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SPORTS - ALIANTE Golf Club

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STRIPLVSPORTS

ALIANTE GOLF CLUB
By Jeff Alexander

Located in the far north end of the Vegas Valley is Aliante Golf Club, which is almost an onsite golf course at the disposal of those lodging at the Aliante Casino, as it’s positioned just across the street. The hotel-casino recently changed hands with Boyd Gaming acquiring it, so folks are expecting some wonderful changes to the resort, which should make for nice accomodations at the end of your golf game if you prefer to stay away from the hustle-and-bustle of the Strip. Otherwise, if you’re looking for a ride, the club offers transportation specials to and from your hotel room.  

Designed by Gary Panks and Associates, Aliante Golf Club contains trees not typically found in the desert, including Pear and Purple Locust trees, making this course unique among other Vegas desert courses. With four tee options at each hole, golfers of all skill levels will enjoy this great facility. 

Although there are some beautiful views of the Sheep Range Mountains on a few of the holes, that mountain range is not the most picturesque of the valley, so you won’t be distracted from your golf game by glorious vistas. The course winds through the Aliante housing development with plenty of wide fairways. The homes are quite modest so, unlike many Vegas courses, your round will not be filled with the ‘oohs’ and ‘aahs’ of viewing spectacular homes, as is the case at other golfing venues here in the Valley. But you’ll certainly enjoy a straight-ahead round of golf, on a friendly course at which you can score well.  

For a club that is encircled by homes on almost every hole, Aliante has pretty good length, (7022 yards from the Eagle tees, 6657 from the Falcon tees, 6117 from the Hawk and 5340 yards from the women’s Dove tees). Even from the middle Falcon tees, the course presents a challenging test of your game because of the rolling fairways and undulating greens. There are no trick holes or sharp doglegs right or left, so you’re free to enjoy your straight tee shots and approaches from verdant fairways that are cut tight. Though it’s not what I’d call a plush course, it is well-manicured, professionally staffed, and the play moves briskly, so you’re not faced with a five-hour round.

The first hole is a modestly distanced par four that gives you a chance to loosen up before attacking the long par four second hole (472 yards) and the par five third hole. A short par four is tucked between two challenging par threes before you once again face another long (448 yards) par four. The front nine closes with a “scoreable” par five and par four, and at that point you should have put up a pretty good score.

From the Eagle tees, I found the back nine to be a bit more difficult than the front, primarily because four of the five par fours on the back are over 400 yards long, so reaching the greens in regulation on them is harder than on the front nine. In addition, the par three 13th is a 233 yard hole that is well-bunkered to the left, three-tiered, and simply a solid, tough hole. So at Aliante, the ease and fun of playing straight-ahead holes is countered by their length and difficulty.

Overall, your day at Aliante will be a pleasurable experience, whether it’s as a rest from your gambling and partying as a visitor, or if you’re a Vegas golfer, playing as many of our interesting courses as you can. The fees are not cheap, rather in the moderate range for Vegas courses; but definitely worth the price of admission.  

Aliante Golf Club • 3100 West Elkhorn • North Las Vegas, NV 89084
702-399-4888 • AlianteGolf.com

2017 ASTON MARTIN DB11

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2017 ASTON MARTIN DB11

The DB11 brings a new, more angular interpretation of the hallmark design of Aston Martin after its latest landmark with the DB10, developed specifically for James Bond—now with more rear head and leg room. Performance climbs from 0-62 mph in 3.9 seconds, with top speeds of 200 mph from its new twin-turbocharged 5.2-liter V12 engine. The very latest technology from its technical partner, Daimler AG, includes a full-color 12” TFT LCD display, an all-new instrument cluster for primary vehicle information, and a second, centrally-mounted 8” TFT screen for infotainment. Controlled via an intuitive rotary control with an optional touchpad offering character recognition, multi-touch and gesture support, the new satellite navigation and audio system have never been more effective, sounded better, or been easier to operate.
 
