Channing Tatum knows all about bravery. When you spend much of your career in various stages of undress, a certain kind of confidence is required.
“I really have no problem taking my clothes off,” says the man who brought the character Magic Mike to life twice in film and once in the stage show “Magic Mike Live” in Las Vegas.“But I don’t care who you are, when you are up there in front of a bunch of people, you are nervous. And how you deal with nerves is everything.”
Tatum’s courage clearly runs far deeper than shedding his shirt in a film or, years ago, onstage. The esteemed action-film actor has put his own artistic reputation and resources (in the form of his production company, Free Association) behind “Magic Mike Live” at the Hard Rock Hotel.
A co-production of the hotel and Base Entertainment, the stage show is no meager project. “Magic Mike Live,” based on the two “Magic Mike” films, is Tatum’s vision. Both stage and screen versions were informed by his own experience as a stripper when he was just 18 at a since-closed club in Tampa, Florida (Club Joy, for Tatum history buffs).
The hit films “Magic Mike” and “Magic Mike XXL” summarily inspired Tatum to bring a highly produced male revue to the competitive Las Vegas entertainment scene — a city already home to such long-running hits as “Chippendales” at the Rio and “Thunder From Down Under” at Excalibur, both of which have run for more than 15 years on the Strip. Jeff Timmons of 98 Degrees has been pushing for a home for his “Men of The Strip,” which is performing a limited run at Hard Rock Café, also on the Strip, in July.
“I really love Las Vegas shows, and I feel the creative energy from the people who have put into these shows,” Tatum says. “The Vegas shows are good at what they do, there is a standard, and it is a very high standard when you look at what Cirque du Soleil has done with ‘Michael Jackson One’ or ‘Love’ at the Mirage. (But) if we tried to match those shows, we’d be wiped out. We’re just trying to find our little place in the city.”
“Magic Mike” was something of a long tease itself prior to its March opening. The oft-rumored production was shopped around various Las Vegas venues for three years, popping up in conversation whenever Tatum or one of his production partners were spotted visiting a showroom.
He finally found an eager partner in the Hard Rock Hotel, which offered a nightclub space – Body English – that had been latent for nearly two yerars. The venue underwent a multimillion-dollar renovation, with the performance stage set in the middle of the room and tables and chairs moved in for a 450-seat capacity venue renamed Club Dominia, after the show.
Tatum then sought well-trained dancers who could strip (instead of teaching a bunch of buffed guys to dance) for the cast of “Magic Mike Live.” The acts are small production numbers, which feature extensive choreography along with the use of aerial effects, dancers climbing up pillars and even a segment where the cast members perform as a live band.
For all the robust allure of “Chippendales” and “Thunder,” these are segments performed only in “Magic Mike.”
The strength of the competition only reinforced the work ethic of Team Tatum.
“God only knows how many days, weeks, months we spent, probably a year of time, in dreaming up these scenes and trying to make each one different,” Tatum says, the “we” being himself and choreographers Allison Faulk, Teresa Espinosa and Luke Broadlick. “We didn’t want to feel like the show was just a bunch of dance numbers lined up that had different outfits. We wanted a story arc. We kind of made a bit of a hybrid of a revue and something of a story.”
Thirteen nimble dancers cavort under the direction of the show’s female emcee, Lyndsay Haley. By the time you see your first full flip from the stage, you realize this show is seeking to be more than just a bunch of boys with hot bods in body oil and G-strings. In fact, as many of the female fans have pointed out, it takes a while for the strippers in this show to actually get around to that particular act.
Tatum puts a premium on pacing, on the actual tease, in “Magic Mike Live.”
“We learned from the first film that the movie was a bit like a show, and you really only have an hour and a half, or two hours, to spend with a stripper show,” Tatum says. “A guy or a group of guys come out, they dance, and one of them gets naked. Then there’s another scene, same thing. Once you’ve seen it, you kind of know what the show is – there’s nothing more.”
The tantalizing strategy has worked. “Magic Mike Live” is selling swiftly, surpassing $3 million in sales through the summer and selling out nearly every performance. Groups of 10 or more have had to plan several weeks in advance to get into the show, and its success has reportedly even increased the sales of both “Chippendales” and “Thunder.”
