Seminal vocalist Rod Stewart performs at the MGM Grand Garden arena on March 17. Tickets are $50, $100 and $150 and go on sale at noon Saturday at the venue box office and Ticketmaster outlets.

Hot modern country troupe Rascal Flatts hits the Mandalay Bay Events Center on March 10, with Jason Aldean. Tickets are $75 and $100 and go on sale at 10 a.m. Saturday at the Mandalay Bay box office, 3950 Las Vegas Blvd. South, and Ticketmaster outlets.

Oscar-winning actor and nouveau R&B crooner Jamie Foxx stops at the Aladdin Theatre on Feb. 16. Tickets are $55, $75 and $125 and go on sale at 10 a.m. Saturday at the Aladdin box office, 3667 Las Vegas Blvd. South, and Ticketmaster outlets.

Hard rockin’ blues guitar great George Thorogood performs at the House of Blues on April 13. General admission tickets are $32 in advance, $35 day of show, seated tickets are $40 and special reserve seats are $45. They go on sale at 10 a.m. Saturday at the venue box office and Ticketmaster outlets.

All he wants for Christmas is the only thing he ever wanted:

“Just want to be your play thing, don’t need to be your smokin’ gun,” he wailed in a blues shout, accompanied by rudimentary guitar picking and minimalist drum beat.

More of the review here:
http://www.reviewjournal.com/lvrj_home/2006/Dec-15-Fri-2006/weekly/11389043.html

Derek David holds the note, a little flat, but impossibly long and amplified a little too loudly, so it beats out over the audience like a rubber jackhammer. When he pauses for breath and the next syllable, two older ladies in the middle row of seating stand up and start clapping, glaring at their male companions until they, too, rise.

When the song ends, many more people stand and the clapping in the Sahara’s Congo Room seems a little louder than it has for the other songs sung by a triple billing of the Platters, Cornell Gunter’s Coasters and Beary Hobb’s Drifters. David looks as gratified at the applause as a singer could be. And they say he’s been singing the music of the Platters for 36 years.

And maybe he has. But with whose Platters?

Certainly not the original lineup that dominated the late ’50s with hits such as “Only You” and “The Great Pretender.” Nor was he part of the ’60s lineup or the largely forgotten replacement 1970 lineup.

More Here:
http://www.lasvegassun.com/sunbin/stories/do/2006/dec/16/566652700.html

Wearing a grin on his face and a tiny martini-shaped pin on his lapel, Las Vegas Mayor Oscar Goodman didn’t hesitate when asked for his favorite Las Vegas New Year’s Eve celebration.

“I can tell you that my favorite was before I was the mayor, because I went to bed at 9 o’clock at night,” the mayor said Thursday morning after a news conference announcing “America’s Party: Las Vegas New Year 2007.” The party’s wide scope - from the Strip to Fremont Street - was evident by those who participated in Thursday’s event. Also taking the stage were Las Vegas Events President Pa t Christenson, Las Vegas Convention and Visitors Authority Vice President Vince Alberta, Fremont Street Experience President Jeff Victor and Pyro Spectaculars President Jim Souza. The fireworks show - produced by Pyro Spectaculars - is titled “Vegas Royale 2007″ and will have a soundtrack composed of James Bond film music.

The fireworks show will be launched from seven Strip rooftops, pared from 10 in past years. Bally’s and Excalibur are not needed for this party, as they are close to other hotels participating in the show, and also sitting it out is the shuttered Stardust. Resorts launching explosives will be Monte Carlo, MGM Grand, Flamingo Las Vegas, Treasure Island, Venetian, Circus Circus and Stratosphere.

“The truth is, each year since I’ve been mayor has been more spectacular than the last,” Goodman continued. “The thing I like most about it is walking around the Fremont Street Experience and seeing how well-mannered the crowd is, and at the same time enjoying the revelry and having a good time.”

For this year’s celebration, Fremont Street will share the spotlight with the fireworks show in Direct TV’s coverage on its music show “CD USA.” The music lineup of All-American Rejects, Five for Fighting, Rockstar: SuperNova, Smash Mouth, OK Go and Chicago is the most ambitious booking ever on Fremont Street for New Year’s Eve (damning with faint praise, yes, if you consider that the remains of Bachman Turner Overdrive was the headliner in 1999-2000). Cost for the 18-over party is $80, and that doesn’t include flat beer served in plastic footballs.