Pricing at $211,995 Available at: DB11.AstonMartin.com

THE SPRING - 360-degree 3D Virtual Reality Film

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STRIPLVFEATURES

THE SPRING
AN INSIDE LOOK BEHIND THE 360 3D VIRTUAL REALITY MAGIC

BY THE COMMANDER & AL CAUDULLO

The Spring is an action-drama, filmed in 360-degree 3D Virtual Reality (VR). Three female cave explorers set out, dropping down through a pit to enter a cave with an underground river. The seemingly harmless adventure turns deadly as the underground river suddenly floods. Our trio of spelunkers are forced to go deeper into the labyrinth of caves to make their escape via, “the Spring,” a rumored but unexplored exit.

The first of many questions I had for Greg Passmore, Producer/Director of Passmore Labs, was: “When you are shooting a 3D 360-degree Virtual Reality movie in a cave (when at times you are perilously close to the top due to the water level), where do you put the crew?” His reply threw me off-guard: “Anywhere I want,” he replied. It was then that he told me he was shooting with one RED EPIC camera. How? 

Greg realized two things during the pre-production process of the film. First, this story would make a fantastic virtual reality movie. Second, it would be impossible to shoot this with a traditional multi-camera VR Rig. For one thing, the only place for the 8-10 crew members to go during a take would be: underwater. For another, the near claustrophobic tiny crawlspaces that would need to be navigated would simply not accommodate the VR Rig. The obvious answer was, with such a small space, to shoot everything in panels.
 
Passmore Labs is an awarding-winning studio, working in the world of 3D multi-camera and 3D conversion. Greg is no stranger to inventing his own workflow, and in this case, creating his own proprietary Spherical compositing software to ‘stitch’ the elements of the 8-camera views together. Don’t think for an instant this was an easy process. Lens calibration, filling in areas, and warp correction are just a few of the many hurdles that needed to be overcome. 

The next challenge was lighting, in a water-filled, confined space. In order to achieve a film quality dynamic range in the shots, it would require a delicate balance. It needed to be intensely bright, and there really wasn’t any place to light them. Actual caving lights emit a very low lumen light, insufficient for filming. The only choice was to create their own ‘cave’ lights. The actors actually wore them on their heads. Extra planning went into the direction of the actors, to not only deliver their lines, but to also properly light the scene. 

I asked Greg about using Super Speed Zeiss lenses, but he explained the need for a deep depth of field, which those lenses don’t offer. He needed to be able to stop down 2½ to 3 stops to achieve the proper near infinite depth of field. He used a variety of lenses, explaining: “Everything from the Peleng fisheye to the much nicer Zeiss Super Speed 35 (since we do panels).”

Audio presented another complex set of challenges. Keeping the microphones dry, for one. Plus the acoustics of a water-filled cave are far from ideal. Special waterproof cases were utilized with small inflatable boats.

As for DIT, Greg has a mobile production trailer/studio that he travels with to a location. The software has reached the point where he can ingest the raw files natively. Then the composite is built with the exported files feeding into an Oculus Rift for reviewing the days’ shoot.

The footage is being turned into a VR movie by using software (PAM360) especially written for this process. Greg has been developing this software with his team for almost a year. PAM360 will be distributed by startup Poison Apple Media. The site is not operational yet in English but should be finished soon. The principal photography is complete with B-roll and expected to be completed soon.

Post Production is being handled at Passmore Studios in Austin, Texas. They have not finalized distribution since this is such a rapidly changing landscape. The official release is at E3 at the Immerex booth. E3 is the Electronic Entertainment Expo, an annual trade fair held in Los Angeles every year, especially for the video game industry. Virtual Reality has its roots firmly entrenched in video games, but it is gaining ground with non-gamers for its ability to immerse you into a story.

The company, Immerex, engineers and creates immersive end-to-end virtual reality entertainment experiences. They explain themselves as: “We are a team of creative technologists, passionate inventors, ingenious cinema producers, decisive financial investors, and avid problem solvers, all of which fit perfectly with creating next generation immersive entertainment.” 

