Yesterday I got a call from a public relations firm that represents a plastic surgeon. He is going to strip club dressing rooms and giving Vegas dancers a combination sales pitch and motivational lecture on how to "recession proof" their bodies. Ah, Vegas.
I asked if this jargon meant he was trying to sell lots of boob jobs? But, of course, I wasn't thinking. That particular surgical intervention has already taken place for many dancers in the topless bars of Vegas. So, in fact, this surgeon offers a far wider range of cosmetic surgical options. I am hoping to go along with the plastic surgeon next week as he gives such a speech at a topless bar.
On a similar topic, I was at a major Vegas topless bar over the weekend reporting a story for my column in Las Vegas Weekly. On my way out of the club, it turned out I knew the general manager of this topless club (we both have strong connections to Minneapolis). He gave me a tour of the club. We then headed toward a booth to catch up and I agreed not to name his club in what I wrote. I knew that way I could get more candid answers from him; candor is usually not easy to get from most management in the Vegas jiggle business. I asked him if he felt there was a recession in the Vegas topless bar business right now. "Absolutely. We feel it. It impacts the middle. But the rich people still have plenty of money and so from VIP clients we can still make plenty." And, the best way to get VIPs. . . . Well, it turns out this club is one of the ones the plastic surgeon is planning to come give the dancers the "recession-proof"-your-body lecture.
Anyway, when we reached the booth, looking forward to talk about First Avenue and the Replacements reissues, he evicted four dancers conferring at the table. They were all attractive in the identical dancer way. I don't mean that to be condescending. These were very attractive women who all had the same hair, makeup and style of dress. As the dancers were leaving the table, the general manager pointed out one who happened to be the top-earning dancer at the club. "Last month she cleared $80,000," he said. Yes, I double-checked that with him. In one month. As I had already told him I was not running the club's name, he had little motivation to lie to me.
For perspective, most dancers I have interviewed over the years are looking for $500 to $1,000 on a good night. A lot of the big numbers you hear from stripping in Vegas are exaggerated or skewed. But there are certainly a few dancers like this one.
I once directly reported on a dancer who earned $3,000 in a single shift and, for her, a very typical night. In her case, though, the reason she made so much money was not exactly clean. She was a hustler who slipped bribes to doormen to get the best customers, along with lots of other entrepreneurial efforts less noble, including secretly meeting clients outside the club for, she claimed, just dinners and shopping. Arranging meetings with clients outside a strip club is a firing offense at almost every club in Vegas. But the risk to her was worth it. There are a lot of strip clubs in Vegas and she knew she could always get another club to hire her. For her, each night was renewed exploration into the land of tourists for fresh money opportunities.
So, I wondered if this dancer was the same deal? Honestly, there was nothing distinctive physically about her. She was as attractive as most Vegas strippers in a totally unsurprising way. She had shoulder -length dark hair (probably extensions), seemed to have already recession-proofed her chest, and was perhaps 5' 8" in heels. Very typical. I know dancing is primarily a sales job. But $80,000 is a lot of dances to sell in a month. So, I asked the general manager how she managed to earn so much money and was she, to be blunt, a hooker on the side?
He swore she was not, and that she was simply the best worker he had ever met. First off, she works only in the VIP room (where a dancer can get $500 an hour plus tips). Second, she creates regular fans who often come to see her every night of their vacation once they meet her and, according to the manager, she has "a personality you can't fake. It is so down to earth if you met her and talked to her for five minutes, Richard, you would want to give her all your money."
Well, that wasn't going to happen. But I did ask to meet her for a brief interview to see if I could detect whatever charisma she had that made her so special that she could make in a single month what for many would be an annual salary. Of course, she was in the VIP room by then with a customer and unavailable for interviews, working on her next month's total.
