s free contest is also interesting in that the majority of the weekly prize is split among players who outperform “Eddie,” the sports book director (how hard can that be?). Silver Sevens, Hard Rock, Ellis Island Casino and Aliante also have weekly kiosk contests with varying value. The important thing is they’re all free to play. I’m not telling you to run around to each one every week, but if you’re in the casino, put in a ticket.
David G. Schwartz is the director of UNLV’s Center for Gaming Research.
Anthony Curtis is the publisher of the Las Vegas Advisor and LasVegasAdvisor.com.
Going Down Swinging Las Vegas Club's closure ends an era, but extra innings may be on the way
August 27–September 2, 2015
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IT IS A NAME—A GENERIC ONE, BUT A
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name nonetheless—that has been part of Nevada history even before the 1931 relegalization of commercial gaming. In early April of that year, Las Vegas Club, then at 21 and 23 Fremont Street, received a license to offer games of chance from the Las Vegas City Commission. Earlier this month, that gambling hall—located on the opposite side of Fremont since 1949—closed its doors. Before 1931, mining engineer J. Kell Houssells ran Las Vegas Club as a card room. He adjusted easily to slots and table games, becoming a leader in the Downtown gambling scene and, ultimately, running the Strip’s Tropicana. Houssells briefy partnered with Benny Binion before taking the Las Vegas Club name across the street to the former Overland Hotel, leaving Binion to turn the erstwhile Las Vegas Club into the Westerner before moving across the street himself to the casino that is now Binion’s. Today, the original Las Vegas Club is an ABC Store, with no hint of the property’s place in casino history. Visitors looking to pick up a box of Hawaiian Host macadamia nuts or dollar bottles of Nestlé water don’t seem to mind. In 1960, two Downtown legends, Jackie Gaughan and sports handicapper Mel Exber, bought Las Vegas Club. Exber brought the gambling hall’s sports infuence. Its coffee shop was known as the Dugout, gourmet dining could be found in the Great Moments Room. Under the Exber/Gaughan regime, Las Vegas Club boasted “the most liberal 21 in the world” and
that loose slots made it the “House of Jackpots.” It was a popular breakin joint for dealers, who could hone their craft with the colorful low-stakes patrons. Expansions in the 1980s and '90s added hotel towers, and its race and sports book became a strong point, advertising that there was “no bet too large, no bet too small” to accept. Exber died in 2002, and Gaughan sold Las Vegas Club in 2004. Since then, the property struggled to fnd an identity in the new Fremont Street, leading to a series of cutbacks that came to a stop August 19. While Las Vegas Club was still accepting bets up until the end, its hotel had been closed for years and its dining options and gaming foor gradually shrunk. About eight hours before the last spin of the reels, and there isn’t much question that this chapter of history is near its close. The stick fgures playing golf and shooting hoops on the etched-glass light fxtures seem discordantly optimistic. On the ground, there’s no joy, no sadness, just a sense of fnishing up. No one is eulogizing Kell Houssells, Mel Exber, Jackie Gaughan or the thousands of employees who kept the Club in business for over eight decades. Two security offcers in bright yellow polo shirts are keeping an eye on the place,
PHOTO BY KRYSTAL RAMIREZ
GOOD VALUE FOUND IN FOOTBALL CONTESTS
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August 27–September 2, 2015
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NIGHTLIFE Your city after dark, photos from the week’s hottest parties and Travis Barker launches a two-fold residency
Upping the Stakes Nightlife magnate Jesse Waits crosses the Boulevard for total creative freedom at Alon resort By David Morris
AFTER NEARLY A DECADE AT WYNN RESORTS, Jesse Waits has frmly established himself as a global nightlife brand. Under Waits’ stewardship as managing partner of XS and Tryst, the nightclubs have remained at the forefront of the hypercompetitive nightlife space. In early July, Waits decamped Wynn Resorts for Andrew Pascal and James Packer’s forthcoming Alon resort across the Boulevard on the former New Frontier site. We recently caught up with the busy entrepreneur in Los Angeles to chat about his reasons for leaving, the future of nightlife and what we can expect from Alon.
And what exactly will you be doing?
My precise role is a little diffcult to describe. I am essentially an experience maker. I will be creating and shaping the social experiences throughout the resort with [co-owner] Andrew Pascal and [COO] Rob Oseland over the next three years. Specifcally, I will be developing and designing bars, nightclubs, theaters
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Growth. I wanted to grow and expand. It’s human nature to move, to advance, to want more. For the last few years, I knew that I wanted to focus my energy on what’s next. So when the opportunity with Alon presented itself earlier this year, I made the decision right then and there. I knew this is what I’ve been wanting and waiting to do.
August 27–September 2, 2015
PHOTO BY TOMO MUSCIONICO FOR ALON
What were your reasons for leaving Wynn Resorts?
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NIGHTLIFE
and dayclubs, as well as other social areas of the hotel. I will also be contributing ideas and helping evolve the Alon experience more broadly. Now that you’ve committed, how do you feel about your decision?
I feel like I’m moving forward again. XS nightclub is presently at its peak. With you gone, do you think it’s going to stay there?
