GIRLS, THE MOON, THE SEA

Tristan, on his blog the emotional blackmailers handbook, recently posted the above painting by Winslow Homer, Summer Night, which I was happy to be reminded of.  There's something mysterious and wonderful about the image — two girls dancing together, by the sea, in the light of the moon.  It's not quite erotic, but there are tidal forces at work here which might easily lure a lost mariner to his doom, if he didn't have all his wits about him, crossing the bar.

Check out Tristan's site, which usually contains photographs of lovely, gracious things in and around London.  It's like a visit to a fine old pub, where you can knock back a pint of Guinness in a corner by yourself and mull over visions like the one above . . . at a safe distance.  In that corner, starting on your second pint, you might call to mind, if you've been wise enough to memorize it, this poem by Tennyson:

Sunset and evening star,

And one clear call for me!


And may there be no moaning of the bar,


When I put out to sea,



But such a tide as moving seems asleep,


Too full for sound and foam,


When that which drew from out the boundless deep


Turns again home.



Twilight and evening bell,


And after that the dark!


And may there be no sadness of farewell,


When I embark;



For though from out our bourne of Time and Place


The flood may bear me far,


I hope to see my Pilot face to face


When I have crossed the bar.

HARMONY

Larry
McMurtry's
Lonesome Dove is one of the great American novels. He took
three weeks off from writing it to pen
The Desert Rose, which is a
fine novel in its own right, and one of the best ever written about Las
Vegas. Set in the 80s, when Vegas was a little down on its luck, it's
the story of a showgirl coming to the end of her career as her teenage
daughter starts one, as a dancer in the casino where her mother works.
It captures the melancholy laced with enchantment that can overtake
people who actually live and work in this strange town — the
good-natured sadness you often see in the eyes of older cocktail
waitresses . . . in their relentless hopefulness that you're not going
to be a jerk.



There
are only a couple of revues left in town which feature showgirls like
Harmony, the novel's protagonist, but the type of woman who is
basically paid to be beautiful remains — and the town has its share of
girls like her daughter Pepper, whom the system has robbed of joy and
compassion.



In
Harmony, McMurtry creates a character whose only strength is optimism,
but he grants her the grandeur of that strength, without condescension.
She's a wondrous creation — as heroic in her way as any of the
legendary frontiersmen of his period fiction.



The
Desert Rose
is period fiction itself now, twenty years on, but the
feel of the city hasn't changed all that much — it still takes courage
to find real joy amidst the ruthless merriment of it all . . . and
women like Harmony are still the key to everything.

A KEATS POEM FOR TODAY

This living hand, now warm and capable
Of earnest grasping, would, if it were cold
And in the icy silence of the tomb,
So haunt thy days and chill thy dreaming nights
That thou wouldst wish thine own heart dry of blood
So in my veins red life might stream again,
And thou be conscience-calmed—see here it is—
I hold it towards you.

This poem was not published during Keats's lifetime.  It was found after his death, written or copied on the manuscript of another poem.  The last line is startling, as though the poet were trying to reach out from the page, emphasized by the shift from the expected “thee” to “you” in the last line.  In Keats's day “thee” was considered the loftier usage, more fitting for a poetic utterance — “you” brings the poem into the world of vernacular speech, like the hand trying to reach out into the reader's reality.  Keats holds his hand out not to thee, gentle reader of poetry, but to you — you, whoever you are.

Since this was one of the last poems Keats wrote, when he knew he was dying, we can read the reaching out as something directed at us, at posterity, from the grave he knew he would soon inhabit.  Perhaps it also embodies a cry of despair about the limits of poetry itself.  On a more literal level it may have been addressed to Fanny Brawne, his muse, from whom he knew he would soon be parting.

The sketch of Keats above is by Charles Brown, made in 1819.  Within two years the beautiful boy it records would be dead of consumption at the age of 25, in Rome, where he had traveled in hopes of a miracle cure.  A letter from Brawne which reached him after his death was buried with him, unopened.  At his request these words were carved on his headstone — “Here lies one whose name was writ in water.”  Within the long shadow of Eternity, all our names are writ in water, but the brook where Keats's name is writ still sings, and will probably continue to do so for quite some time.

LITTLE ORPHAN ANNIE

Things just keep getting better and better for fans of classic American comic strips.  Little Orphan Annie has just been added to the list of strips that are being reprinted in volumes that will eventually cover the entire runs of these comics.