Tatum has researched the competition, naturally. He has seen his own productions many times, “More than any guy, for sure,” he says. Tatum and his wife, Jenna Dewan Tatum, have spent a few date nights in Club Dominia, and were spotted canoodling in the VIP section on opening night.
“For us, it’s the perfect night, and she’s seen the show probably more times than any woman and she never really gets tired of seeing the show,” Tatum says. “We love watching the show together. She gets dances from all the guys. It’s supposed to be a good time.”
Tatum then recalls the old days, long before he was an actor and when he was just a club frequenter.
“When I was growing up in Tampa, we would go to strip clubs because they had alcohol and they were open late and girls and guys went because it was just a sexually charged environment and there was no weirdness,” Tatum says. “I hope that, in time, guys will see that this is a place where they should not be afraid of going.”
One of those guys will certainly be Channing Tatum, who is constantly asked if he’s going to perform onstage and resurrect the moves that inspired “Magic Mike.”
“Well, it’s a full-time commitment to look like that, so if I had to guess, I’d say late this year or early next year,” he says. “We’re going to direct something early next year, so it would have to be before that. Sometime between now and the first few months of next year I will definitely be onstage.”
He then laughs, saying that all of his physical requirements – in film and onstage – are self-inflicted.
“As I’m older as an actor doing these movies, there comes a point where I would look at Allison or Teresa or my best friend and creative partner Reid (Carolin) and go, ‘Why do I keep doing this to myself? Why do I keep writing movies where I have to get naked?’ “ Tatum says. “This is like most people’s nightmares.”
But the man at the center of “Magic Mike” is just living the dream.
Local band adds some ‘pop’ to jazz sound of yesteryear
by Bobbie Katz
The Shaun DeGraff Band may be a Prohibition Era-style band, but those at The Sand Dollar Lounge on Spring Mountain Road June 21 surely will find the evening anything but dry. In fact, the joint will be jumping as folks drink in something different being offered for their consumption, starting with the band’s unique combining of the ultimate popular song list of today with a reimagined acoustic vintage sound. Carrying the look and feel of the era all the way through with 1920s costumes and microphones, DeGraff and company fully depict his motto, “Everything new just got old again.” “For the last three years, we’ve been doing nothing but private and corporate gigs,” DeGraff said. “So this is special. What we’ve been doing is really fresh. We take pop songs and rearrange them to make them sound entirely different. It is the vibe that changes, while the melody and lyrics remain the same. “Our sound is almost like a circus jazz feel. We make up beats. We take our style from a lot of different places and genres — the 1930s Harlem sound, Chicago blues, New Orleans’ Bourbon Street. We’re trying to put the fun back into jazz, which has gotten a reputation for being sleepy and serious.” A cover band until now, the group just recorded its first EP, Gypsy Nation. DeGraff previously released four full-length CDs as a solo artist. “We’ll be debuting the EP and celebrating my birthday at The Sand Dollar. We’ll be doing three sets with songs from the Backstreet Boys, to R. Kelly, to Radiohead,” he added. DeGraff, who is from Las Vegas, is the band’s main vocalist and master of ceremonies, and he also plays the piano. Beginning in 2006, he performed the dueling piano show at New York-New York hotel-casino for eight years. He formed The Shaun DeGraff Band in 2013, which started modestly as a trio doing little gigs around town, with DeGraff singing and playing the piano and banjo. Today, DeGraff performs solo, with his quartet, or with his seven-piece band that includes a female vocalist and a horn section. At the upcoming Sand Dollar show, Degraff and his seven-piece band, which features San Lemos on saxophone and vocals, Andrew Boostrom on trombone and lead vocals, and Sean Carbone on banjo, will perform because he feels it’s the best way to showcase it. “We’re just a bunch of guys who don’t take ourselves too seriously,” DeGraff summed up. Bet your bottom Sand Dollar, it will be a high-energy toast to a jazzy Wednesday night.
For acclaimed singer-musician George Bugatti, a piano is not just an instrument for getting his talent to the public; it also holds the keys to his very existence.
After moving from his native New York to Los Angeles in 1989, Bugatti was discovered by comedian and ”The Tonight Show” host Steve Allen — who also produced Bugatti’s first CD — while performing in the piano bar at The Peninsula Beverly Hills.
That’s also where the young artist met Tony Bennett, who became his friend and mentor, and who, in a rare move, brought him up onstage to sing with him some years later when he was performing in Thousand Oaks, California.