The finished film will be two versions, a 10-minute version, and a 3-minute version. Right now what was created with VR is a feature length film. Longer and more involved features will most likely follow as the technology moves forward. The complexity of longer VR movies and the ability for the audience to stay immersed are still questions yet to be answered. Time undoubtedly will tell. 

Greg’s rationale was summed up with this statement: “If we start with something hard and survive it, we can then say, ‘Alright, great! Now we can do the easy stuff.’ I really wanted to try something with some teeth, and this particular film was challenging, because of the physical environment, as well as the filming issues. If VR really has this ability to create this intimate sense of space and feeling, then this was the perfect environment to show that off.”

Co-Author, Al Caudullo is a 3D Award Winner. With over thirty years of experience in the video production industry, Caudullo applied his knowledge toward the future of stereoscopic image capture, and has been considered “a 3D evangelist,” a title given to him by 3D industry icon and former CEO of 3Ality, Sandy Climan. AlCaudullo.com

HYPNOSIS FOR BETTER SEX

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HYPNOSIS FOR BETTER SEX

There is a growing trend of people using hypnosis and meditation as a way to improve their sex lives and relationships. This new approach to relationship therapy has become extremely effective, since sex is an emotional experience and the body literally reacts to what the mind is thinking on all levels.
 
World-renowned hypnotist, Richard Barker, has been working with couples (and individuals), teaching them, through the power of hypnosis, how to have better sex. Barker explains: “The power of your sex life is all in your mind. You can choose to have better or worse sex depending on your thought process.” Barker says: “Some people come to see me individually because they feel anxiety about sex or just don’t feel good about themselves. If a woman, for example, has been told by a previous partner for years that she is ugly or just not worthy, it manifests itself into the subconscious, and can have a seriously negative impact on any new relationships. Once the negative perceptions are removed and replaced with positive affirmations, she can be on the road to a greater relationship.”
 
Richard Barker has spent the last 20 years working with thousands of clients across the world, making television appearances, and has written the new book: “Selling Hypnotically. The Art Of Suggestion” SellingHypnotically.com • IncredibleHypnotist.com

Carl Young - The Artist Within

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CARL YOUNG
The Artist Within
By Marla Santos

Carl Young is the only artist in the world who creates life-size Figurative Sculptures in Glass.  

The story goes: “When I was down on the beach in Puerto Nuevo, Mexico, I came across an old man who looked much like a wizard, and he had a walking stick that he said was magic. He said: ‘I know you’re an artist, and I want to show you something.’ He told me to get in his little boat. As he took me down and around these cliffs, he tells me there is something inside this cave that he wants me to see. He warned me to be very careful and said: ‘I know you probably don’t believe in dragons, but there’s something in there that you need to see.’ So we go up to the cave, and the old wizard brings me inside, and it turns out—there’s a dragon. We capture the dragon, take him back to the studio, the wizard feeds him the glass, and the dragon’s breath makes the glass shoot out! And that’s how we make the sculptures.”

Young began by making metal and ceramic sculptures. The metal sculptures can be aluminum, bronze, brass or copper. Some of these are on display at Spearmint Rhino clubs across the country and at Sapphire Club, here in Vegas. It was in 2007 that he relocated to Baja, Mexico, and found “the wizard.” It was then that he decided to create the world’s only life-sized figurative sculptures in glass. These awesome one-of-a-kind art sculptures are so beautiful that high-end art collectors buy them to add to their collections. 

Artists make sculptures out of clay, wood, and even marble. Young does something completely different. He uses real-life models, to create an impression of their body. STRIPLV models, Playboy models, and many beautiful women have been honored to be Young’s muse. Covering their nude bodies with plaster, he captures their exquisite forms, revealing their torsos and derrieres in a work of art that will remain forever beautiful, unchanged by time. You, too, can have a one-of-a-kind art piece made of your body.  