The first volume is available now.  It includes the first few years of the strip, beautifully reproduced, mostly from Harold Gray's original drawings or from the syndication proofs.  In them, the plucky Annie knocks about America spreading kindness or kicking ass, as the situation requires.

Here's a philosophical question for you.  Why was it that American popular culture, back in the darkest days of patriarchy, kept coming up with images of powerful little girls, like Annie and Dorothy of Kansas, who set off on their own on dangerous journeys and triumphed over all adversities by force of character . . . while in our own nominally feminist age the most prominent role models for young girls are sexually objectified teen tartlets?

There are now four volumes out of the early Dick Tracy strips, seven or eight of Krazy Kat, three of Gasoline Alley and Terry and the Pirates, two books which contain complete runs of Winsor McCay's Little Sammy Sneeze and Dreams Of the Rarebit Fiend — plus two huge volumes which reprint color Sunday pages from Gasoline Alley and Little Nemo In Slumberland.  If you pile them all up beside your bed or easy chair and read a few strips or pages a day, you've got your own personal funny pages to hand, some compensation for the fact that modern newspapers have no space for popular art this brilliant and this entertaining.

JOKERS WILD

I've had many strange experiences in Las Vegas, but none stranger that seeing David Irving speak in a small banquet room at the Jokers Wild Casino, a little locals' joint on Boulder Highway, at the edge of town.

Irving is a very controversial historian of the Third Reich whom I've written about before, here and here.  The most prodigious researcher in the German archives pertaining to National Socialism, and in the archives of the Allies that house captured German documents on the subject, Irving has written a series of books which are essential compendia of facts about Hitler and his state.  But he has a bias — a desire to show that Hitler and the Nazis weren't as bad as everybody thinks, and that the Allied leaders were far worse than anybody thinks.

His motives in this are suspect, since he occasionally reveals anti-Semitic attitudes that offend the conscience, but his facts are always right, even if he marshals them to serve a twisted argument.  His books are respected, with reservations, by respectable historians, but he has been vilified mercilessly by just about everybody else.

He was imprisoned for over a year, in solitary confinement, in Austria for giving a speech in which he noted that the gas chambers at the Auschwitz historical site are reconstructions, which is true, and arguing that gassing was not in fact used systematically to kill prisoners there, which is hotly contested by other historians and by eyewitnesses.  His words were thought to violate Austrian laws against Holocaust denial.

Irving is not exactly a Holocaust denier — more of a Holocaust minimizer.  He admits that many bad things were done to Jews by the Nazis, just not as many bad things as historians have claimed.  And he insists that Hitler was out of the loop as far as the Final Solution was concerned — that Himmler instituted mass killings on his own hook, so that the “Messiah” of the German Reich would not be tainted by the policy.

This strains credulity, of course — imagining that a faithful lieutenant would do something so momentous on his own, something which Hitler would be held accountable for even if he knew nothing about it.  Still, Irving can point to the fact that no document recording Hitler's acquiescence in the mass extermination of Jews survives, and that Himmler regularly removed allusions to the policy from reports he passed on to the Führer.

It strikes me as more likely that Himmler simply had an understanding with Hitler that the policy of extermination would not be referenced in high-level documents of any kind, so that Hitler would never have to contend with opposition to it from his high-placed generals and ministers, and that Himmler would take the fall for it politically if it ever became generally known.  It wouldn't be the first time a politician used plausible deniability to try and cover his ass.

It's equally possible that documents recording Hitler's involvement in the Final Solution were destroyed before or during the apocalypse of Germany's collapse.

When I showed up at the Jokers Wild Casino I almost bumped into Irving as he wheeled a cart with boxes of his books into the place.  I greeted him but he hurried on gruffly, perhaps embarrassed by being seen in shorts and a sports-shirt hauling his own merchandise.

His talk was held after a buffet dinner, included in the price of the lecture, in a small private room off the casino's coffee shop.  The food was school cafeteria quality and barely warm.  There were about eleven other people in attendance.  I kept to myself, fearing what sort of conversations my fellow attendees might initiate.  I overheard one older guy railing against democracy — “It allows people to let off steam, to think they have some say over their government.  America isn't a government, anyway . . . it's a corporation.”