Then, fortuitously, Steve Wynn came into the piano bar and personally brought Bugatti to Las Vegas to open the Fontana Room when the Bellagio opened in 1998. It was there that Paul Anka saw Bugatti perform and put Bugatti’s self-produced CD, Bugatti Live on the Strip, on his record label, Paul Anka Productions.
“A piano bar is what saved me,” earnestly explained Bugatti, who has performed at The Bootlegger Bistro on Friday and Saturday nights for nearly three years and also presents George Bugatti’s Piano Bar in Cabaret Jazz at The Smith Center for the Performing Arts three times a year.
“I used to be a classical pianist, but I had a terrible accident to my right hand and lost all movement and feeling in it after surgery. I got the movement back, but I still can’t feel anything to this day.
“I didn’t know what I was going to do with my life, but I adapted so that I could accompany myself on piano. That’s when I started singing in piano bars. As I tell the audiences at The Bootlegger, I ended up meeting everyone in a piano bar, including my four wives.”
Bugatti, who thrives on singing his interpretation of songs from the Great American Songbook, says that the idea for George Bugatti’s Piano Bar came to him one night while performing at The Bootlegger. Even though the popular locals spot is not a traditional piano bar, he noticed that people wanted to sit close to the piano and hear about the songs he was singing, just like in the old days in the up-close-and-personal venues in which he performed in New York.
“I enjoy the closeness and the intimacy at The Bootlegger,” he acknowledged. “I can see the entire room, and I love that. I get specific requests. The songs come to life for me, and I share the stories behind the songs, which never gets old for me. I think I’ve expanded my definition of the Great American Songbook. In my case, it now includes any song with great lyrics, and great melody and chord changes.”
Taking his experiences at The Bootlegger to another level, Bugatti’s idea behind the concept he has introduced at The Smith Center is to book artists whom he has met in piano bars in which he has played.
In February, George Bugatti’s Piano Bar presented John O’Hurley in the Cabaret Jazz, and in May, Antonia Bennett, daughter of Tony Bennett, was brought in to perform. Bugatti opens each show by singing three to four songs and talking about his experiences in piano bars in New York and LA, as well as how he met the featured artist. He then brings the performer onstage to do his or her show. Bugatti himself has performed in Cabaret Jazz twice.
Bugatti’s career isn’t limited to intimate venues, however. He recently finished a 25-city tour of performing arts centers with his show “Portraits of America” in which he sings well-known songs about various cities, and he continues to tour with “Wizard of Song,” a show he produced with Sam Arlen, son of the famed songwriter Harold Arlen whose music the show highlights. Bugatti also has another show in development called “Billboard Chartbusters,” which takes in songs from the charts in the ’50s through the ’80s.
When it comes to performance, Bugatti continues to raise the bar.
Downtown Summerlin event highlights racing, food, fashion and bubbly
Downtown Summerlin has teamed with Moët & Chandon and Luxury Las Vegas magazine to host a dining and fashion fete unique to the Valley.
Taste of Preakness is set in honor of the 142nd Preakness Stakes Race, May 20, from 1-4 p.m., at Downtown Summerlin’s sprawling Dining Arroyo. The American flat thoroughbred horse race is the state’s biggest annual event, drawing in thousands of well-outfitted equestrian enthusiasts. It is the second jewel in the Triple Crown, the first being the Kentucky Derby and the third the Belmont Stakes.
Local race lovers can feel a part of the action as they sip specialty Champagne libations courtesy of Moët & Chandon while sampling a variety of hors d’oeuvres on the charming patios of featured restaurants.
The event is a first for the relatively new shopping and dining destination, said Halee Harczynski, marketing director at Downtown Summerlin.
“It will be a fun, progressive dining event using patios of all the restaurants,” she said. “People can enjoy the Preakness, and the fashion, and the food.”
Fashion has long been tied with horse racing and Taste of Preakness will showcase the latest trends from major retailers. Throughout the evening, Dillard’s, Macy’s and Nordstrom Rack will hold equestrian-inspired fashions for guests to get a gander of spring styles available at the Downtown Summerlin locations.
The newly opened home decor store, West Elm, will dress the VIP area in luxurious style. Guests can have their makeup touched up and receive professional tips from the BeautyBar by Sephora at Downtown Summerlin.