XS is an amazing nightclub, and it has a lot of momentum. We’ve built it up as a huge brand over the last seven years, and that’s going to carry it for a while longer. When you’re at the top, you’re already at the peak. Sustaining it has been challenging, but XS has been “peaked” for seven years. What’s been the response to the announcement of your departure?
I’ve received tons of messages. I had hundreds of texts, calls and e-mails from people who worked with me. People said they appreciated why I was leaving and wished me luck. Some people were upset, but everybody’s happy for me.
August 27–September 2, 2015
How much freedom are you being given?
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For the last five years everyone’s
Complete. The sky is the limit. I will be working with designers, architects, Andrew Pascal, Rob Oseland and Jamie Packer to create a collection of experiences that ft within the overall concept of the resort. What direction do you see nightlife going?
“Alon is my life. Everything I do is going to be about Alon. My focus, 100 percent, from the time I wake up to the time I go to bed, is Alon.” focus has been on building megaclubs. I see things going back to where people aren’t so concerned about size anymore, but are more about the party, a sexy vibe, luxury and the overall experience. I see things shifting toward more intimate experiences. Will we be seeing much of you before Alon’s debut?
I’m a people pleaser, and love making people happy. Everyone, all of
my friends still call me. I’m still arranging [VIP bookings] and sorting people out. I am traveling and hanging out with my friends, having dinners and staying in the scene. My job—Alon—is my life. Everything I do is going to be about Alon. My focus, 100 percent, from the time I wake up to the time I go to bed, is Alon. I’ll be traveling to different cities, such as San Francisco, to work with the architects. If I’m in Vegas, I am networking and hanging out with
people. I’ll be in L.A. more. I will be sourcing new contacts, looking at what’s happening in other markets and what we can bring to the Vegas market. If I’m not on the ground, on the front lines, I won’t be able to feel the trends and feel the future. This project is three years away, so I can’t say exactly what I’m going to do yet with the spaces, but I know that in [those] three years, I’ll be able to cultivate and build what people want.
PHOTO BY SHANE O’NEAL
I see it being the future of Las Vegas. Vegas is evolving, and Alon will be a fresh interpretation of a Las Vegas resort. The culture of Vegas has been shifting, and no one’s captured or capitalized on what’s been happening lately. Alon will reinvent a lot of things and be very forward-thinking. Back in the day, Vegas was a desert town flled with hotels and colorful characters. It evolved into this show-focused city with Sinatra and then a family kind of place with Circus Circus, Excalibur and New York-New York. Then it became a luxury shopping destination with fne dining restaurants in fve-star resorts. Over the last 10 years, it’s been about nightclubs and the party scene, in addition to who has the most luxurious resort. With Alon, the idea is to recognize the best aspects of the past as we move to the future. This resort is all about the synergy between the elements, and reimagining all of the classic aspects of the Las Vegas experience. Alon will deliver this at a scale that is more human and intimate, rather than produce something overwhelmingly big with mass-market appeal. There is truly a lot of great thinking and creativity among the team that is in place.
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What is your vision for Alon?
Celebrating the Vegas return of Travis Barker, man of many hats (and drums) By Ian Caramanzana
August 27–September 2, 2015
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IT WOULD BE UNFAIR TO SAY THAT TRAVIS
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Barker traded drums for turntables. The 39-year-old made his claim to fame as the drummer for San Diego pop-punk band Blink-182, and eventually moved on to other endeavors including bands Transplants and Box Car Racer. But he soon took interest in DJing with the help and inspiration of some of the best DJs in the world, including the late DJ AM, A-Trak and Mix Master Mike. To that end, Barker’s new residency at Hyde in Bellagio features a drum set and turntables. We chatted with Barker just hours before he took the stage on August 18 about how he’s going to pull it off. Do you see any parallels between DJing and playing drums?
A bunch! My son is 11. He’s been playing drums since he was 5 or 6, and I’ve shown him a few things on the turntables, and it just clicked. It’s very percussive—everything. Scratching is percussive. I also think drumming will help you mix records together. Overall, anything you do musically will help the next thing you learn: Drumming in some ways will help piano [players] if you already know note values. They all help each other.
In your sets, how do you divide your time between the drums and the turntables?
Right now, I’m probably drumming more than scratching. I do both during the set—sometimes at the same time. Are you drumming over tracks?
For the most part. What I do is create a mix of songs that I want to do. I’ll have 7-12 songs in one part of my Serato and they’ll play in their entirety. Then I’ll set up the next seven. It’s kind of hard to get back and forth between drumming and DJing. It would be kind of a mess. [Laughs] You will be kicking off your Las Vegas residency tonight. Do you have any favorite spots in the city?
I love Hyde and Bellagio. This is kind of my home. We’ve done a lot of events here; we did something with Kid Ink a while back. I like the Cosmopolitan. Obviously, I’m in town anytime there’s a big fght: UFC, mixed martial arts, boxing … and you know, [DJ] AM and I used to play Pure at Caesars Palace. We kind of had a residency at one point. It feels pretty comfortable to debut it here because, literally, besides AM and my frst shows, the idea of a DJ/drummer routine—the majority of them took place in Vegas.
What’s next for you musically?