Irving's talk was generally reasonable.  He spoke at length about his imprisonment, and the tale was genuinely harrowing.  Irving reported to the outside world that the library of his prison contained several books he had written.  At this point, a high Austrian official ordered all books by Irving in all Austrian prisons to be removed and burned — “To show the world that we have moved beyond the Nazi era.”  The minister seemed to see no irony in using a book burning to demonstrate this point.

Irving then talked about his forthcoming biography of Himmler, which he promised would put to rest once and for all the idea that Hitler knew about the Holocaust.  He said he expected to endure further persecution upon its publication.

Irving said a few troubling things.  He said he told the Austrian press when he was finally released from prison that “Mel Gibson was right.”  He didn't elaborate on this in Austria, but to us he explained, “You know, about who started all the world's wars.”  In other words, the Jews.  He said that Churchill did not become anti-Nazi until after he was paid 48 thousand pounds by a Jewish organization in 1936 — an amount, Irving said, worth about 3 million dollars in today's currency.  The implication was that all of Churchill's fine rhetoric was bought and paid for by Jews.

An odd evening with an odd man in an odd place in an odd town.  That's Vegas, baby.

A VICTORIAN POEM FOR TODAY

Jenny kissed me when we met,
Jumping from the chair she sat in.
Time, you thief! who love to get
Sweets into your list, put that in.
Say I'm weary, say I'm sad;
Say that health and wealth have missed me;
Say I'm growing old, but add —
Jenny kissed me!

The poem, called Rondeau, was written by Leigh Hunt (pictured above) and first published in 1838.  Hunt was a minor literary figure of the Victorian era, a friend of Shelley and Keats and Dickens.  His poetry has a simplicity that can make it seem trivial, but I think Rondeau is perfect.  It's music allows its simplicity to breathe, and reminds us of that sincerity of unselfconscious sentiment which the Victorians at their best could summon — a sincerity which 20th century literature, charting the age of irony, completely lost touch with.  Virginia Woolf, early in the century, lamented the loss, distressed that poets could no longer write lines like these, by Christina Rossetti:

My heart is like a singing bird
Whose nest is in a watered shoot;
My heart is like an apple tree
Whose boughs are bent with thickset fruit;
My heart is like a rainbow shell
That paddles in a purple sea;
My heart is gladder than all these
Because my love is come to me.

Such directness of feeling did survive in the popular arts, in pop songs and in the movies — any place where the arbiters of high culture had no influence.

Most improbably, Orson Welles recited Rondeau at the close of a pilot for a TV talk show he made towards the end of his life (which wasn't picked up.)  Welles was an unregenerate Victorian, which was a source of much of his secret power, and almost all of his films deal with loss, with the memory of some sweet, unrecoverable moment in time that haunts the present . . . a characteristic Victorian theme.

Rosebud, Mr. Bernstein's girl on the ferry, the Amberson's ball, a long-past love affair with the Baroness Nagel in Warsaw, the chimes at midnight . . . all these are one with Jenny's kiss.

Leigh Hunt wrote, “Every one should plant a tree who can.  It is one of the cheapest . . . as well as easiest, of all tasks.”  Trees, said Hunt, “are green footsteps of our existence, which show that we have not lived in vain.”

Rondeau is such a tree.

¡VIVA EL PELO!

I don't know how to translate the title of the above painting by Julio Romero de Torres — every possible rendition of ¡Viva el Pelo! into English sounds silly — but el pelo
means the hair, so you get the idea.  The image reminds me of a line by the poet Robert
Duncan, “in the dark of the moon the hair rules”.  This in turn
reminds me of something the poet Robert Browning said about his wife
Elizabeth Barrett Browning after her death, when he was asked what it
was like being married to such a famous person (she was far more famous
than he was during her lifetime.)  Yes, she was known to the
world, Browning admitted, “but I knew her on the dark side of the moon” —
the side of the moon the world never sees . . . where the hair rules.

SOME LINES BY TENNYSON FOR TODAY

There lies the port; the vessel puffs her sail:


There gloom the dark broad seas. My mariners,


Souls that have toil'd, and wrought, and thought with me —


That ever with a frolic welcome took


The thunder and the sunshine, and opposed


Free hearts, free foreheads — you and I are old;


Old age hath yet his honour and his toil;


Death closes all: but something ere the end,


Some work of noble note, may yet be done,


Not unbecoming men that strove with Gods.


