[unable to obtain full-text material] Not just is the Virtual Zone Boyd Gaming’s very first foray into the virtual world, it likewise marks the very first VR setup on a casino floor for IGT. The addition is targeted at drawing those who otherwise wouldn’t step foot in …
< img class=" photo "src=" /wp-content/uploads/2018/01/Arsenio1_t653.jpg" alt="
Wednesday, Jan. 31, 2018|2 a.m.
I’m in my early 40s, which indicates I was a teenager in the early 1990s. For somebody my age at that time, anything crucial that occurred in pop culture took place on “The Arsenio Hall Program.” It was a huge offer.
Among the most unforgettable moments throughout the hip late-night talk program’s five-year run can be found in June of 1992, when governmental candidate Bill Clinton tossed on a set of shades and played sax with Hall’s band. It sounds a bit goofy today, but Hall’s soaring TELEVISION scores helped present Clinton to a more youthful audience that assisted put him in office.
Hall, likewise an actor and comedian who returns to Las Vegas to perform for the first time in years this weekend, informed me about how he had another encounter with Clinton that was just as remarkable.
” He was going to a soccer game and he provided me a call– well, you understand, you go through a few people then he finally gets on the phone– and asked if I wanted to go,” says Hall. “I opted for him, and at one point during the game he turns to me and says, ‘Don’t you ever believe I forgot that you’re partly accountable for me being president. I will always remember.’ It was the coolest thing.”
Hall provided late-night TV another shot on CBS four years ago but only lasted one season. “When I left late night it was me and Johnny [Carson] and Dave [Letterman], and when I came back there were 9 white men called Jimmy,” he jokes. “However it’s all timing. Perhaps since I’m a comic I blame everything on timing, but that’s the word.”
Now he’s a self-proclaimed empty-nester, with a boy away at college, which has actually prompted a go back to the stand-up comedy arena. Hall is a distinct popular comic since he’s not actually popular as a comic. “I wish to do the things I never ever did as a boy due to the fact that I never got to hit the clubs and theaters and perform for people who come just to see you,” he states. “I stayed in L.A. since I wanted to be a TV star. This is a whole different video game and I’m enjoying it. I keep informing my representative: Always remember, I was not well-known the last time I did this. I played at Caesars opening for Patti LaBelle, and under her name in small little letters it stated ‘Arsenio Hall,’ and I believe individuals thought that was the name of the location she was playing.”
He’s planning to get around as much as possible, ideally consisting of return journeys to Las Vegas. “I utilized to believe in Las Vegas, it always appeared like individuals [in the audience] closest to you were provided tickets and they weren’t really fans, so I thought it wasn’t the best location for stand-up,” he says. “But I concerned see somebody work recently and now I believe that’s not necessarily real. People pertain to Vegas because they require a break for some factor, and I want to be that break.”
Arsenio Hall performs at 8 p.m. Saturday, Feb. 3, at the Orleans Display Room (4500 W. Tropicana Ave., 702-365-7111), and more info can be found at orleanscasino.com.
Erik Kabik Harry Connick Jr. at Encore Theater throughout his November 17 show.
Three years ago I spoke with Questlove, drummer and bandleader of hip-hop legends The Roots. At that point, The Roots had actually been the house band for “The Tonight Program Starring Jimmy Fallon,” for five years, and the intensity of the regular TELEVISION gig provided the reputable group something it never had before: lots of practice. “We’re way much better artists now,” Mission said, discussing how Roots’ performances had actually progressed than ever thanks to “The Tonight Show.” “It’s borderline that I feel like we’ve been deceiving you people for 16 years now. I nearly want to send an apology letter.”
Maybe one year of TV duty on the daytime talk show “Harry” has likewise maintenanced Harry Connick Jr.’s band, due to the fact that his show at Repetition Theater on Nov. 18 was one of the very best overall music experiences I have actually had in Las Vegas this year– and that’s stating something as I have actually been to a lot of performances and shows in 2017.
Connick– the award-winning New Orleans-born pianist and singer who relocated to New york city at age 18, discovered superstardom with his tunes for the soundtrack to “When Harry Met Sally” and then got into acting and carrying out in films, TELEVISION and on Broadway– led that exact same band from his TV show, plus a string area, through almost 2 hours of some of his preferred music, seldom giving the capacity audience time to catch up. Sure, he opened with some poppier jazz selections and dipped into a seasonally proper “Sleigh Flight,” but he quickly zeroed in on the noises that formed and influenced his profession– gospel, jazz, rhythm & & blues– from his front-and-center seat at an asphalt Steinway.
If you only know Connick from the huge or little screens, you can’t assist but be blown away by his thorough talents, and the limitless energy and skill of atrioventricular bundle was there to address every call. He reviewed the Jelly Roll Morton standard “Dr. Jazz” that he first tape-recorded at age 11, this time breaking from piano to play a little bit of trumpet in a battle with trombone terrific Lucien Barbarin. He sings in Spanish for “Bésame Mucho.” He plays another New Orleans timeless, “Huge Chief,” all by himself, each hand on a different keyboard and each foot on a different drum. He seduces the audience with “One Great Thing,” a tune he wrote for his other half, actress Jill Goodacre, and even does a little nation guitar deal with “(I Do) Like We Do.”
When it was all over, after Connick’s multi-instrument repetition of Allen Toussaint’s “Yes We Can Can,” I overheard a girl seated behind me explaining how the program had actually captured her off-guard; she was anticipating a lot more Sinatra-style things as Connick was as soon as compared to the iconic crooner. I had comparable ideas, expecting more balladry than brassy horn blasts and bluesy guitar riffage. And no one expected a jazz funeral procession to make its method up and down the aisles of Repetition Theater, with Connick beating a bass drum to “When the Saints Go Marching In.” This TELEVISION talk show host has plenty of surprises.