I’m working on my solo album right now, and I’m probably halfway through. And I have a lot more of these shows coming up. I believe I’ll be back in the studio with Mark Hoppus and Matt Skiba (of Blink-182) at the end of the year. I just got done working on The Game’s The Documentary 2 album, which was amazing. It’s something new every week, honestly! Can we expect to see Skiba and Hoppus on your solo album?
Well, I’m doing a couple of projects over the next year, and this album is predominantly hip-hop. I have a couple of other things coming out. I’ve got a really cool record with Afrojack, but that’ll be on his album, and I did a record with LOUDPVCK that just came out last week. Who else did you collaborate with on your album?
The Game, Lil Wayne, Problem, Wiz Khalifa, Tyga, Iamsu!, Kid Ink, Ty Dolla $ign, Run the Jewels … So totally hip-hop.
Yeah. I put out a hip-hop album four or fve years ago called Give the Drum-
mer Some, so a lot of people are still like, “Yo, I didn’t know you did that!” I grew up listening to both [hip-hop and punk]. There just wasn’t enough room for a drummer in hip-hop—like, when I was growing up, listening to RunDMC, N.W.A, Whodini—it didn’t exist. I grew up on both, but I defnitely got best known for being in Blink-182. Do you prefer playing the faster, punk stuff, or a steady hip-hop beat?
I get bored of both. I need it all, and I’ve always done it all from the time I came up in Blink. When we were on our second Warped Tour, we were out with Black Eyed Peas, and I jumped onstage and played with them everyday. With drums, it’s so universal. There’s drums in everything. I played the Country Music Awards in Vegas one time with Dwight Yoakam—it was a big Buck Owens tribute. It’s like giving you a paint and canvas and telling you, “You can only paint one way.” But then you’re like “Oh, my God! I can do so much with this paint and canvas!” That’s how I feel about drums. I still have marching drums at my studio, and I dork out on those for hours. I just love drumming. I’m still learning, I still love it.
PHOTO BY TONY TRAN
NIGHTLIFE
Scratching & Smashing
NIGHTLIFE
PARTIES
HAKKASAN MGM Grand
[ UPCOMING ]
August 27–September 2, 2015
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Aug. 27 Tiësto spins Aug. 29 Dada Life spins Sept. 3 Steve Aoki and Kryoman spin
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It’s been nearly a year since we first learned that Lavo’s former nightclub space would chrysalis into a branded boutique casino above the restaurant and lounge. We can now confirm that Lavo Casino Club (in the Palazzo, 702-7911800, LavoLV.com) will debut in mid-September. While this may seem like a bit of a Playboy Club-style reboot, it’s not (and rumor has it that a new Playboy Club may well be on its way to the Linq, courtesy of the Los Angeles-based Lure Group). The guest experience at Lavo Casino Club will include bartenders shaking up libations adjacent from a butler’s cart, items from Lavo Restaurant’s Italian menu and plenty of TVs to catch a game. DJs and “Vegas-style” VIP bottle service will add ambience, making the room an ideal pre-gaming spot or alternative to the frenetic nightclub scene. “The Lavo Casino Club is an evolution of both the nightlife and gambling experience in Las Vegas,” Tao Group partner Jason Strauss says. “Now you have a place where you can gamble with your friends before a big night out at one of our nightclubs; couples can enjoy cocktails and some gaming after dinner downstairs at Lavo, or the casino guest who likes a more exclusive experience can receive Tao Group’s hallmark VIP treatment while playing.” The Casino Club will debut exclusively with blackjack tables, with other classic table games including roulette, baccarat and craps to be added. Most notable is the ability to book a table for a group that wants to play together—the next-level weekly game night. - David Morris Lavo Casino Club will open at 8 p.m. Fridays and Saturdays, and during football season at 11 a.m. Saturdays and at 9 a.m. Sundays.
