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I like musicals and I'm not ashamed to admit it.

When I got an invite to the Grand Opening of Mel Brooks' 'The Producers' show in Vegas starring David Hasselhoff, I have to admit, I got a rare, five-second burst of excitement. According to the accompanying After Party ticket, Mel Brooks even invited me as a VIP guest for the party which extended the burst to a full seven seconds.

I gussied myself up, packed an extra cigar and went to Paris.

'The Producers' experience starts when you enter the theater. The curtain sets the stage, literally. It's a jazzed-up idealized cityscape of Times Square in the late '50s, the setting of the musical. Once the show starts, all of the pieces fit into place and that frenetic charm carries through. The funky, optical illusion sets maximize space and allow for solid staging which allows the focus on the acting and singing. The chorus is one of the strongest I've ever seen masterfully handling the constant costume and set changes and setting while not missing a beat.

The more surreal musical numbers like 'Springtime for Hitler' that feature show girl-style beauties wearing outfits paying tribute to pretzels, beer and schnitzel have a classic Vegas vibe leading up to Hasselhoff's bumbling Hitler. "Little Old Ladyland" provides an out-of-body experience with an army of blue-hairs marching and tap dancing with walkers.

At one hour and 40 minutes, give or take, 'The Producers' is a perfect show to see while on a Vegas vacation. 'Phantom' over at The Venetian is slightly shorter, but the musical is gloomy where 'The Producers" is light and bubbly. After seeing 'The Producers,' you want to hit the bar or the gaming tables. After seeing 'Phantom' you need a come down period -- just depends on your style.

The Price Is Right?
The attention to detail in the production warrants the higher-than-Broadway ticket price. Besides, Vegas has 'the Hoff' and Broadway has 'the Boss,' Tony Danza. This is one of the smartest stagings of a Broadway production in Vegas with a big-named star. 'Hairspray' did really well when Harvey Fierstein opened the show and then closed soon after he completed his contract.

The problem with staging Broadway shows in Vegas is that as entertainment prices soar higher and higher, folks have to make purchasing decisions and it's a tough proposition to get someone to buy a $100 ticket to see a show that they can see at any community center across the country. Cirque du Soleil does so well because it's unlikely the Garland Texas Civic Theater is going to stage a version of 'O' anytime this century.

That's not discounting the cast and crew's talent, but it is the star power that drives the audiences to these shows. If Hasselhoff isn't in the show, who goes to see it for $150? If he leaves, what happens to ticket sales?

I think Mel Brooks has done something interesting here by casting the Hoff, not as one of the main characters of Max Bialystock or Leo Bloom, but as the director Roger DeBris. When Hoff leaves, it gives the show options to shift the cast around. Mel can bring in a smaller name to take on one of the main roles so less is more or bring in a big name to take over for Hoff in the flamboyant role.

With the proximity to Los Angeles, someone like Jason Bateman could fill in for a couple of months as Leo Bloom without a dip in ticket sales and then Tony Danza could take on Bialystock in Vegas after his Broadway run is over.

If that is Mel's grand design, then brilliant. If it's not, it should be or the model needs to change.

Ch-Ch-Ch-Ch-Ch Changes
In a city where the casinos that house the shows have a limited life expectancy, how can anyone expect the shows to last for a long period of time? Shows like 'Jubilee' that have been around for more than two decades aren't that costly to produce and the boobs are the stars of the show and are weaved into the fabric of Vegas. Importing shows from New York or London aren't offering unique entertainment experiences.

Unique entertainment experiences are why Cirque du Soleil shows are so popular here. And even then, those shows will eventually start cycling out as supply starts outweighing demand. Other successful long-running shows like Penn & Teller are also offering unique experiences, mixed with a dash of celebrity that offer people value for their money.

Mel shared with Robin Leach the challenges about staging a show in Vegas and the Cirque competition by saying, "They (Cirque) are spectacular shows, delicious, but so easy to digest. Somebody jumps in the water. Somebody jumps out of the water. There's water. There's no water. A clown walks by, another clown walks by."