Local notable hatmaker Louisa Voisine Millinery will provide a portion of the proceeds from the sales of her bonnets to Make-A-Wish Southern Nevada, which has partnered with Downtown Summerlin’s community-focused event.
“We hope to grow it each year,” Harczynski said. “This event highlights the variety of boutiques we have and our fabulous restaurants. Come out and enjoy some cocktails with your friends and enjoy Preakness in a beautiful setting.”
A strategically placed, giant LED screen will take you to the action at Baltimore’s Pimlico Race Course. The thrill of the race also can be experienced on TVs throughout the many restaurants, allowing guests an opportunity to watch the races live from the property. And, Moët promises to present stimulating libations throughout the evening featuring Moët Ice Imperial.
“We’re very excited to be a part of this event,” said J.R. Starkus, Southern Glazers Wine & Spirits’ district manager of brand development and resorts mixology. “Everything Moët does is fun. We’re a fun company, and this is going to be an incredibly fun event.”
The latest from the Champagne dynasty, Moët Ice is an unexpected and versatile new beverage. The Champagne house will unveil a new cocktail using the remarkable simplicity of the world’s first Champagne specifically created to be enjoyed on ice when the weather is warm.
“We wanted to showcase Moët Ice because it can specifically be enjoyed over ice or by combining it with fun, fresh sensations and ingredients like fruit, and it will still maintain that Moët & Chandon essence,” he said.
The liquid refreshment has an elegant maturity that offers a tantalizing taste.
“Having this seductive palate, it lends itself to being consumed over and over,” Starkus said. “People think Champagne over ice might be sweet, but Moët Ice is not overtly sweet Champagne at all. It is good on its own, over ice or with ingredients that complement its spirit, such as mint or raspberries.”
Tickets to the Taste of Preakness at Downtown Summerlin are $50 for general admission before the event and $75 for the VIP area that will be catered beautifully by Andiron. Tickets can be purchased through eventbrite.com.
Taste of Preakness Signature Cocktails Presented by MoËt & Chandon:
Moët Ice Bellini
1 ounce peach puree
1/4 ounce Aperol
1/2 ounce simple syrup
Moët Ice Imperial Glass: White Wine Garnish: Orange Oils and Orange Twist Method: Build in a chilled white wine glass adding Moët last. Twist orange peel over the drink and drop in.
2 ounces coconut water
1/4 ounce fresh lime juice
1/2 ounce pineapple juice
Moët Ice Imperial Glass: White Wine Garnish: Pineapple slice, mint sprig and orchid Method: Combine all ingredients, sans Champagne, with ice in a shaker and shake; then strain over fresh ice in a white wine glass. Top with Moët Ice.
Iced Out Raspberry 75
1 ounce Belvedere Wild Berry Vodka
1/2 ounce fresh lime juice 1/4 ounce simple syrup
3 ounces Moët Ice Imperial 3 raspberries Glass: White Wine Garnish: None Method: Combine all ingredients, sans Champagne, with ice in a shaker and shake; then double-strain over fresh ice in a white wine glass. Top with Moët Ice.
You might be surprised to learn that, located on an undisclosed floor in the Palms Casino Resort’s Fantasy Tower, a state-of-the-art recording studio exist that some of the biggest names in the music industry seek out. It shouldn’t come as a surprise that the Studio at the Palms is the enduring legacy of former casino owner George Maloof Jr. and his appreciation for music.
It’s been the source of countless award-winning and chart-topping records, and in the imminently talented hands of studio director Zoe Thrall, it has made Las Vegas a major player in an increasingly lean and competitive recording industry. Maroon 5, Wiz Khalifa and Usher, to name but a few, have made the Palms their home away from home while crafting some of their finest work.
With the same combination of passion and pocketbook that created the Pearl Concert Theater, Maloof recognized a void and put his money where his mouth was to fill it. The man who took a turn sitting in every seat in the venue to make sure there were no “bad seats” set up an equally unique space for artists to create.
With just two recording rooms, it’s small compared to some of the studios in Los Angeles or New York, which is also part of what makes it so special. Bigger studios have more rooms with more artists working, which can lead to distractions.
“If someone pops into the studio at the wrong moment, then the focus is lost,” said Thrall. “I can’t tell you how many times people have commented on how much work they got done because they were allowed to disappear here.”