PHOTOS BY JOSH METZ
LAVO CASINO CLUB IS MUCH MORE THAN A LOUNGE REBOOT
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PARTIES
XS
Encore [ UPCOMING ]
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PHOTOS BY K ARL L ARSON
August 27–September 2, 2015
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Aug. 28 Zedd spins Aug. 29 Kaskade spins Aug. 30 Arty spins
NIGHTLIFE
PARTIES
FOUNDATION ROOM Mandalay Bay [ UPCOMING ]
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PHOTOS BY BOBBY JAMEIDAR
August 27–September 2, 2015
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Aug. 27 DJ Seany Mac spins Aug. 28 DJ C-L.A. spins Aug. 29 DJ Greg Lopez spins
NIGHTLIFE
PARTIES
HOT 100 FINALE
Wet Republic at MGM Grand [ UPCOMING ]
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PHOTOS BY TONY TRAN
August 27–September 2, 2015
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Aug. 29 Tiësto and Zaxx spin Aug. 30 Chuckie and Jeff Retro spin Sept. 4 Steve Aoki spins
DINING
“[A captain] can take control of your dining experience and can curate your experience after just a small conversation.” {PAGE 65}
Restaurant reviews, news and the venerable PB&J receives gourmet attention during back-to-school time
Feeding the Beautiful People Three neighborhood restaurants prepare for September’s biggest festival By Al Mancini
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WITH LESS THAN A MONTH TO GO
before Life Is Beautiful, I’m already starting to get hungry. Food has always been a major component of the event (which is owned by Vegas Seven publishing company, WENDOH Media), happening September 25-27 in Downtown. But while celebrity chefs have garnered most of the attention at the past two festivals, the emphasis this year seems to be on neighborhood establishments that can provide a taste of Las Vegas’ diverse culinary offerings (for more on that, see Page 62). I recently chatted with a few of those chefs and restaurateurs, two of whom will be making their frst appearance this year and one who will be returning for the second time, to fnd out what we should expect from them, and what they’re expecting of the festival. With its location just outside the festival grounds, Itsy Bitsy Ramen & Whisky will likely become a popular spot for concertgoers entering and exiting. But executive chef Ricardo Romo isn’t content with that. So he’s heading inside the footprint to serve the masses as they enjoy the shows. But he recognizes the challenges of operating in that environment. “I’m not trying to go crazy on this frst time,” he says. “I’m trying to do it successful and do it right.” You won’t be able to get the restaurant’s namesake ramen. Instead, he’ll offer a pair of rice bowls: chicken and vegetable teriyaki. Since much of his staff will be confned to the main restaurant, Romo reached out to UNLV’s culinary department to supply him with help. “It’s a way to give back to the community a little bit,” he says. As for taking in some of the performances, Romo’s hopeful everyone will get to enjoy some music while they cook, but, he says, “I have a feeling I’m gonna be knee-deep in teriyaki bowls.”
August 27–September 2, 2015
PHOTO BY ANTHONY MAIR
Itsy Bitsy Ramen & Whisky chef Ricardo Romo will serve teriyaki bowls to festivalgoers at Life Is Beautiful.
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O Captain! My Captain! Carbone promises to elevate the Vegas dining experience with individualized service and tableside preparations—but will it deliver? By Al Mancini
August 27–September 2, 2015
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ONE OF THE MOST BUZZED-ABOUT RESTAURANT
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openings of the next few months is Carbone, which is slated to open its doors in Aria in October. The restaurant is a spinoff of the popular Greenwich Village restaurant of the same name, which is known for its Italian-American cuisine and tableside preparations, and which was a fnalist for the James Beard award for Best New Restaurant in 2013. I recently spent some time chatting with chefpartner Mario Carbone to fnd out the history behind the hype. Born in Queens, Carbone began his cooking career in a neighborhood restaurant at the age of 15. The cuisine was far from elevated, and included such staples as fried calamari
and red sauce. He went on, however, to educate himself about high-end dining. He attended the Culinary Institute of America before working for Mario Batali and molecular gastronomy pioneer Wylie Dufresne. Carbone also traveled to Italy to experience authentic Italian cuisine frsthand, and learn how it differs from the Italian American food with which he was familiar. With Carbone, however, he returned to his roots; the food is ItalianAmerican cooking. But what really sets it apart, he says, is the captain service and tableside preparations. “Captain service means that this is a person who takes care of your table, and also knows the restau-
rant, the menu, the concept and the culture inside and out," Carbone says. "It’s someone who can answer any questions that you may have, but more importantly, can take control of your dining experience and can curate your experience after just a small conversation.” Carbone adds that this is an older style of service, from a time when servers took more pride in their job and their knowledge. But I have to admit I’m a bit skeptical of how impressed I’ll be by this aspect of the restaurant. Las Vegas already boasts a lot of servers who take incredible pride in their work. (Then again, as a professional food writer, I tend to receive superb service in restaurants.)
So only time will tell whether Carbone succeeds in elevating the level of service on the Strip, especially for the average diner. I’m a bit more interested, however, in the restaurant’s focus on tableside preparations. It’s a topic I covered in these pages earlier this summer ["Bring It to the Table," July 17], and is sadly becoming something of a dying art. It’s integral to Carbone’s concept. And the chef says that historically, it fts hand-in-hand with captain service. “Tableside service does two things,” he says. “First, it puts on a show for the customer. But also, because these captains were historically so welleducated and good at what they did, they were alleviating the pressure in the kitchen. They were taking the last 25 percent of the preparation of that dish and fnishing it in the dining room. And for the customer, they get not only the entertainment of it, but they also get to inspect the product.” Whether it’s a fambé, a salad or the deboning of a fsh, I’m always one for the spectacle of seeing my meal created in front of me. So that aspect alone is likely to get me through the doors at Carbone to see whether it truly lives up to the hype.
PHOTOS COURTESY OF ARIA RESORT AND CASINO
DINING
Chef Mario Carbone, pork ribs and veal parmesan.