He even goes as far as to say 'The Producers' is the only show that can make the jump from Broadway to Vegas. That statement will be tested next month 'Spamalot' opens at the Wynn in March.

It was at the Wynn where Broadway hit 'Avenue Q' failed last year. Most everyone agrees it was bad marketing that killed 'Q,' but the show selection is somewhat to blame as it created too big of a hole for the marketing to climb. Who were the stars of the show? Foul-mouthed puppets? Why would I spend that much money to see puppets over Danny Gans, sexy show girls, Blue Man Group or Carrot Top? Selling that message is where the marketing failed. 'Spamalot' has an international history and big names attached so there's hope it will do well.

The audience in Broadway shows are also limited to English-speaking visitors. With most of the Cirque shows or some of the illusion shows, you don't have to speak English to be able to enjoy the experience. Given the international appeal of Vegas and the millions of visitors that come here each year, those shows not bound or gagged by language have a larger audience to market tickets..

Curtain Number Three
A third option is to actually premiere new musicals or plays here in Vegas and then ship them to New York or London after a couple of years -- similar to what Lord Andrew Lloyd Webber said was the original plan for 'Phantom.' The idea may not have been viable when 'Phantom' premiered, but seems liek a plausible model now. As the #1 US tourist destination, it makes more sense anyway to seed a word-of-mouth audience here.

Never Look a Gift Martini in the Olive?
The Grand Opening actually ended up being media night so instead of meeting Mel Brooks or the Hoff, I got to hang out with local media moguls Richard Abowitz and Norm Clarke. No offense to Richard or Norm, they're great guys and Richard and I had a nice conversation.

And the After Party? No Hoff, no Mel. The promised sites and sounds of 1950's NYC was just a Sammy Davis, Jr. CD, literally, and some New York landmarks that apparently was the staging area for the real party the next night. The martinis were good and the mile of confections and pastries wrecked my diet, but were heavenly. Regardless of the party attendees, the launch of 'The Producers' is cause to celebrate.

Go see the Hoff.

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When I first heard about this story, I had to check my wall calendar to make sure it was still 2007.

A war of signs has taken a turn for the stupid in a local labor dispute between Advanced Architectural Metals (AAM), a local company that provides metalwork for casinos, and a local carpenters union.

Last summer, Carpenter's Local 1977 hung a large picket sign that says "Shame on Lori Irish" -- the owner of AAM. They say she stopped paying benefits for the workers so they went on strike.

Pretty standard labor dispute stuff, right? People disagree and signs are made. I can't drive by a Wal-Mart in Vegas without seeing a picket line and "Shame on Wal-Mart" signs.

Apparently at some point in the dispute, somebody at AAM OK'd hanging two 20' signs at the business that read:

"CARPENTERS UNION MEMBERS ARE ALL HOMOSEXUALS AND THATS WHY THE IRON WORKERS ALL HAVE TO BEAT THEM UP!"

On how many levels is this sign wrong? Beyond the skillful, schoolyard-themed name calling, the signs encourage violence against people based on on sexual orientation, which federally is not a hate crime, but still. It's hard to believe that a company in this post-Matthew Shepard, current Isaiah Washington world, could be so successful and at the same time, so insensitive.

According to the ACLU, one way in which the sign is not wrong is in accordance with the First Amendment. While they the signs are shameful, they confirm that it's protected free speech.

Differences and diversity is what makes America, America and I'm sure there is frustration on both sides during a long labor dispute. However, I think if AAM would have just passed out T-shirts that read "Iron Workers Swing Harder Hammers," that would have been more effective. People would probably even pay for a shirt like that.

Regardless of how the duspute turns out, one thing is for sure, the "beat up gay carpenters" message is a tough sell.

More on the Story:
- KVBC: Video and Photos of the Sign

People always ask me where to go to get that old-school vintage Vegas vibe. Whether they want to bask in the long-gone afterglow of a Rat Pack night at the Sands or just watched a Vegas-centric movie like the original 'Ocean's 11' or the brief Vegas cameo in 'Swingers', they just want to breathe in that coolified retro air.