The plaster is similar to what doctors use for casting a broken bone. A model needs to be naked or wearing a g-string. Shaving the parts of your body that has hair on it is very important, as is applying Vaseline all over your skin so that the plaster will release without giving you a Brazilian. Then a pose is decided. A simple pose takes less than two hours, but holding a more complicated pose or full body pose can require multiple impressions lasting over two days or more.
 
“Sometimes a model can’t hold a pose for the 1½ to 2-hour time that it takes for the plaster to set and then he has to start again. One model had her wrists tied onto something and was suspended. She was standing and it was very difficult. We ended up getting a nice sculpture out of it, but it was very difficult. There was a man who wanted to immortalize his manhood. He took Viagra, so he would remain hard during the casting procedure. He was especially proud of the outcome and it hangs in his house so he can show it off.”

When Young covers you with plaster, all you have to do is relax and hold the pose. First he takes an impression of your body in a pose you’ve chosen. Then he creates a perfect original and a reproduction mold. Then Young calls on “the wizard”—and then very, very carefully, they wake up the dragon and feed him the glass. The dragon’s breath does the rest and the results are amazing! Young claims almost all the models he has made into sculpture have wanted to do more after their first session. So how did Young end up with this unusual art career and working on the beach down in Puerto Nuevo, Mexico, where he feels free and his dog can run freely on the beach?

“My grandfather, Karl Jung, was a heart surgeon and owned Surgeon’s General Hospital in Chicago. Clarence Platt, my maternal grandfather, was a missionary to the Navajos, and was the community pastor in Harbert, Michigan, where he helped raise this crazy artist who just wanted to do his own thing on the beach!”

“Growing up, we lived on the beach next to the Warren Sand Dunes on Lake Michigan. I built sandcastles and I dammed up the water from coming in, and that was really fun doing stuff with my hands. Then we had these dirt roads, that for some reason, frogs and tadpoles and life started coming to fruition from the creeks and stuff. So I was down in the creeks playing there and also in the mud after it rained (basically, the same material I use now).” Was this the beginning of an art career?

“My mother had been the president of the Chicago Models Association. My father was an inventor of photographic material, and later he ended up working in a machine shop for Northwestern University’s prosthetics research lab. They did the beginning of mild electric controls. They’d make a fake hand and they’d glue stuff on there, and he’d make all the linkages that would make the hand function like a real hand. This was before Hollywood’s special effects knew how to do anything. They were making that stuff at Northwestern University and they were the biggest research labs for prosthetics in the U.S. I had no concept of the importance. He had a photo assignment for the Chicago Art Institute, to shoot the impressionism section in 3D, and again, I had no concept when I was looking at Monet and Van Gogh, all originals. It was all roped off for him to shoot these 3D pictures, but I didn’t care, because I was more interested in the girls with short skirts walking around Michigan Avenue. He didn’t like that and he got pretty upset with me. I was clueless as a kid.”  

“Then we moved to Gary, Indiana, where my mom remarried Paul Ireland and they had three motion picture film labs for processing and printing motion picture films. Back in the day before videotapes, and now CDs and digital, everybody had to use film. We were the biggest lab between Hollywood and New York. We built all the film printing and processing equipment at the beginning. I ended up as a janitor, then I was driving a delivery car up and down into Chicago. I was mixing chemicals in vats with 400 or 500 gallons of developing agent, and then we processed millions and millions of film. We did more porno film than anywhere else in the world. We did everything, and I ran the film end for him.”  

“I got divorced, finished running the film lab, and I got out of the Midwest and came to Laguna Beach and saw the art in Laguna. I was living there and I met a guy who had a limousine business contract with Olympic Gardens, the first high level strip club out here. That was probably 20-some years ago now. We just brainstormed, and I said that there were these soft-sculpture butlers that you could position their hands so you could put a tray on them, and they charged $10-20 grand for them. I said we could make them out of people. We could cast real people. He thought it was a great idea and we called them Lapikins and Tablekins. I thought it would be good to get out of Laguna and move to Vegas. What was I thinking…right? I started getting stuff for making plaster casts and mannequin pieces, but I had to go back to Laguna to get some stuff. He was into Ecstasy and being crazy. He drove his Toyota Land Cruiser at 100 mph into a semi parked in an alley, and it blew up. He killed himself, so I didn’t have a partner anymore. I went back to Vegas and decided to drive a cab for a while.” 