I heard from a reliable source connected to the adult entertainment world that Larry Flynt/Hustler was negotiating to buy tiny Ellis Island casino in Vegas. I reached out to both Flynt and Ellis Island. Ellis Island would give me no quote on the record. But I was told executives there were laughing at the idea that the property is for sale. Well, they can relax about Larry Flynt buying the place, anyway.
This morning I reached Theresa Flynt, vice president of business development for Hustler and daughter of the owner. She confirmed that Hustler looked at Ellis Island but decided not to try to purchase the property. However, Theresa Flynt also confirmed that her legendary high-roller father is very aware of the precarious financial situations at various Strip casinos and that he is actively interested in buying a Vegas casino. She added that her father has even been approached already by one Strip property (not Ellis Island) about a possible sale. But for now, Hustler/Flynt has yet to find the right property at the right price to enter the Vegas casino market. But according to Theresa Flynt, there is definitely an active interest in bringing a Hustler-owned casino to Vegas.
...and so it came to pass, the beloved corporate Gods smiled benevolently my way. The word went from Oprah's company, Harpo Productions, to the Harrah's corporation to the people at Caesars, who reached out to local public relations behemoth Kirvin-Doak, who had an account executive to call upon me late Friday night with the news that I would be granted a single ticket to see Saturday afternoon's "Oprah Winfrey Show" taping with guests Cher and Tina Turner at Caesars Palace. I had totally failed in earlier attempts to get a ticket. But I was also not the only media present. Also there was Steve Friess (USA Today and The New York Times), Doug Elfman (Review-Journal) and fellow blogger Robin Leach. Some were contacted as late as Saturday morning.
I won't bore you, the television-savvy audience of Los Angeles, with too many of the details from a television taping. I am sure you know them far better than I do. But to me many of them were so un-Vegas I was in awe.
For example, there was no attempt to sell people stuff by Oprah's people! I don't just mean that all the tickets were free -- with the huge caveat that you had to be connected in Vegas or Oprah-land to get one. (And on Harrah's side, the biggest caveat being, of course, one way to a precious ticket was to be a person who gambled a good sum at a Harrah's property.)
Still, this audience was in hero mode. And on the Oprah side this was the first time I saw the Caesars Colosseum's ample souvenir stand empty Just imagine how many Oprah shirts, magazines or coffee mugs with inflated prices the worshipful audience would have snapped up. When the usher confused Steve Friess' ticket with mine, one lady begged us to let me sit in front of her like her life depended on it. Why? I am shorter. But instead the crowd of potential shoppers was left only with the nearby Bette Midler souvenir store. The other totally empty spot in the packed arena was the men's restroom: vacant enough for Buddhist meditation.
I also now know why five hours are required for taping a television show. There was an exhausting more than 40 minutes of preparation in which we had to react from "golf clap" to seeing "something cute." And we were told wear lots of lip gloss and to practice being excited before Oprah came out. Lots of stuff had to be shot twice.
The big moment was one such instance. Tina Turner was meant to break the news that she was ending retirement and going on tour. Instead, she wandered about the issue in an answer so convoluted that Oprah finally blurted out the applause moment. They reshot that so Turner could tell people succinctly she was returning to the road. No Vegas show announced.
I was most interested in Cher. She has a show opening next month in the room, and I was hoping for some preview of that show. We got that with Cher debuting a fully produced "Take Me Home" with live vocals. Cher is 61 only in the possible way you could look during your best dream.
There will be plenty of showgirls in sequins and Bob Mackie gowns. It is going to be a quintessential Vegas show.
I think I earlier expressed reservations about Cher being able to move tickets and hold the spotlight in 2008 Vegas. Let me take my foot out of my mouth right now while I still have time before the show opens. Cher is going to be the biggest hit in Vegas since "LOVE." Tickets are going to be impossible to get, and she is going to cause as big a sensation as Celine Dion.
Recently I was blogging here about how the Strip has abandoned the ambitious production show efforts of a couple years ago that tried to craft original concepts like the Fashionistas, challenging experiences like Prince's live explorations at Rio, or even entertainment that is daring only in the overkill of obvious like Beacher's Madhouse that mixed showgirls, variety acts, acrobats, nightclub VIP treatment and, not to forget, lots of little people impersonators.