The problem is those chips were cashed in a long time ago, literally. Sure, there are places to go like Peppermill Lounge or Binion's to try and recapture some of that "old-school cool." However, once past the neon facades, a lot of the places most people consider old-school Vegas, are just aged versions of their former glory.

Official hand-written signs taped to walls and in some cases, the smell of eons of smoke, glory and regret soaked into carpets aren't the classy joints that Frank, Dino and Sammy patrolled back in the day. Don't take it the wrong way. I do love hanging out in these places when I find myself longing for nostalgia. It's just not the same.

Even mover and shaker George Clooney had to abandon plans to bring back that old-school Vegas sophistication with the shuttering of his Las Ramblas casino and resort project. He planned on a casino dress code reminiscent of the pictures of old Vegas where everyone dressed up to hit the slots.

Most people consider the imminent razing of the Stardust (R.I.P.) as one of the last silver chords to old-school Vegas. It depends on your definition of old school. What will actually be torn down is closer to the '70s kitsch era and not the mondo atomic years (above) of the late '50s and early '60s. There are still places for the kitsch like the Liberace Museum, parts of the Riviera and downtown at the California, but spots for the earlier years continue to dwindle.

You can get $1.99 shrimp cocktail from the Golden Gate casino. Originally built in 1906, it is old-old-old school, but the casino didn't get its current name and pioneering shrimp deals until the late '50s. There's the Tropicana on the Strip that was built in 1957, but it seems the Trop's days are numbered. The Las Vegas sign south of Tropicana on Las Vegas Blvd. was installed in 1959 and is a must photo-op. The Golden Steer is a classic eatery from 1958 and, as you can imagine, has hosted a who's who of Vegas celebs.

One of the best stops for any era is a trip to the Neon Boneyard, where all of the old neon goes to retire.

Call It a Comeback
Las Vegas is bringing some of that old magic back with the new Fremont East district Downtown. The area, directly to the east of Fremont Street Experience is burgeoning thanks to hotspots like Beauty Bar, but the new development will bring in retro street fixtures to complement the old-schoolness that is already Downtown.

A breaking story in Vegas news about alleged misdealings at the county hospital details kickbacks going to associates in Chicago, which seems to fit in with Vegas' old mob days. Of course, that's not the old-school Vegas anyone wants around, but it just seems to fit in with the theme of the story.

The best bet to relive any Vegas of Yore is to see one of the entertainers like Tom Jones or Wayne Newton or one of the classic shows like Folies Bergere or Donn Arden's Jubilee.

There's enough interest in an old-school Vegas, when they develop the Tropicana property, they should build an Epcot-style complex of retro casinos instead of more rectangular towers. The end result of the project would kind of look like NY-NY casino, but with the facades of interesting "retired" buildings like The Sands and The Landmark. Of course the inside would have to be modernized, but it's the best of both schools, old and new.

I read and hear a lot of dissent about the destruction of the past. To those people, I say Vegas is a state of mind regardless of the calendar or address. If you want old-school Vegas, blast the Tom Jones, put on a tux, grab a Romeo y Julieta and shake your dirty martini. You can do that at the Bellagio or Bally's. We should celebrate the past, but never forget that the present state of Vegas is pretty rocking.

The Best of Both Worlds
Resorts like Caesars Palace and Sahara have done a really good job at transitioning form the past to remain relevant in today's Vegas. However, they have gone in different directions. Caesar's focuses on luxury and maintaining a hip status with venues like Rao's and Pure where Sahara caters to families and budget-conscious guests with a rollercoaster, NASCAR Cafe and low-limit table games.

At the end of the neverending day, the way I see it, Vegas back then would have been pretty cool, but unless you lived it, the memories were never yours to begin with and if your curiosity needs artifacts, try eBay. I'll be fireside at the Peppermill with a big cocktail.

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To know me is to know that I'm not a big fan of Christmas. I can appreciate that it's a season for sharing, but remove the spiritual crutch (Jesus was born in March) that the holiday was founded on, and you have a bunch of people running around buying stuff for people and doing good deeds. Doesn't sound so bad, but I just don't think that activity should be exclusive to late December.