The lights begin to twinkle from the rocks:


The long day wanes: the slow moon climbs: the deep


Moans round with many voices. Come, my friends,


'Tis not too late to seek a newer world.


Push off, and sitting well in order smite


The sounding furrows; for my purpose holds


To sail beyond the sunset, and the baths


Of all the western stars, until I die.


It may be that the gulfs will wash us down:


It may be we shall touch the Happy Isles,


And see the great Achilles, whom we knew




Tho' much is taken, much abides; and though


We are not now that strength which in old days


Moved earth and heaven; that which we are, we are;


One equal temper of heroic hearts,


Made weak by time and fate, but strong in will


To strive, to seek, to find, and not to yield.

                        
— from Ulysses
                           
Engraving of Tennyson by G. J. Stodart

THE TIME GARDEN

The Los Angeles Times published a book review by my niece Nora, age 10, in their Kids' Reading Room section on 2 March.  (That's Nora in the green shirt, above, screaming on a roller coaster.)

Here's her review . . . of Edward Eager's The Time Garden, with the illustration she did to accompany the review:






The minute I looked at the
title I thought it was just another fairy tale, but boy, was I wrong!
This is a marvelous story. One sniff of the thyme and the magic begins.




Eliza, Ann, Roger and Jack find the Natterjack (a creature in a
frog's form) and run off on an amazing adventure through time and
space. They find out what really happened long ago and save people just
like them. Any boring day can be turned into an astounding journey if
they go into the garden. People of all ages, kid or adult, will want to
be in the magical adventures.

I love Edward Eager's books and have since I was a kid.  His Knight's Castle is one of my favorite books of all time.  I gave Nora her first Edward Eager book last summer, Half Magic, and now she's read them all.  You should, too.

SEARCHING FOR JOHN FORD

I recently finished Joseph McBride's excellent (and massive) biography Searching For John Ford. It tells you everything you want to know about the man . . .
except who the hell he was.  The mysteries and contradictions of his
character simply cannot be sorted out.  I'm sure the same would be true
of Shakespeare if we had massive documentation and testimony about his
life.  The depth of the work in each man's case comes out of the
mysteries and contradictions and transcends them but sheds no light backwards on the
man himself.  Perhaps, to be a truly great dramatist, you have to
abandon all hope of a coherent self in real life.

The biggest revelation in the book, to me, was the extent of Ford's
WWII service, which was far greater than I realized — but even in that
arena, nothing he did seemed to satisfy him.  He told outrageous
lies about his wartime service, even when the things he actually did
were far more impressive.  Reading the book makes one more and
more convinced that Ethan Edwards comes as close to a portrait of Ford
the man as we will ever have — a psychotic searcher who does heroic
things that no one else can do, and then wanders off alone, permanently
lost.

It's a sad tale but also, in some mysterious, unaccountable way, inspiring.

JOHN ADAMS

I commend to all my fellow citizens of this republic David McCullough's wonderful biography John Adams. 
(That's Adams, bald and slightly pot-bellied, standing in the exact
center of John Trumbull's painting of the signing of the Declaration Of
Independence, above.)  Erudite and sagacious the book is also
compulsively readable, magically evoking the physical world of the 18th
and early 19th Centuries but also bringing the men of the Revolutionary
era to vivid life.

The founders of the United States Of America were certainly the
God-damnedest collection of characters who ever collaborated on a great
enterprise.  They seem mysteriously modern, perhaps because they
remain so recognizably American
— frank, down-to-earth, open-minded, industrious, optimistic . . . also pig-headed, venal and hypocritical 
There were scoundrels and rakes among them, men of faith and skeptics,
simple farmers and grand seigneurs — but they were all so unaccountably radical in their devotion to the ideas (if not always to the practical realities) of liberty and equality, of self-government.

And they were brave.  All the men above seen signing the
Declaration, many of them men of great wealth and position, would have
been hung as traitors by the English if their improbable revolution had
failed.  They don't seem to have had the slightest doubt that it
was a risk worth taking, and merely joked about the jeopardy — as
Franklin did when he said, “We must hang together or hang separately.”

It can't really be explained, except as a result of something that had
evolved over many generations in the experience of living in the new
world, habits of self-reliance and independence which the Founding
Fathers explicated and guided but did not invent.  Adams himself
knew this.  “The Revolution,” he wrote, “was in the minds and
hearts of the people.”