TRENDSPOTTING
PB&J Renaissance The revival of an American classic is in attendance for back-to-school season By Marisa Finetti
IT’S AS AMERICAN AS BASEBALL,
and Bill Nye the Science Guy. An affnity for both sweets and science fueled her interest in creating craft cocktails and desserts that are simply “out of this world.” Take her Peanut Butter, Jelly Time: Mercer uses liquid nitrogen to instantly freeze a sweet and tart boozy concoction of raspberry sauce, raspberry jam sorbet and St. George Raspberry Liqueur. She then presses a handsome scoop between two house-made oversize peanut butter cookies. If adults (or Peter Griffn) brought their lunch to work, it would be this one. $15, Neapolitan at the Cosmopolitan, 702-698-7000, CosmopolitanLasVegas.com.
hot dogs, apple pie and Chevrolet. And, while it’s certainly not fancy, there is no sandwich more perfect than a PB&J. Two pieces of pillow-soft bread embracing the sticky goodness of nutty peanut butter and the fruity sweetness of jelly—it’s no wonder these two have been inseparable since the 1920s. Popularized during World War II, the peanut butter and jelly sandwich has evolved from an American tradition to a very personal one. We’ve mastered the ‘correct’ way to make it (yes, there is one), and the rest is history. But, while we subscribe to the “if it ain’t broke, don’t fx it” school of thought, we also can’t help but notice a resurgence of classic PB&J hitting dessert and cocktail menus in Las Vegas. Here’s a taste of what chefs and mixologists are doing with this matchmade-in-heaven food—all guaranteed to kick-start back-to-school season for adults and kids alike.
PB&J GLAZED DOUGHNUT ICE CREAM SUNDAE
Weighing in at close to fve pounds, this mammoth-size dessert is amped up for ice cream and chocolate lovers. Loaded with three pints of vanilla and strawberry ice cream, one oversize 10-inch glazed donut is split and drizzled generously with peanut butter, raspberry and chocolate sauces. Whipped cream and a cherry fnish the top, while the bottom is adorned with Oreo kisses, made from Oreo cookies and chocolate ganache, dipped in silky chocolate. Share it, or have an affair with it. $30, Serendipty 3 at Caesars Palace, 702-731-7373, Caesars.com.
HERCULES COCKTAIL
Named after the divine Greek hero, the Hercules cocktail begins with a creamy peanut
Serendipity’s PB&J Glazed Doughnut Ice Cream Sundae.
butter rim on the glass. The rest of the recipe includes Belvedere Black Raspberry Vodka, Toschi Nocello Walnut Liqueur, Pallini Raspicello, fresh raspberry purée and rock candy syrup. The silky texture of the liqueurs and puree add an extra dimension to what results in a surprisingly refreshing libation. $19, Caesars Palace, 702-776-3200, FizzLV.com.
ALL SHOOK UP CONCRETE
Back in the day, the “concrete” was a milkshake that was so thick, servers used to hand out orders through the window upside down, demonstrating that not a drop will drip. Shake Shack’s All Shook Up concrete follows suit as a dense frozen vanilla custard, blended with Gimme Some Sugar’s banana peanut butter cheesecake and choco-
late toffee. Popular add-ons include peanut butter sauce and strawberry puree for one rock-solid PB&J concrete. $4.50, $6.75, $11.59 + 60¢ per add-on, New York-New York, 725-222-6730, ShakeShack.com. PEANUT BUTTER, JELLY TIME ICE CREAM SANDWICH
While growing up, Cosmopolitan chef mixologist Mariena Mercer idolized Willy Wonka
Coming full circle to a sandwich, the tastemakers at the Goodwich create one that satisfes our youth, while fulflling our adult sensibilities. Their variation on the classic PB&J melds house-made peanut butter with seasonal jelly (currently blueberry) and jalapeño. A hint of fragrant rosemary and thyme add a touch of herbaceous happiness along with bacon that is cured in-house to fnish a sandwich that embodies the perfect combination of smoke, sweet, savory and heat. $5, 1516 Las Vegas Blvd. South, 702-910-8681, The-Goodwich.com.
VegasSeven.com
PBBJ SANDWICH
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B&B Burger & Beer gives a nod to the American classic with its PB&J Shake. “What else brings back the fond memories and joy of those carefree school days more than a PB&J?” asks chef Jason Neve, culinary director of B&B Hospitality Group Las Vegas. With this shake, Neve’s turned the nostalgic sandwich into a refreshing treat made from a duo of creamy, house-made peanut butter gelato, layered with fresh berry preserves. Plus, peanut butter cookie garnish is also perfect for dipping and nibbling. $9 or $12 (with Frangelico), the Venetian, 702-414-2220, BAndBBurgerAndBeer.com.
August 27–September 2, 2015
PHOTO BY KRYSTAL RAMIREZ
PB&J SHAKE
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MUSIC
BACK TO SKULL
Dethklok’s “Go Forth and Die.”