All of those efforts are gone now, and they did not necessarily fail because of audiences. Fashionistas never had resort support marketing and was placed in a lousy location at the side entrance of Planet Hollywood (accessible only from the street on Harmon). Prince was never going stay forever at the Rio. And the Hard Rock's support of Beacher was as an old-school loss leader; the Madhouse was not the sort of expense easy to justify or comprehend by the out-of-town public company with little Vegas experience that bought the resort from Peter Morton, the owner who funded the Madhouse.
Also vanished is any enthusiasm for more Broadway-to-Vegas shows. This was clearly though the audiences' choice. "Hairspray," "Avenue Q" and "Spamalot" were all shows worth seeing, and all received a lot of marketing and press; yet tourists did not consider them an essential part of a Vegas vacation in the way Celine Dion was from the moment "A New Day" opened to the night she closed at Caesars.
Vegas entertainment has also failed on efforts at high art too, with Wynn's art gallery and now the Guggenheim (at Venetian) shutting down.
So, instead, the self-proclaimed Entertainment Capital of the World is playing it safe by offering up a patch of fallow, dull predictable new shows the most successful of which are likely to be Celine's replacements: Cher and Bette Midler.
The show you have to feel sorriest for is "Jersey Boys" at the Venetian's Palazzo. With its grand opening weeks away, "Jersey Boys" is the last scheduled Broadway-Vegas show to open planned back when casinos were referring to the Vegas of the near future as Broadway West. No one says that anymore, and it seems inconceivable that a musical based on the Four Seasons will succeed where so many other Broadway shows have not.
Meanwhile, the laughably uninspired Danny Gans show is going to be the big headliner at Wynn's new Encore (though to complicate things Gans is going into the theater "Spamalot" is leaving). As one local writer, Steve Friess, noted recently in a column, after he reported accurately how easy it is for locals to score free tickets on the Internet to Gans at the Mirage, that Gans' "act is so notoriously stuck in the 1990s that he must be fervently praying for Hillary Clinton to win the election." My vote there is that Gans is more stuck the '80s. Either way the show is awful. Friess went on to conclude: "Wynn has chosen not just to hire Gans but also make him the face of his new, uber-elegant property, and that could end up backfiring and actually degrading the image of Encore." Or, as I wrote recently: "The Gans show is the tackiest part of Mirage and will soon be the tackiest part of Wynn's Encore."
But yesterday came the announcement where once again (unlike just a year ago) I need to start hanging my head low and mumbling with shame when I tell people I cover entertainment in Vegas. Yes, yesterday came the official word on the newest headliners at the Flamingo: Donny and Marie Osmond.
About the only show with any buzz coming up is Criss Angel's forthcoming collaboration with Cirque du Soleil, "Believe," set to open at Luxor in September. But at the end of the day, "Believe" is a show that plays it safe in three ways by mixing magic, celebrity and Cirque.
There are still some good shows on the Strip, but they are getting fewer. Penn & Teller remain the essential entertainers who always add new elements to their show. One of the five Cirque shows in Vegas is certainly worth checking out if you have never seen one. And Wayne Brady also updates Vegas variety in a way that lacks cheese and you can enjoy without irony.
But unlike just a year ago, there is no exciting new entertainment on the horizon for the Strip and little going on that is worth tourists paying the ever-expanding ticket prices for production shows.
(photo of Beacher's Madhouse in 2007, by Sarah Gerke)
Steve Friess is one of the best known and most prolific writers in Vegas. He wrote the book "Gay Vegas," the first tourist guide to Vegas for gays, edits a weekly pod cast and does a Vegas blog. He is best known for his regular coverage of Vegas for USA Today and The New York Times. He is one of the handful of print journalists who cover entertainment full time along the Strip.