Add in the financial stress and emotional obligations and it would make sense to spread the good cheer and discretionary spending over the other 11 months.

I use the holidays to get caught up at work and reflect on the year that has passed: celebrate the successes, lament the losses and prepare to do it all over again in the new year. I never send out Christmas cards or Christmas-labeled presents for that matter. If you've been naughty (or nice) and you're on my list, you'll be getting, or have already gotten, your new year trinket this week.

I start my ritual on Dec. 26, I wake up very early and listen to the best "day after Christmas" song ever (has nothing actually to do with Christmas save the opening lines, but reminds me of a time & place) and then another melancholy year-in-review song ( 'A Long December') and that gets me through the reflection period. Usually from there I play happy songs at full blast, dance around the office and start the big gear up for New Year's Eve.

This year my ritual is interrupted. As you probably already know, James Brown died on Christmas. I was watching the Yule Log or football all day and neither one was interrupted to share the news. For me, it's just another reason to hate Christmas. Hopefully, he'll be remembered for his innovation and showmanship. You can't forget the crazy-haired mug shots and criminal activity, but somewhere between the two, lies the man.

Recent Vegas headliner and headline like Prince and Michael Jackson (respectively) would be different artists, and maybe even people, if it wasn't for James Brown, respectively.

I'm only concerned because legacy, like beauty, is in the eye of the beholder. Collectively, we come together with our perspectives of the past and and debate and adopt generally-accepted histories. With James Brown, there are many faces and facets of the man.

As an example of legacy gone wrong, I remember the techno song, 'James Brown Is Dead' from the early 90s, so I looked it up on YouTube and it's there. The comments are starting to come for the video and some people think that the song was just released. Even with today's modern technologies, it would be difficult, to write the song, record the video while perfectly capturing that early '90s techno sound. If you get enough of these people and combine them with those whose first-thought image of the Godfather of Soul is the mug shot. Not to mention, L.A. Style's legacy is taking a hit as profiteers of tragedy vs. just being a second-rate Dutch techno band.

Instead of lamenting James Brown, I will add him to the celebration part of my ritual, make a few cocktails and get ready for the new year.

Happy Holidays.

He meant as much to pop culture as Elvis and The Beatles, but you probably wouldn't have recognized him walking down the street. He was as responsible for 'The Simpsons' as creator Matt Groening, though he had nothing to do with the show. With partner Bill Hanna, Joe Barbera created characters we will never forget, and now he's gone.

Barbera, half of the Hanna-Barbera animation team that created 'The Flintstones,' 'The Jetsons,' 'Yogi Bear,' 'Scooby-Doo,' and many, many more classic shows died Monday at 95-years-old.

It's not just nostalgia that makes me sad that Barbera is gone, though I have plenty of it when I think of how much I loved Saturday mornings thanks to Hanna-Barbera. No, nostalgia is not all of it, because Barbera's influence is felt today as much as ever. Regarded as the first animated series shown in prime time, 'The Flinstones' laid the groundwork for 'The Simpsons,' which was the first animated program in prime-time since we road with the family down the street, through the, courtesy of Fred's two feet.

So long Mr. Barbera. And thanks.

I was born in Dallas and as such, was supposed to grow up loving the Dallas Cowboys. I usually go against the grain and as such, grew up as a New York Giants fan.

I did, however, love the three Dallas Super Bowl parties in the '90s and Emmitt Smith was a big reason I was able to gorge on beer, beef and nachos for a week straight without being judged.

As a football fan, I also have immense respect for the NFL's leading rusher. I'm glad he and Cheryl Burke won Dancing with the Stars. With Jerry Rice going far the season, I wonder if it's the popularity of the NFL that helps with the audience voting or is it the years of physical training. I've heard a lot of people say he looked adorable dancing, like a teddy bear dancing so idea for ABC: Tickle, Me, Emmitt.

The Dancing with the Stars Tour step-ball-change into Vegas at the Thomas & Mack Center on Dec. 30. Get tickets.