[ OLD LADY IN A MOSH PIT ]
ROLL CALL Seven back-to-school songs By lissa townsend rodgers YOU CAN TELL IT’S BACK-TO-SCHOOL TIME
when stores stock binders and glue sticks where the barbecue tongs and beer koozies used to be. And when you observe the families roaming the aisles, you notice that the kids look vaguely worried and the parents look downright excited. But even if the closest you come to going back to class is slowing down in a school zone, you’ll still enjoy these seven righteous school-themed songs. Dolly Parton: “Don’t Drop Out” (1966). Before she was the Barbie Doll-angel of country music, Parton took a shot at Shangri-La-dom with this ode to staying in school. Barely out of her teens herself, she enacts the classic “good-girl-loves-bad-boy” tale through slightly ragged production, with those distinctive Parton pipes drenched in reverb and multitracked into a one-woman girl group. Nirvana: “School” (1989). A cut from the ostentatiously lo-f Bleach album evokes the protracted malaise punctuated by brief fts of fury that plagues suburban teens everywhere. Kurt Cobain turns out a grinding guitar riff and slurred vocals reminiscent of Mudhoney at their “Touch Me I’m Sick” sludgiest. It’s exactly the sort of thing I would have played at top volume on my Sony Walkman while staring glumly out a window at the back of the bus. No recess indeed. The Libertines: “Campaign of Hate” (2004). A bit like the Kinks jacked full of dope and whiskey, the Libertines make Britpop with a sneer. “Campaign of Hate” considers high school—its gossips and poseurs, its tedium and peer pressure—through the band’s usual sozzled and disdainful lens. Spiky, seesawing guitars and dynamic production from The Clash’s Mick Jones give a sharp edge to a poppy tune.
Deftones: “Back to School (Mini Maggit)” (2000). The epic account of teen nihilism looks back on high school without a shred of nostalgia. The abrupt shifts from semi-rapped verses to soaring choruses are something you can pump your fst and sing along to. And that was the intent: the band’s label, Maverick, wanted “a single” for their White Pony album, so the band took an existing song, “Pink Maggit,” shortened it, added the rap, and gave it to them—presumably while fipping them off with the other hand. The Donnas: “New Kid in School” (2007). An old-school cock rock number by a bunch of chicks, this song carries a swagger that would do a homecoming queen (or football hero) proud. Defnitely one to blast as you tear into the school parking lot: The big, shiny guitars, handclaps and “whoa-oh-oh”s will sound wicked cool booming out of your speakers, and will likely drown out that frst period bell. Dethklok: “Go Forth and Die” (2006). The Adult Swim cartoon about Metalocalypse chronicles the story of Dethklok, the world’s most successful death metal band. Dethklok’s shred-heavy death metal is better than a cartoon band should be, and the lyrics are truly brutal: “Move in with your parents/Back into the dark/Landed where you started/Bachelor of Arts.” The Coup: “Strange Arithmetic” (2012). Most school songs are about puppy love and homework. The Coup’s is about how our educational system perpetuates inequality: “Physics is to school you on the science of force/’Cept for how to break the hell out of the ghetto of course/Home Ec can teach you how to make a few sauces/And accept low pay from your Walmart bosses.” The strong message comes with a hook that bobs your head and a beat that moves your feet.
A&E
MOVIES
PUFF, PUFF, ASSASSINATE Jesse Eisenberg plays an uncontrollable killer in this smart stoner comedy By Katie Walsh Tribune Media Services
A SOUP SPOON TURNS LETHAL IN THE UNLIKELY
hands of sweet and spacy stoner Mike (Jesse Eisenberg) in the violently paranoid action comedy American Ultra. Mike’s a lot like the spoon—harmless unless deployed in the right way—because he used to be a particularly effective “asset” at the CIA, a term used to describe highly trained super-killers. But the program was shut down, Mike’s memories replaced with serious phobias, and he was planted in a sleepy West Virginia town with a girlfriend, Phoebe (Kristen Stewart). These days, his only experience with the law is regular visits from the local PD, due to his conspicuous marijuana habit. When a young upstart at the CIA, Yates (Topher Grace), decides to permanently terminate Mike, his old boss Victoria (Connie Britton) goes rogue to save him—activating his deeply buried talents, which prove useful for evading the team of assets Yates has sent in hot, destructive pursuit. A madcap, murderous chase ensues, as Mike lays waste to every super soldier sent his way—as shocked as everyone else at his own bloodthirsty effciency. The voice of screenwriter Max Landis, who also wrote the enjoyable
Killer looks: John Leguizamo and Jesse Eisenberg in American Ultra
Chronicle, comes through clearly, the screenplay peppered with dumbfunny lines that are slyly smarter than they appear. Mike is particularly funny in his dumbfounded realization of his abilities, which he processes with all the neuroses and worry of a peaceful pothead, aghast at his own actions. Directed by Nima Nourizadeh (Project X), the saturated colors, quick edits and crisp sound design create a heightened reality to match Mike’s newly heightened senses, which can’t be dulled even by the massive amounts of cannabis he ingests. What buoys American Ultra are the performances, and the casting director must be commended for putting together a group of talented actors who bring real emotional stakes to their characters. Eisenberg and
Stewart are perfectly matched, and her performance is a warm reminder that Stewart, released from the chains of Twilight, is a remarkable actress. You really do believe in their love and want these kids to make it. American Ultra is shockingly violent. Characters are machine-gunned down without a moment’s hesitation, digital blood and bullet holes exploding across the screen. The violence though, feels of a piece with the nihilistic and paranoid worldview of the flm, and the cognitive dissonance between Eisenberg’s sensitive scaredycat and the bloodshed he inficts is at the core of the flm’s humor. In a cast stacked with MVP performers including Britton, Tony Hale and Walton Goggins, John Leguizamo is a standout as Mike’s wild and
August 27–September 2, 2015
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VegasSeven.com
SHORT REVIEWS
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Straight Outta Compton (R) ★★★✩✩ This is a musically propulsive mixed blessing of a biopic, made the way these things often get made: with the real-life protagonists breathing down the movie’s neck to make sure nothing too harsh or unflattering gets in the way of the telling. Straight Outta Compton alternates between party scenes, filmed as if they were hip-hop videos, and confrontations or reconciliations. A tougher-minded biopic would’ve had the nerve to acknowledge some of the group’s seamier material and its role in the group’s international success.