Today Friess offers in his column in Las Vegas Weekly (where I am on staff) some of the harshest words yet against Cirque over the company's $100-million show at Luxor opening in September with headliner Criss Angel. A firestorm has been raging in the press since Angel physically threatened local Review-Journal writer Norm Clarke (another of that handful) after the Miss USA Pageant at Planet Hollywood.
"Indeed," Friess writes, "with Angel, Cirque is now laying in a bed of nails with one of the most controversial and egotistical figures on the American pop landscape...The Cirque suits in Montreal must be sweating, but they also failed to either make a public statement condemning Angel’s threats or force him to apologize (to Norm Clarke). They’re powerless, it seems, and thus it’s only a matter of time before they helplessly watch their enormous investment be hijacked by a man not given to respecting much of anyone."
I hope Friess is wrong about this. Angel is under a lot of pressure right now creating a show by September, and he is obviously a passionate person. Also, the few times I have interviewed and spent time with Angel the man has been polite and disciplined. But his unrepentant and unacceptable behavior toward Clarke, not to mention all the other Criss Angel-Miss USA drama that have been reported by me and others, has totally challenged my old assumptions about Angel.
Friess is right to single out Cirque for not making their headliner behave like a professional. I know if I had physically threatened Criss Angel or any other Vegas headliner, I would be unemployed no matter the circumstances. Yet Cirque is either unwilling or unable to get Angel to apologize and retract his threat to blind a man.
I want to add that Cirque's connection is part of what makes this story so surprising to locals. Angel was just another cable television star who taped in Vegas before Cirque made him its first headliner in the company's history. And before this incident (and I do not mean just with reporters), Cirque, of all the entertainment companies in Vegas, big and small, enjoyed an unblemished and probably unequaled reputation for being a class outfit on every imaginable level. In one night Criss Angel changed that seemingly forevermore. (Photo by Sarah Gerke)
A few weeks ago I was contacted by "The Oprah Winfrey Show." The representative did not want to talk to me about one of my stories; the person only wanted to get rights to a photograph that appeared in an article I wrote in 2004.
Usually, I am responsive to other media colleagues who need Vegas information, and usually they are polite when asking. But the Oprah representative's note had a certain voice of command rather than a request. So I didn't reply to the note at all. I don't work for Oprah Winfrey, and her show deadlines mean nothing to me. Besides, there was another issue; I had no memory of how the photography got into a story from four years ago. So there was really no way, even if they had been polite, that I could help Oprah without abandoning my own work to make a bunch of calls to track people down I have not spoken to in years.
A few hours later I got a frantic contact from the current editor of the publication I wrote that story for in 2004. Oprah's people had gotten in touch with her, and she desperately wanted to please them. Sorry, there was nothing I could do to help. And I felt good saying that. If there is one place on Earth that Oprah Winfrey should not matter, it is Las Vegas. Nothing against her, but what does she have to do with gambling, partying and doing things that are bad for you and wasting your money in degenerate ways? Nothing. Or so I thought.
The power of Oprah turns out to be even in Vegas too mighty to be ignored.
This weekend the hottest ticket in town turns out to be a taping of Winfrey's television show at Caesars Palace. This is crucial Vegas, because being interviewed is soon-to-open headliner Cher discussing her show. Interesting too is that the other guest at Oprah's taping is Tina Turner.
The last time Winfrey did a Vegas taping was in 2003, also at Caesars Palace with Celine Dion before her show, "A New Day," opened there. So Cher makes perfect sense. But I am fascinated to know why Turner is on the bill? It seems extremely unlikely that Turner could be planning a Vegas show.
Anyway. Having just ignored their request of me, I have unsurprisingly totally belly-flopped in my attempt to get a ticket to the Oprah taping at Caesars.
I feel like James Frey.
Oh, mighty Oprah people, forgive me! I promise, next time one of your minions needs to know how a publication I once wrote for got a photo in 2004 on a few hours' notice, I will understand this is the most important task in my life.