With a world-class resort and casino as perks, artists can get off the grid while working. One great example would be Michael Jackson in 2008. He stayed and worked for three months, and no one knew he was on property, not even the room service staff. Then there are the artists who embrace a Vegas-style bridge between work and play.
“Katy Perry was so much fun; we’d go up and visit the clubs with her. It was a blast,” said Thrall. “Jamie Foxx was here for a couple weeks, and he finished some work at 1 a.m. and wanted to test it out. So, he went up to Moon (nightclub) and had the DJ play the track to see what the reaction would be. Where else are you going to get to do that?”
Besides Maloof’s genius, the second-largest key to the studio’s success is Thrall herself. After growing up playing music and studying it in college, she was drawn to the technology. She moved to New York and became a recording engineer. She played “rock n roll oboe” in Steve Van Zandt’s the Disciples of Soul for more than a decade and then engineered at landmark New York studios The Power Station and The Hit Factory.
In 2005, she got the call from the Maloofs to come and manage a studio inside a Las Vegas casino. Although she initially envisioned Vegas casino owners in the mold of the great Moe Green character in The Godfather, she ultimately was won over by Maloof’s sincerity and vision.
“I could see how serious he was, and that convinced me,” she said. “He committed the dollars necessary to build this thing. It’s very expensive, and he recognized that, if we were going to attract a certain caliber of artist, he had to get it right.”
Thrall has been instrumental in developing the Studio at the Palms’ place in the industry, drawing on her lifetime in the business and her being in place since its opening. One gets the sense that she truly belongs where she is, even as a New Yorker with affection for Sin City.
What does she like most about Vegas?
“No snow,” she replied without missing a beat.
In addition to musical artists, she also has embraced other unique events in the space, from cocktail receptions, to product demos, to birthdays. And it isn’t just big-name American artists flying here to record. Akina Nakamori, the “Madonna of Japan,” has recorded three albums at the studio. Also, hometown heroes Elton John and Celine Dion are regular clients.
After the Maloofs sold their majority stake in the Palms in 2011, the Studio at the Palms soldiered on through a period of uncertainty by focusing on the service it provides and relationships with the artists who have come back time and time again. With the recent purchase by Station Casinos, Thrall is optimistic about the studio’s future and perceived value by the new owners.
“What’s really refreshing is they recognize how special the studio and the Pearl (concert theater) are,” she said. “In just a few short months, I’ve seen enormous attention to the music side. I’m sure that we’re going to see some really cool things with them as owners.”
Thought-provoking production brings different points of view from around the world
Sometimes it’s not the food at a dinner party, but rather the subject matter that’s brought to the table that causes stomachs to churn, and the evening to turn sour. Such is the case with the award-winning play Disgraced, which will be performed by the Nevada Conservatory Theatre and presented by the University of Nevada, Las Vegas Performing Arts Center at the 160-seat Black Box Theater in the Alta Ham Fine Arts Building, March 31 through April 9.
This five-actor vehicle, which was the winner of the 2013 Pulitzer Prize for Drama, has a lot on its plate: namely sex, religion and cultural assimilation. The plot centers around Amir Kapoor, a successful Pakistani-American lawyer who is rapidly moving up the corporate ladder while distancing himself from his cultural roots. Emily, his wife, is white; she’s an artist, and her work is influenced by Islamic imagery. When the couple hosts a dinner party with their two best friends, an African-American lawyer and his Jewish visual arts curator wife, what starts out as a friendly conversation escalates into something far more damaging.
“In 2015–16, Disgraced was the most produced play in regional theater,” said Chris Edwards, Nevada Conservatory Theatre’s artistic director, who also is producing this play for the venue. “It couldn’t be timelier, due to the proposed Muslim ban and immigration issues. One of its major themes is Islamophobia. “Amir Kapoor is a high-powered corporate lawyer who changed his name to an Indian name to avoid a post-911 backlash, but has been asked by his nephew to represent an Islamic imam, who is a cleric, being held in prison in the United States,” he added. “Amir says he can’t do it because it would be career suicide, but goes to watch the court proceedings to placate his nephew and ends up being photographed by The New York Tines and The Wall Street Journal, which positions him as defending the imam.
When people think of horse racing in the United States, what inevitably jumps to mind is the Kentucky Derby, along with its peers, the Preakness and Belmont Stakes. Those three races are an annual rite of spring, with jockeys and horses pursuing the Triple Crown, one of the most elusive and heralded trophies in all of sport.