Adams may have been the oddest of all the “indispensable men” of that
time — neither a soldier nor a politician of any particular skill, not
a great writer or thinker but possessed of an orderly mind and endless
energy, he had a personal independence of thought and an an
incorruptible integrity which made him the go-to guy in any crisis.

It was Adams who ensured the appointment of George Washington as
commander in chief of the Continental Army, Adams who procured loans
from the Dutch to keep the government afloat in the early days of the
Confederation, Adams who, in drafting the Constitution of the
Commonwealth Of Massachusetts, created a key model for the American
Constitution.

And it was Adams who served as America's first ambassador to the Court of St. James, received with honor as the representative of a new and independent nation by the same king who had once hoped to hang him.

The whole tale is surreal, unbelievable, but one loves Adams because he
didn't see it that way.  He seems always to have believed that the
seeds of liberty, once planted in good soil, would bear fruit — just
as the seeds he sowed on his Massachusetts farm brought forth peas and
corn.  At the end he was proud of what he had done for his
country, but he was just as proud of his farm.

Adams became President of course, for one term, after serving as George
Washington's Vice-President for two terms.  He lost his bid for
reelection to his then arch-rival Thomas Jefferson, and became the
first President to hand over the reigns of power unwillingly, convinced
that Jefferson would ruin the new nation before it could fairly get
going.  He groused about it, then jumped into a public stagecoach
and rode home, back to his farm, his peas and his corn.  He bowed
to the will of the people without further complaint.

In that moment, the American experiment justified itself to itself and to the whole world.

Perhaps the strangest thing about looking at these old
revolutionaries today is that they always seem to be staring right back at us, at the American future we
now inhabit.  In their regard there's hardly more than a trace of
self-satisfaction in what they accomplised, not a lot of sentiment, and
more than a little impatience.  “We started this business well enough,” they seem to
be saying, “now get on with it.”

[I read the biography as a prelude to watching HBO's upcoming
mini-series taken from it, starring Paul Giamatti as Adams.  This
strikes me as a brilliant piece of casting, Giamatti having a knack for
conveying the kind of adorable peevishness which many people observed
as a characteristic trait of Adams.  The series will  premiere on March 16.]

AN N. C. WYETH FOR TODAY

The above is an illustration by N. C. Wyeth for the book Legends Of Charlemagne
N. C. Wyeth, the father of Andrew, was the greatest of American book
illustrators and one of the greatest of American painters.  His
influence on cinema, especially the work of John Ford, cannot be
overestimated.

[The image is courtesy of the ASIFA-Hollywood Animation Archive, one of the most delightful sites on the Internet.]

UNSPEAKABLY COOL: DREAM OF THE RAREBIT FIEND

The fourth of the four coolest books published in the last few years, like
two of the others, collects the work of Winsor McCay — in this case
the extraordinary strip Dream Of the Rarebit Fiend — but unlike the other three wasn’t put out by Sunday Press Books.  Privately published by Ulrich Merkl, it
includes all of the strips from the series — those not reproduced in
the book itself are supplied on a DVD that comes packaged with the book.

The book is gigantic and presents the strips, published between 1904
and 1913, in their original size.  It also has a wealth of other
illustrative material showing McCay’s sources and documenting the
enormous influence his images have had on America’s visual culture,
especially that of the movies.

The draftsmanship of the strips is stunning, the visual imagination exhilarating.  Its central gag involves the dreams of people given indigestion by eating Welsh Rarebit, making it a kind of run-up to McCay’s masterpiece strip Little Nemo In Slumberland, which illustrates the dreams of a restless little boy.

Merkl’s book, published in a limited edition, is expensive but worth every penny.  It lovingly documents a brilliant and endlessly enchanting work of popular art.

Check out my reports on the other three coolest books of recent years:

Little Nemo

Little Sammy Sneeze

Walt and Skeezix

NO LIMIT

My friend John Sosnovsky was just in town and brought as a gift a copy of Just Enough Liebling,
a collection of A. J. Liebling's writing about food, boxing and
war.  In one of the articles about food Liebling offers an
extended paean to Tavel, the rosé wine from the
Rhône region of France.  It brought back many
memories.  Tavel is a wine often served in the South Of France
with seafood (although Liebling insists it's so good it can go with
anything) and I've drunk it with many fine meals in that part of the world,
usually in restaurants or on the terraces of restaurants with a view of
the sea.