I don't play video games. But I got a good laugh checking out this preview for the much anticipated This Is Vegas game scheduled for release later this year. The game apparently will feature four pillars of Vegas (the first two of which have little to do with Vegas): fighting, racing, gambling and partying. I mean, people fight here and I guess race, too, but really Vegas only has the two pillars: gambling and partying:
On the clip you can hear a narrator solemnly informing us of other aspects of Sin City: "Dancing is a big part of Vegas." You don't say? The nightclub in the preview, if it were really in Vegas, would be the first club I have ever seen not littered with dark-suited security personnel wearing earpieces. Of course, no security is essential, because the game encourages bar fights that "captures the fun over-the-top Vegas vibe." Actually, the one or two fights I have ever seen in Vegas nightclubs resulted in an immediate and overwhelming show of club security ejecting people.
In fact, forgetting This is Vegas, the game, in the real Las Vegas the nightclubs have so much security... Well, forgive me if I digress a little in the telling of this story about real gaming of a nightclub's system. I can't resist; it was an only-in-Vegas evening. And it was one of the more amazing feats in tricking nightclub security I have seen. It wasn't a huge feat by "Ocean's Eleven" standards; but this small trick was plenty impressive, a stunt worthy of a lot of "buzz" points in my This is Vegas game.
This story takes place earlier this year, one Las Vegas evening of the sort that becomes early morning before the end.
I always say my life looks much more fun to read than it is to live. On this night, I had to visit five different nightclubs in five different resorts on the same evening for three different stories. This was not barhopping. I don't drink. This was pure work. I had to take detailed tours and notes at some clubs and do interviews at others. My goal was to do all the reporting and get home fast, because the first story was due the next day. Or, since I would certainly not be done reporting until some early morning hour, the story would technically be due that very day, probably, before I could sleep. The main challenge then for me was to get inside each nightclub efficiently.
Back in those days, meaning before the IRS visit to PURE, it wasn't exactly easy at any major nightclub on the Strip for a 40-year-old guy, even one on "the list," who wasn't going to slip a doorman $100 to get attention among the hordes of people waiting on the wrong side of the rope. I came up with a suitably Vegas solution. I begged a famous adult film star I know to come along with me as a favor.
This plan worked like a charm at every club. Instantly, the doormen would talk to her and she would explain why we were there. The ubiquitous dark-suited doormen would then check the list, communicate via earpiece, and we would be swiftly escorted to wherever I needed to be. We made it to four clubs between 10 p.m. and 1 a.m. Most of the time was actually spent waiting in traffic on the Strip, or standing in a corner waiting for a busy manager to have the time to talk with me. I had $100 cash with me at the start and, between taxis and diet sodas with caffeine, I quickly ran through the money.
LAX at Luxor was our final stop. It was also the busiest. This was one of the evenings of the Miss LAX bikini contest, which involved packing the club's stairwell with women in bikinis and high heels. And there was a very long wait for the person I needed to interview. Even worse, my interview subject was not a club employee but a club guest who bought a VIP table. This meant that unlike every other club I had been to that night, I could not count on LAX to care much whether I got my work done.
Anyway, it turns out that getting inside a nightclub like LAX is one of two equally difficult access challenges. The other is going to the bathroom. Since we weren't actually club guests, we did not have the proper hand stamps, wristband or whatever it was to get back to the VIP area in which my interview was going to take place. I asked an LAX security person if we could get back to our spot if we searched out restrooms, and apparently that wasn't going to happen without more tipping than I was capable of offering. I quickly broke off the conversation because I was afraid he might start looking for my wristband or hand stamp.
Suddenly another dark-suited security man with an earpiece came over to say something I could not hear to my friend and hand her a business card. She spoke to him about our dilemma and we were set. He walked us both to the restroom. And, to get us there, we passed through in the most efficient way, even more exclusive areas of the club than the one we came from. He made other security part for us like Heston in that movie. Afterward the man walked us back through all the dancers, different VIP sections and to our original spot.