Harry Connick Jr. continues his engagement at Wynn Las Vegas with 8 p.m. shows on Dec. 1 and 2, and ideally he’ll be back for more in 2018. Find details at wynnlasvegas.com.
Sunday, Aug. 6, 2017|4 p.m.
NEW ORLEANS– Some New Orleans officials say they’re not satisfied with the city’s response to weekend flooding, after heavy rainfall overwhelmed the city’s pump stations.
Regional news media report Council President Jason Williams says the council will fulfill Tuesday to seek answers about the pumping system.
Some communities saw in between 8 and 10 inches (20 and 25 centimeters) of rain over a few hours Saturday. City officials stated that was excessive for the Sewerage & & Water Board’s 24 pump stations to handle although all were operating.
Deputy Mayor Ryan Berni told reporters the city has no immediate strategies to request an emergency situation statement from the state, however that could alter as the city collects more information on flood damage.
More heavy rain is forecasted for Monday afternoon.
Friday, Might 19, 2017|4:33 p.m.
NEW ORLEANS– They were among the city’s earliest landmarks, as sealed to the landscape of New Orleans as the Superdome and St. Louis Cathedral: a stone obelisk heralding white supremacy and three statues of Confederate stalwarts.
But after decades standing sentinel over this Southern city, the Confederate monuments are gone, in the middle of a controversy that sometimes hearkened back to the divisiveness of the Civil War they honored.
The last of the monoliths– a statue of Gen. Robert E. Lee dealing with defiantly north with his arms crossed– was raised by a crane from its pedestal late Friday. As air was seen between Lee’s statue and the pedestal listed below it, a cheer went out from the crowd put together below who tape-recorded the history with their phones and shook hands with each other in congratulations. Numerous in the crowd had actually waited all the time in anticipation.
Lee’s was the last of four monoliths to Confederate-era figures to be removed under a 2015 City Council vote on a proposal by Mayor Mitch Landrieu. It caps a nearly two-year-long process that has actually been railed against by those who feel the monuments are a part of Southern heritage and honor the dead. However removal of the monoliths has actually drawn praise from those who saw them as ruthless tips of slavery and symbols of the historic injustice of black people.
Landrieu required the monoliths’ removal in the remaining emotional aftermath of the 2015 massacre of nine black parishioners at a South Carolina church. The killer, Dylann Roofing, was an avowed racist who displayed Confederate battle flags in photos, charging the argument over whether Confederate symbols represent bigotry or a respectable heritage.
While Roofing system’s actions spurred a dispute in lots of parts of the South about whether it was proper to fly the Confederate fight symbol– and numerous places have actually taken it down– the reaction in New Orleans seemed to go even further, knocking away at even weightier, heavier parts of history.
Landrieu drew blistering criticism from monolith advocates as well as some political allies. But in describing his reasoning, the mayor has repeatedly said they do not represent the diversity and future of New Orleans.
“These statues are not simply stone and metal. They are not simply innocent remembrances of a benign history. These monuments celebrate a fictional, sanitized Confederacy; overlooking the death, ignoring the enslavement, overlooking the terror that it in fact represented,” he said Friday.
“After the Civil War, these statues belonged of that terrorism, as much as burning a cross on someone’s yard. They were put up purposefully to send out a strong message to all who walked in their shadows about who was still in charge in this city,” he added.
Of the four monoliths, Lee’s was easily the most popular: The bronze statue alone is close to 20 feet (6 meters) high. It’s a bronze sculpture of Lee looking toward the northern horizon from atop a roughly 60-foot-tall column.
It’s not huge like the Superdome or attractive like Bourbon Street, however Lee in his uniform was a familiar landmark for tourists and commuters alike.
Lee’s elimination was prepared during the day, and announced in advance. Earlier removals happened after nightfall, a preventive step due to security issues for professionals and workers associated with the effort. Landrieu stated the modification was out of safety concerns since the statue was close to electrical wires and New Orleans’ well-known tram lines.
The atmosphere Friday was practically joyful as lots of individuals, some with lawn chairs, came out to see what lots of called history in the making.
“If you can see history as it takes place, it’s more meaningful,” said Al Kennedy, who supported the elimination. Mentioning the Confederate past, he stated: “It’s my history, however it’s not my heritage.”
In 2015, the City board voted 6-1 to get rid of the monoliths after a succession of contentious public conferences. Professionals associated with the removal process have actually been threatened; statue advocates sued repeatedly to keep the statues up.
At last, a court choice cleared the method for the April elimination of exactly what is likely the most questionable of the monoliths– seen as an overt homage to white supremacy. Statues to the Confederacy’s only president Jefferson Davis and Gen. P.G.T. Beauregard followed in fast succession till only Lee was left.
Attention now shifts to where the monuments will go and exactly what will take their location.
The city revealed an overview of its strategies late Thursday. It said it has gotten offers from public and personal organizations to take individual monuments, so it will solicit propositions on where they will go through an “open and transparent choice.” Only nonprofits and government entities will be allowed to take part, and the city said the process will not include the Beauregard statue because of legal problems.
The city said those taking the statues can not show them outdoors on public property in New Orleans.
The city prepares to leave the column at Lee’s Circle intact and will install public art in its location.
An American flag will stand where the Davis statue utilized to be, and the area where the Liberty Place monument utilized to stand “will remain as is.” The City Park Improvement Association, civic groups and the city will choose what will go where the Beauregard statue as soon as stood.
The city wishes to complete the work during its tricentennial year in 2018.
Associated Press writers Kevin McGill in New Orleans and Jesse J. Holland in Washington added to this report.