“It’s huge, absolutely the most important New Year’s Eve we’ve had downtown,” Goodman said. “It’s not just our party, it’s the world’s party.” And we are accommodating hosts - according to Alberta, 301,000 visitors are expected to drop in on Las Vegas on New Year’s Eve.
Las Vegas SUN: John Katsilometes

Squeal those wheels, cruise on by and drive right over to the Imperial Palace Hotel & Casino for three limited edition commemorate $5 casino chips celebrating the silver anniversary of The Auto Collections.

The gaming tokens will be issued at 3 p.m. Friday, Dec. 15, at one window at the casino cage. Only 500 of each of the three designs have been commissioned. On the day of issue, purchasers may buy only five of each of the three $5 special celebration chips per visit to the cage window.

The front design on the first chip features a 1936 tri-tone blue Delahaye 135 Competition Court Figoni et Falaschi coupe. The one-of-a-kind car, once owned by ‘30s film star Delores Del Rio, was first shown at the 1936 Paris Auto Show. On the flip side is the IP’s signature pagoda.

The front of the second $5 chip shows a 1933 Rolls-Royce Phantom II Darrin Sedanca Deville. Also a one-of-a-kind, it was specially designed by Howard “Dutch” Darrin for Countess Dorothy di Frasso, who wanted a car more elegant than the Rolls-Royce Phantom II owned by her social rival, actress Constance Bennett. The chip’s flip side shows a daytime exterior of the hotel from the Las Vegas Strip.

The third design is of a 1962 Chevrolet Corvette, considered in the automotive world to be an authentic American icon. The visually striking roadster has had the longest production run of any American sports car and has stayed true to its legacy. The ’62 is the last year these vehicles were made with a solid axle. On the back of the chip is a close-up of the IP at night.

http://www.VegasTalkRadio.com

Since our show has been running for several years now, there are quite a few.  So you’ll need to select the Intial of the Last Name of our guests to locate them.  Take a look around and listen in!  Each interview runs less than 20 minutes.

This week’s show for Thursday, December 14, 2006 contains:

An interview with Steven Diamond, who for over 30 years was a very successful performing magician who opened and performed with the biggest names in entertainment. That was before his collapse onstage from a long term anxiety disorder he and thousands of others suffer from. He tells the story of how he has managed to get it under control and help thousands of others with the books and programs he has authored.

The “Vegas Confidential” call with Norm Clarke,  Norm is voted “Most Connected” person in town and daily columnist for the Review Journal and author of the best selling “1,000 Naked Truths”.
http://www.NormClarke.net

“Show Happenings” with Chuck Rounds - Chuck reviews the events happening this week in Las Vegas.
http://www.StraightFromTheStrip.com

“Fine Dining” with chef and Radio Show host Les Kincaid.
http://www.LesKincaid.com

“The Godfather of Las Vegas”, Mark Wayman’s Insider Report
http://www.godfatherlv.com

“The Las Vegas Nightclub Report” with Jodie Rocco from TravelNice.com & Nightclubs.com
http://www.travelnice.com/?aid=7397

SPECIAL CONTEST !!!!

Go Where No One Dares To Go.  The 2007 AVN Awards, Saturday, January 13th.

VegasTalkRadio.com and the AVN (Adult Video News) Network are giving away 2 full passes to the Adult Entertainment Expo (valued at $150), 2 tickets to the Adult Video Awards Show on January 13th at Mandalay Bay (valued at $300) and a collection of Wicked Adult DVD Movies (some would say priceless).

You must register to be eligible for the drawing which will be held on the show January 4th!  Registration will be accepeted up to January 3rd, so don’t wait!  Click here:

http://www.vegastalkradio.com/?rdx=5q12zAVN

Come join the fun and excitement of this year’s AVN adult entertainment awards. Rub shoulders with your favorite adult movie stars, mingle with winners, and be entertained like you’ve never been entertained before.

To view the 2007 AVN Awards flyer, visit http://newsletter.avn.com/avnawards/2007/

Table game players and sports bettors exited Nevada casinos with a little more money in their pockets as the state’s monthly gaming win fell for only the second time in two years, according to figures released Thursday by the Gaming Control Board.