The Man From U.N.C.L.E. (PG-13) ★★✩✩✩
Director and co-writer Guy Ritchie’s The Man From U.N.C.L.E., inspired by the 1964-1968 TV series, stars Henry Cavill as Napoleon Solo, an American CIA spy. Armie Hammer plays Illya Kuryakin, the Soviet KGB operative enlisted to team up with Solo in Cold War 1963 to unravel and destroy a Nazi-tinged, nuke-minded crime ring based in Italy. In The Man From U.N.C.L.E. we find out how these two adversaries meet (badly, violently) and how they learn (petulantly) to accommodate each other’s lone-wolf habits.
Fantastic Four (PG-13) ★✩✩✩✩
From Miles Teller to Kate Mara to Reg E. Cathey, everyone on screen in Fantastic Four speaks in a flat, earnest monotone with a determinedly low-keyed air bordering on openly not giving a rip. The film, genuinely listless as directed and co-written by Josh Trank, showcases the revised origin story of the Marvel Comics quartet, basing its storyline on the 2004 Ultimate Fantastic Four books. Adversary Dr. Doom (Toby Kebbell) wants to destroy earth and rehab Planet Zero to his liking. Lame is lame.
wacky drug dealer, Rose. Grace also turns in a deliciously jerky performance as the entrepreneurial young CIA upstart who goes too far above his station. This is a deeply weird flm—in the best way—and feels incredibly of this particular moment. There’s at once intense paranoia about a nefarious, shadowy, murderous, spying government, coupled with a streak of liberal libertarianism. Mike just wants to get stoned, be happy and have the government leave him alone, embracing the ‘60s ethos of “turn on, tune in, drop out.” Ultimately, the humanist nature of the flm doesn’t allow that to fully happen, but it’s a heck of a lot of fun watching Mike fgure that out. American Ultra (R) ★★★★✩
By Tribune Media Services
The Gift (R) ★★★✩✩
A delayed-secret suspense thriller of unusual stealth, The Gift comes from actor and screenwriter Joel Edgerton, here making his feature directorial debut. All three leading performers (Jason Bateman, Rebecca Hall and screenwriter/ director Joel Edgerton) are scarily convincing on the film’s own tight, clammy terms. Gradually The Gift unwraps a story of the past, in the present day. At heart this is a three-character chamber piece, with three very interesting actors showcased in a confident directorial debut.
Mission Impossible–Rogue Nation (PG-13) ★★★★✩
Vacation (R) ✩✩✩✩✩
The super-secret espionage agency known as the Impossible Mission Force becomes defunded in Rogue Nation. This leaves Ethan Hunt (Tom Cruise) and the gang without the leeway they need to capture the vicious head of an international terrorist syndicate known, expediently, as The Syndicate. Cruise clearly has a death wish, judging from how he throws himself into Mission: Improbable stunts every time out.
A grim reboot of the franchise begun in 1983. Ed Helms plays Rusty, the nowgrown Griswold, a regional jet pilot based in Chicago. Stuck in a rut, Rusty tells wife Debbie (Christina Applegate) that they’re going to re-create his childhood road trip to Walley World. Meantime he’s conveniently blind to the toxic behavior of his younger son (Steele Stebbins), who nearly asphyxiates his sensitive, wimpy sibling (Skyler Gisondo) using a plastic bag. It’s a comedy unafraid of death; it dies a thousand of ‘em.
Paper Towns (PG-13) ★★★✩✩
Southpaw (R) ★★★✩✩
Ant-Man (PG-13) ★★★✩✩
The Gallows (R) ★★✩✩✩
There’s something incredibly satisfying about a well-executed high school film that hits all the right John Hughes-inspired sweet spots. Paper Towns, adapted from a novel by writer John Green, does just that, with a twist. Concerned with the miracles, myths and mysteries that come with the end of high school, the film selfconsciously engages with genre tropes, while also updating and evolving the formula, this time by inserting mystery into its central storyline.
Burglar Scott Lang (Paul Rudd) leads an army of ants against the villain, Yellowjacket, played by Corey Stoll. Lang and his pals learn of a mansion safe belonging to some old rich crank. The crank is Hank Pym (Michael Douglas), whose secret involves the Pym Particle, which enables humans to shrink down to ant size. Pym targets Lang for the experiment, conducted with the help of Pym’s daughter Hope (Evangeline Lilly). Time will tell whether a movie such as AntMan, in which conventional firearms are so irrelevant, can find a big audience.