But for the past 32 years, an annual ritual of fall has been on the rise, an event that easily holds its own against the energy and excitement of the Triple Crown races: the Breeders’ Cup. The event features a series of championship races in several divisions, all with at least $1 million purses. It’s capped by the prestigious $6 million Breeders’ Cup Classic, which pits the best horses at the 1 1/4-mile distance in a race that often determines Horse of the Year honors.
The 2016 Breeders’ Cup on Nov. 4-5 is doubly good for Las Vegas horse racing fans, who can settle in at any of dozens of great race and sports books around town, or make the reasonably short trek to this year’s host track at Santa Anita Park in Arcadia, California.
For either of those Breeders’ Cup experiences, arguably no one in this city knows more than Johnny Avello and Richard Eng. Avello, the executive director of the race and sports book at Wynn Las Vegas, has been a horse racing fan since he was knee-high to a pony.
“It’s a game I thoroughly enjoy because I’ve been around it my whole life,” said Avello, born and raised in New York. “My first time at the track was when I was 5 years old, at Saratoga.”
Eng has carved out a 37-year career in horse racing, with the first half spent working at race tracks in publicity and marketing, and the second as a journalist and handicapper. Since moving to Las Vegas in 1998, he’s had a weekly horse racing column in the Las Vegas Review- Journal. Before the Breeders’ Cup came along, he’d always felt there was a hole in the horse racing schedule.
“I think the thing that really struck me is, I’d been to all the Triple Crown races, and those historically had been the three biggest days in horse racing – and the Belmont was only big if a horse had a shot at the Triple Crown,” Eng said. “But there was no ultimate day, no championship day.”
In 1982, thoroughbred owner and breeder John Gaines proposed the idea to create just that, packing a series of high-stakes races into one day. Two years later, the first Breeders’ Cup was run at Hollywood Park racetrack in Inglewood, California. And Eng was there.
“It was just a huge a crowd,” he said. “The excitement and electricity reminded me of the Kentucky Derby, except there were seven championship races. It was an absolute home run right from the very start. If you were there, you knew this was gonna be something special every year.”
So special, in fact, that in 2008 the Breeders’ Cup added races and expanded to two days. That’s made it even bigger in Las Vegas race books. As much as Avello would love to dart out of town to see it live, he and his staff have their hands full with a crowded house of horse racing fans.
“It’s definitely one of the bigger events, so I’ve gotta be here to accommodate the masses,” he said. “On a Friday-Saturday, it’s a big deal. We’re packed. I actually have to open a party room for Saturday.”
And you don’t have to be a die-hard horse race bettor to have a good time at the race book, or to make a nice little chunk of change on your wagers.
“You’ll find horses at 25/1 or 35/1, and these are really good horses,” Avello said. “The reason for those odds is because they’re going against the best there is — they’re good, but others are better. I like the Breeders’ Cup because it’s two days of value, and the betting pools are big. No matter what type of bettor you are, you’ll get fair prices.”
Simply put, with all the thoroughbreds of championship caliber, there really isn’t a dark horse in these races, per se. But they can’t all be favorites, either, which can make for some great payouts on a winning bet.
“Gamblers love the Breeders’ Cup because there’s usually a very healthy share of long shots,” Eng said. “When you beat favorites, you’ll win some money. If you get lucky a few times, you can make a nice score.”
That holds true whether you’re trackside for the Breeders’ Cup or reveling in the event at a race book. Much as Eng thoroughly has enjoyed his dozen or so Breeders’ Cup trips, he understands why Vegas is equally, if not more, alluring.
“People who know Vegas well know this is a big- event town, whether sports, conventions, shows, you name it,” he said. “Once the Breeders’ Cup started, it created another big event for Las Vegas. Every race book rolls out the red carpet for race bettors. Vegas is always looking for a reason to put on a party, and this was another big reason.”
Putting on such a party will be Avello’s job come the beginning of November, and he’ll be ready.
“I think it’s more comfortable in the sports book,” he said. “Walk in, get a seat — you can even bet from your seat with the mobile app. I think it’s a great experience to do in the book itself.”
You may even walk out with more money than you came in with.
“The beauty of horse racing is the cliché, ‘You can bet a little to win a lot.’ That defines horse racing,” Eng said.