Nevada casinos won $985 million during the month, a decrease of 2.7 percent compared with $1.01 billion won in September 2005. The fall wasn’t as steep as in June, when statewide gaming revenues declined almost 3.5 percent from June 2005.

More Here:
http://www.reviewjournal.com/lvrj_home/2006/Nov-10-Fri-2006/business/10736340.html

This relatively scriptless, improvisational comedy show tucked secretly in a comfy showroom inside the Flamingo, packs a unique comic punch of which it’s knuckles don’t fail to graze anything- young, old, straight, gay, and grotesquely yet beautifully human. The “Comedy Empire,” known for it’s hand in training comic heavyweights such as John Belushi, Bill Murray, Joan Rivers, Martin Short, Mike Myers, Tina Fey, and Dan Akroyd originated in Chicago in 1959 and it’s madness has seeped since into Detroit, Toronto, Denver, and Las Vegas. The final product is a show that literally puts all the fun back into mankind, dissecting the human condition relentlessly while exploiting everything at a satirical level off the charts.

Each skit branches off from a central theme, one which demonstrates that nothing is sacred, not even religion. In an office setting are brainstorming workers (angels) and their almighty boss (God) trying to figure out what to do with humans down below. An example of their ingenuity as creators: “Why don’t we make the men smart like the women? Same reason we don’t make animals talk.” Demoralizing, insulting, and belittling? Perhaps. But a much needed laugh in the face of an often ugly world.

The rest of the material shares the same gutter. For instance, family issues, alcoholism, sex, weight gain, and divorce to name a few joys are all desensitized and brought down into the format of a child’s ghost story. What are those things after all besides one big nightmare anyhow? A similar sarcastic bit exhibits girl scouts singing with a chippery upbeat demeanor though their lyrics are far from sunny as they gaily sing about how life will slowly crush one’s soul.

The cast of Second City moves in and out of sketches and life’s idiosyncrasies so fast and unpredictably they give A.D.D. some real competition. This is appropriate as Las Vegas life fuels such dementia and one day in this town can give anyone comic material to last a lifetime. The new Vegas Slogan conjured up by Second City’s far from professional tourism and marketing department states, “Come to Vegas and leave with Gonorrhea.” Don’t forget to go overboard with new age beauty treatments such as the Bellagio Spa’s Koala Placenta wrap. Then, allow all the magic and romance to be sucked out of a Venetian Gondola ride as the Gondoliers sing in an Italian accent, “Tiiippppiiimmeeee pleeeeeeeasse. Oooooonnlyyyy $5.50 an hoooouuurrr to push these biiitchessssss arooooouuund!”

The cast then embraces one of life’s more regular characters in all cultures- the overbearing waitress that talks way too much and is incapable of minding their own business. One of Second City’s female comics pushes her annoying self into the faces of audience members and works on an improvisational level that is limitless. Any audience member’s shirt, name, even drink is all up for grabs in the name of ad-lib comic relief. And the cast is just as quick to tear apart the other side of the funny spectrum as well with a perfectly choreographed dance routine for an MTV spoof. It’s not, however, beautiful people in scantily outfits, it’s normal fat folks celebrating sweat pants and obesity. Any viewer will find the change in aesthetic focus quite refreshing. “Saggy Ass Sweet Pants.”

Yes, television definitely does tend to put a false smile and way too much make-up on the face of America. Second City likes to sprinkle a little truth serum on pregnancy test commercials changing them from celebratory moments to catastrophic realizations that drinking, partying, and irresponsibility are joys of the past. Also, Family Feud is does not really portray any family accurately. What might is this: Name something you find in your husbands drawer after he’s dead?Other women’s panties and Methamphetamine.

Licking, biting, rubbing, nails in the back, giggles, a nose nuzzled into her neck, lips brushing, tongues wavering, bodies pulsating—the show is about to begin. Anticipation turns into desire, desire to urge, urge into action. No dam can contain the passion of human sexuality; the hunger for our essential primal exchange cannot be quelled.

Zumanity, Cirque du Soleil’s fantasia of fornication, breaches all barriers with moans and toe-curling affection. We are taught how magnificent the Act of Love can, should and was meant to be.