“The family business back in Indiana collapsed and my mom passed away. I had to go back and had to shut down everything. We had film vaults of old movies. We even had The Cisco Kid in there, and I had to figure out what to do with everything. When I came back to Vegas, that’s when I started to transition into another world.”  

“My friend Egor had a limo, and his girlfriend Donna D’Errico was driving it. She was an adult entertainer over at Club Paradise. A Playboy talent recruiter found her and then Donna became the September 1995 Playmate of the Month in Playboy Magazine. She came back and said: “Carl, what are we going to do?” I said: “Maybe I should be your manager.” We went to Hollywood, bought a boat, and lived on the boat in Marina Del Ray. She later became Mrs. Nikki Sixx and starred in Baywatch, Married with Children, and Austin Powers in Goldmember.

“I then decided to go back into making functional art, but that became boring real fast. I decided to cast high-end performers from home. The first girls I made casts of and then sculptures of were aerialists with 6-packs. My motivation for all this had to do with my family. The first issue of Popular Photography, my dad shot it with a camera he made. In my mind, I always thought it would be hard to compete with what he did in his life, but I wanted to do something on my own that is artistic with a similar family background. I decided I wanted to do high-end Fine Art. In 2001, when the 9/11 event happened, Vegas came to a standstill. I began creating sculptures full-time. I started casting performers from the Cirque du Soleil “O” show. I moved on to ballet dancers, a lot of showgirls and strippers, celebrities and actors. I had five or six friends paint on the sculptures, and they looked nice, and they are still on my website. I’m considering doing a project like that, and I’m talking to some people at the Bellagio. But, I still felt that I was not doing high-end Fine Art. The sculptures were no longer sculptures…they were paintings. I learned how to do cold cast metal and ceramics, and now we’re getting into areas where most people can’t even do it. I started designing my own equipment to do ceramics, metal and mirror tile. Commissions came in and galleries wanted my sculptures, but making them took a huge amount of space and time.” 

“I decided these things were fun and I enjoyed doing them and figuring out how to make those things happen, but now let’s do something that nobody can do…let’s do glass. Let’s find a media that is the most difficult to control, and no one else has figured out how to do it… They’ve tried. I began to set up a production studio down by the beach in Rosarito, Mexico, next to the Titanic set. There was gunfire every night as I worked outdoors in the studio, and the Mexican drug wars got started. I literally dodged bullets, but kept working. I built my own kiln (an oven for burning, baking, drying or firing pottery) down in Mexico. Everything I need is there, except sometimes I have to go over to San Diego for certain ingredients. But it’s complicated bringing anything that looks like white powder across the border. I spent probably eight years messing around, building equipment, testing equipment, firing a kiln, firing it again, breaking stuff and firing it again, learning what systems didn’t work. One of the things my dad had taught me was: ‘If you want to learn photography, and the process is photography, you start with one type of developer, one type of film, one type of camera, and then you start learning all the variables as you test.’ Now, that would take you forever, but that was his philosophy, and that was a little bit of my philosophy about how to master and make glass sculptures.”  

“I love working down in Mexico. There are just no words to describe the sunlight by the ocean passing through the kiln glass. I’m on the beach and I feel free, and my dog can run freely on the beach.”  

Recently Young has moved back to Las Vegas part-time, where he has another studio, but still loves his Mexican beach. His work can be found in galleries in Southern California, Las Vegas, and online at ArtBrokerage.com. You can order from the master inventory or have a custom commission sculpture made. Whether you select Glass, Ceramic, or Metal, along with your choice of background and lighting effects, your sculpture can be displayed unique to your own liking. Clients can choose to be cast in the studio, in the privacy of a hotel room, or at a Day Spa. ForeverYoungSculptures.com
 
LouLou D’vil / Ruthie Gastineau / Khloë Terae
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