It was a month later that I ran into this man again on another assignment, this time at the place where he actually worked. That night he was working security for Penthouse Pets who happened to be near where we were waiting and he had recognized my friend. He explained to me that he figured with all of the security present at LAX for the bikini contest that night he could easily pass for an employee in the bustle of LAX. He was large. He had the uniform. He had the earpiece. He was proud of pulling this off for my friend of whom he was a fan. He was only coincidentally helping me out. When I got home I called my friend and she checked the business card she got that night and confirmed his story.
This is Vegas: Tricking nightclub security to allow a group of three to pass unchallenged with all alacrity through various restricted and expensively rented club real estate in a packed nightclub to a bathroom in back is truly a challenge worthy of a skilled gamer.
Earlier today TMZ had a photo that appeared to show "Rock of Love 2" star
Angelique Morgan flashing club goers from the VIP section of Pure nightclub at
Caesars Palace.
While there are topless shows in Vegas
resorts, those productions all require a special permit. Within a nightclub it
is a big no-no to be topless. So, I immediately reached out to Pure and the
response was interesting. When they got back to me an hour later, first off they
informed me of Pure's policy:
"Pure Management Group has an absolute zero tolerance policy in regards to
that sort of behavior and if we see it happening that person is immediately
asked to leave and is not welcome back at any of our venues."
Then the spokeswoman asked with all innocence what photo I was
speaking about?
Sure enough the incriminating photo is no longer on TMZ's site. Though
comments for the original photo post remain on the site, now, a shot of Mary
J. Blige has inexplicably turned up in the place of the original offending topless shot.
Most of the time TMZ has amazing exclusive shots from Pure. I wonder how they get those photos? And, why would they take down one photo that could cause hassles for Pure?
I've reached out to TMZ.com for comment on why the site removed the photo of topless Angelique Morgan.
Each year Tiger Woods hosts an annual charity auction and concert in
Vegas. This year the concert was Van Halen, who filled Mandalay Bay's events
center. But a large part of the $1.5 million came from a dinner and charity
auction held for those who can afford it before the concert. One regular Tiger
Jam attendee, Kristi Yamaguchi, told me: "Vegas is great for charity. It brings
people together for a cause and people love the town."
She is right. As shown on Buick's site, a loaded Enclave costs $36,955. My
bet though is if you went to a dealership you could get that price down a
little. But then you would not have a Tiger Woods signed visor on the car.
For that honor, Bill Sopko, who is the president of a company that makes
grinding machinery and who was visiting Vegas from Cleveland, was willing to offer a winning
bid of $46,000. These days you don't send a check later. A woman
promptly appeared at his dinner table with a mobile credit card charging device
to collect that $46,000. After getting his card back, Sopko explained his
choice:
"I love Buicks and I have one now, but my wife hates it. She wanted me to buy
a different car. And this is for charity. It takes gas and I am just going to
drive it like a regular day car. The problem is that I am going to take it to a
restaurant or somewhere else and say, 'This is a Tiger Woods car,' and they're
going to say, 'No it's not.' " (Photo by Sarah Gerke)
Even more examples are emerging of Luxor/Cirque headliner Criss Angel's outrageous behavior at the Miss USA pageant last week at Planet Hollywood.
I've been reporting on Angel's threat to a local journalist, a threat Angel has not chosen to retract.
But today Review-Journal publisher Sherman Fredrick on his blog gives new detailsabout Angel's behavior during a commercial break in the pageant broadcast on NBC:
"Upset that his girlfriend, Miss Nevada USA Veronica Grabowski, failed to make the final 15 ... Angel made a spectacle of himself and took things into his own hands. He approached the stage and attempted to have a contestant trade places with Grabowski during a commercial break to improve his girlfriend's camera exposure. Later, when an NBC camera moved in to get a closeup of Angel in his seat, he flipped 'em the bird."