Southpaw starts not at the bottom of a fighter’s career, but the tippy-top. Billy “The Great” Hope (Jake Gyllenhaal) survived a bruising childhood in a Hell’s Kitchen orphanage alongside his childhood sweetheart, Maureen (Rachel McAdams). Life is good for the two, now married, with a bespectacled moppet of a daughter (Oona Laurence). Billy’s the light heavyweight champ, with 43 straight ring victories. But when shots ring out after Billy’s charity event argument with an up-and-coming, trash-talking boxer (Miguel Gomez), the world cracks open.
It’s 1993, and we’re watching camcorder tape of a high school play called The Gallows. One prop malfunction later there’s a dead young actor—jump to 2013. The drama department has decided to remount the play, this time with a star football player in the role of the boy to be hanged. Reese Mishler plays the fledgling actor; his costar, a devoted drama student, is played by Pfeifer Brown. Belligerent, unsympathetic jock Ryan (Ryan Shoos) hatches a plan to break into the school at night and trash the set. The specter with the noose has other plans.
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SEVEN QUESTIONS
players have done very well the last few years, and the recreational players have gotten eaten up, much like in the heyday of online poker. Will the popularity of fantasy sports betting accelerate the adoption of sports betting outside Nevada?
It lowers some barriers and makes people more comfortable with some concepts. When sports betting is going to be legal around the country is a demographics issue. If you’re under 40, you’ve bet. You have friends who bet. It’s not something that is viewed as being in any way immoral. I would compare it to marijuana maybe 20 years ago: [Members of] the younger generation smoked pot or hung out with other people who smoked pot, and eventually those people grew old enough to become lawmakers. Maybe in the next 20 years, we’ll see that in sports betting. Any NFL team a good bet on the season win total?
The professional sports bettor and co-owner of SportsMemo.com on the industry’s growth, avoiding scams and his best bets of the year
August 27–September 2, 2015
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VegasSeven.com
By Paul Szydelko
86
You’ve seen the growth of the sports betting industry from a front-row seat since you arrived here from Michigan in 1998. How has it surprised you?
There’s a lot more mainstream acceptance of sports betting now. I do a lot of radio, and 15 years ago you weren’t even allowed to mention the point spread. Now the point spread’s on the crawl underneath ESPN’s College GameDay. It’s a huge difference. The acceptance of point spread vernacular into the American lexicon has gradually and consistently increased the handle. … The true explosion has been in-game wagering. That was a market that didn’t exist, and now it’s an enormous part of the handle. The ease of betting [on apps] has been a big part of the increase.
What compelled you to move to Vegas and bet on sports for a living?
The 1997 football season. I had a great year. In the NFL, you can get a sense, “Hey, this is a week that this team’s going to show, this is a week they’re not; this is a step-up spot, this is not a stepup spot.” That year was the frst time I found that rhythm. When you’re just seeing the games and seeing stuff before it’s gonna happen, it’s really empowering and you feel [like you’re] king of the world. What can a casual fan do to protect himself from unscrupulous touts?
No. 1, if it sounds too good to be true, it is. When somebody tells you they hit 87 percent last year in the NFL, they’re lying. Period. No. 2, this is
not a get-rich-quick scheme. If you’re looking to double or triple your money by tomorrow and you have to get your fve-team parlay in, I wish you luck, but your chances of success are slim. Slow and steady wins this race. No. 3, be very wary when somebody is offering you something for free. When you “call now for your free pick,” what they want is your phone number, and then you will be called by boiler rooms. Has fantasy sports betting reached a peak?
Fantasy numbers have attracted extraordinary investment dollars. As someone who’s seen the ebbs and fows, you can easily project fantasy to have a boom and bust cycle similar to the poker boom and bust cycle, which may not be too far off. The better
In our Football Issue last August, you correctly called Ohio State (50-1) to win the College Football Championship. How about this year?
I’m going to stay in the Big 10 and go with Sparty! Michigan State (20-1) is really good. They have Oregon at home, they have Ohio State on the road. They beat Ohio State in Columbus the last time they went there; they beat them in the Big 10 Championship Game two years ago. If their secondary’s good, Sparty is absolutely live. They have a loaded offense; they’re going to outscore some teams. I’ve got $100 in my pocket. Which way do I go on the season win total (2½) for the Rebels?
Keep the $100 in your pocket. When you look at their schedule, you don’t see three wins. That being said, the Mountain West stinks this year. UNLV has a quarterback in a league where no one has a quarterback. So that makes them live to pull an upset here, an upset there, maybe steal one. I’ll say this much: UNLV isn’t going to win more than two or three games.
PHOTO BY KRYSTAL RAMIREZ
Ted Sevransky
The Philadelphia Eagles at 9½ games. They’re not going to win that many. If you look at any other team lined at nine wins or higher, you’re going to fnd elite quarterbacks. [Eagles QB] Sam Bradford is not yet an elite quarterback. When you look at the success Philadelphia has had in the frst two years under coach Chip Kelly, with back-to-back 10-win seasons, you forget this team is 3-10 against opposing playoff teams—they’re not beating any good teams. Strength of schedule this year compared to last year is tougher. [There have been] enormous offseason changes. This team has question marks all over the offensive line and secondary. And you have a clear issue with departing players, one after the next, ripping the organization.