Within the montage of Zumanity’s players with augmented libidos, we chose two to lead our animalistic journey toward sexual deliverance. Vanessa Convery and Arthur Kyeyune paint the road map to seduction, guiding us through the foreplay prior the show, to the deep-breathing climax and eventually letting us spy on them for the giddy pillow talk once the curtain falls. This is the Act of Zumanity—before, during and after.

The Act must be prepared for, the emotion lubricated, the passion massaged. The heat for Zumanity has been cooking for more than three years. Writers and directors Dominic Champagne and René Richard Cyr were doing character work long before a script had been solidified; the show was cast before distinct characters were decided. Champagne and Cyr waited to examine personalities before tagging a stage moniker. Performers did hours of fashion shows and animal play, toying with their own sexuality and souls before receiving direction for their roles. Even their real first names have been kept to identify their characters.

“I am who you see up there onstage,” said Vanessa, already using her flirtatious smile as an erotic weapon backstage. “Only amplified. We have all been through a journey here, discovering what’s inside us. Our stage personas have evolved as an enhanced character of our own sexuality. I was told I walk in like I have the biggest tits in the room, but I don’t. It doesn’t matter—it’s that hunger, sexual awareness and charisma submerged within me that has created the vixen Vanessa onstage. She is somewhat of a caricature of my inner sensuality, all features more pronounced and the subtle nuances accentuated.”

It’s this premise that makes Zumanity such a wild and deviant ride. We all have fantasies, sexual itches we long to scratch. We are inspired to awake to the epiphanies of how right our wrongs are; nothing is restricted, no urge contained, no desire too naughty. That no matter what lies within, or what’s put in, we should embrace it. Embarrassment will not be tolerated.

“I get excited every night,” Arthur added as Vanessa has already started to tease his arousal, tickling from behind. As his scar application begins in the makeup chair, a raw and tribal subtext starts to creep in. “I have to prepare myself to be unprepared. I have to let the Act take me wherever it wants. Artistic direction only goes so far; you can’t fake this. It has to be real passion for it to translate to the audience.”

The moment arrives. Titillating anticipation with a bumper of nervousness swirls around the duo as the porcelain tub fills with creamy milk. The two perform in the Midnight Bath, the second-to-last Act of the show. The tub rises on a platform, and our nymphomaniac professors take to the fleshy lesson with reservations tossed on the floor along with their clothes. The tryst twirls with excitement, dripping with the white fluid of life that greases the acrobatic dance of pleasure. The choreographed athleticism is spliced by wanton improvisation. The bath cleanses all restraint.

“This Act is all about freedom,” Vanessa said earlier with enough enunciation so she could visibly use her tongue while speaking. “Women need to be free with their sexuality. We are obsessed with being a perfect mom, a perfect wife and what is perceived as a perfect woman. When, in essence, we are ignoring what makes us a woman. Sex should be playful and fun. Our liberation is in our bodies, and that beauty needs to be explored.”

The Act, like any interaction, takes a connection. And a connection takes trust.

“She surprises me every night; no performance is ever the same,” Arthur added with his deep voice. “Like a relationship, our time performing together in the tub has evolved. Sometimes it is slow and sensual, others fast and ferocious. I view our Act like a game of tennis. We are constantly making advances on one another and the other must react, much like love. The game becomes a playful competition to challenge, impress and please.”

Tonight is mischievous fun. As the stimulation rises and the scene reaches a climax, milk splashes from the porcelain toward the audience.

The deed is done, the Act is over, the tub descends back down below the stage.

Clean up, wash off, relax. Both are exhausted in the best way. The clinic of copulation is concluded.

Yet the residue still lingers. The panting dies down, but the connection still burns hot. The bass of Arthur’s laugh is deeper than it’s been, Vanessa’s still using the tips of her nails to stroke Arthur’s chiseled ebony features. The playful canoodling intensifies.

“I have never lost my curiosity with this,” Arthur says, now using a strawberry as an erotic award for Vanessa’s generosity onstage. “Risk-taking is everything. In the theater or not, fiction or fantasy, the Act is not something that is meant to be controlled. It’s instinctive.”

The show may be over, but stamina is a wonderful thing. Remember, Zumanity does two performances a night.
http://www.lvshowbiz.com/