On John's last night in Vegas I tracked him down in the card room at
Caesars around 9pm.  He'd been playing poker all day, with mixed
results, and said he was pokered out, so we decided to meet at Mon Ami
Gabi, a terrific French bistro in the Paris, Las Vegas casino. 
Once installed on its very pleasant terrace I discovered that they had
a Tavel on their wine list, and John and I decided to drink a bottle in
honor of Mr. Liebling.  And we decided to drink it with steak, to
test Mr. Liebling's assertion that it can go with anything.

It went exceptionally well with the steak, with the brisk night air and
with our conversation, which kept circling back to the upcoming fight
between Ricky Hatton and Floyd Mayweather, Jr. next Saturday in Las Vegas.  John
is a member of the Fancy and very knowledgeable about boxing, but even
he seemed baffled by the question of who was likely to prevail in this
contest — Hatton, the brawler with heart, or Mayweather, the scientist
with lightning-fast but hardly lethal hands and canny instincts for
defense (or unseemly evasion, as some consider it.)

The best we could surmise was that Hatton had a chance only if he got
inside and ripped Mayweather apart with body shots, shocking him and
breaking his will.  That didn't seem likely, but it seemed
possible.  Such imponderables are what have made this fight one of
the most anticipated in ages.  Mr. Liebling, long since deceased,
would have had much to say on the subject and we missed his wisdom
keenly.

After the Tavel and the beef, John decided that perhaps he wasn't
pokered out after all.  We set off to see what tables might be
going in the Paris' card room.

The night before, at the Palms, John had cajoled me into
sitting down at my first no-limit Hold-'em game in a casino.  (I'd
played a few hands at a no-limit game in the old card room at the
Rancho Fiesta, but it had broken up almost as soon as I arrived at the table.)  I
was terrified of playing at the Palms — not least because Phil Helmuth
(below, playing in a tournament) and Layne Flack, two high-profile
high-limit poker pros, were hanging
around my table to watch a couple of their friends play.  It's
tough to make your debut at a no-limit table under the eyes of a winner
of the Main Event at the World Series Of Poker.  (Helmuth won it in 1989 at the age
of 24, the youngest player who's ever done so.)

No limit Hold-'em is intrinsically terrifying.  Any amount of
money can be bet on a hand at any time, which means you can lose every
chip in front of you if you call an “all-in” bet with the
wrong cards in the wrong situation.  On the other hand, you can
use big bets to push your fellow players around — to make them fold
better cards than you have, for example.  It's a wild and
exceedingly complex endeavor.

Miraculously, as soon as I sat down at the table I felt cool and
perfectly in command of things.  I've played endless hands of
no-limit poker for fake money online and I understand the dynamics of
the game — far better than I've ever understood the dynamics of limit
Hold-'em, where you can bet only certain fixed amounts.   I've
always played limit Hold-em because it seemed on the face of it less
risky. 
No-limit Hold-'em for money, however, is a far more logical game,
far less dependent on the random fall of the cards, though the logic is
sometimes the logic of ruthlessness and terror.

I played for three or four hours in this heady atmosphere and walked
away about a hundred dollars
down.  Not good — but not
devastating, either.  You can pay more for a good meal or a rock
concert and not enjoy either half as much or for half as long.

There were no poker pros hanging around the Paris' card room (above) — just a
lot of genial players who seemed like people on vacation
looking for a good time . . . and to say they'd played poker in Las
Vegas.  They weren't bad players but they played too many hands,
eager for action.  I waited for my chances, bet hard when they
came and walked away three hundred and thirty dollars ahead —
by far the most money I've ever won at any poker table.  More importantly, it left me over two hundred dollars ahead for my first two nights of no-limit poker. 

John did even better, walking away over seven hundred dollars ahead — covering the cost of all his poker playing in Las Vegas and his hotel room and
his flight here, with a little left over for celebratory drinks
afterwards.  To say that we raised our glasses joyfully would be
putting it
mildly.

[The snapshot of the Paris poker room above is from a useful web site, vegasrex,
which describes and reviews the various card rooms in Las Vegas and has a lot of other stuff about what's going on in town.]