At first, I was totally against it because I thought what most people thought, I'm not going to be a stripper.

♪♪♪ -We had North Las Vegas Police, Las Vegas Police, Code Enforce, the Animal Control.

So I just said, Hey, give me my gun.

♪♪♪ ♪♪♪ My name is JD Rainey, and I'm a professional B-Boy, born in Anchorage, Alaska.

My mom and dad were law enforcement.

I was considered a handicapped kid.

My feet weren't sitting in proper alignment.

So my feet were literally upside down.

I wore leg braces for the first five years of my life, so I was a real life Forrest Gump.

The first things I got into was comic books.

Comic books was a fun outlet and a fun fantasyland to be in because it was all people with superhuman abilities.

And I think subconsciously, knowing that I had a disability, I kind of dreamed of wanting to be superhuman because I had family members that were superhuman to me.

My two older brothers were all-star athletes, big, strong, fast.

I wanted to do everything my older brothers did.

They played almost every sport, so I wanted to do the same.

My dad was a martial artist, and Mom had the dancing feet.

Mom gave me the dancing shoes.

We danced a lot at home, and that was something that was really private and something I didn't think would be, later on, a career.

I moved to Seattle.

I was about 9 going on 10.

When we moved there, it was very early '90s hip-hop, and that era in the '90s was all about fun, bright colors, a lot of geometrical hair shapes.

We had people walking around with flat tops, Gumbys.

Paul, he ended up becoming my best friend in junior high school.

Walked into the corridor to go to class, and he was practicing these dance moves, breaking.

And he was doing a footwork shuffle, and then I seen him spin on his head.

Then he stood up, grabbed his bag, and went into class.

He didn't know I could see him.

It was mind-blowing.

A light bulb clicked.

I just knew there was something about what he was doing that I wanted to do.

I walk into English class, and I tapped him on the shoulders like, Yo.

Whoa, what did you just do in the hallway?

He said, Oh, I was breaking.

I said, can you teach me that?

After that, we became friends.

He invites me over to his house and we start practicing.

♪♪♪ This was definitely a time of no internet.

We got into the culture.

We did our research by finding other kids that were into it, spending a lot of time talking about it, thinking about it, dreaming about it, trying to figure things out.

And it was something that I felt was special to me because it was something I found on my own.

My breakdancing name at first was Flip Freshness because I come from a gymnast background.

I was very acrobatic.

I was in the air a lot, liked to do flipping, jumping.

But fortunately, there was other people across the nation with that name already.

I decided just to change my name.

We were at a grocery store one time, and I had grabbed three Twix candy bars.

He looks at me and says, I'm gonna call you Twix, because he was actually mocking me.

Light bulb came on and kind of paused and was like, That's kind of tight.

And then I thought, I'll spell it with two Xs because there's two candy bars in the pack.

So my b-boy name is B-Boy Twixx.

Massive Monkeys Dance Crew, that is my second family.

We're a full-on hip-hop crew.

We are a three-time World Championship title holder in the world of breaking.

We were all the leftover kids from other dance crews that had big reputations.

We shared a love and passion for the dance and got together and made a crew.

Just wanted to make a statement and kind of make our place in hip-hop culture, go and compete and battle against other crews and against other kids that were doing the same thing.

Juice and myself, we entered a competition called the B-boy Summit.

And they were having a two-on-two bracket.

So we won the battle that year.

I think that's what got the momentum rolling for our crew to win numerous titles after that.

Everybody always really complimented us on how much we were a team, and we were known for making these really elaborate dance routines with all of the members.

We wanted to make sure that our crew stood out as a crew and as a team, more than just the individuals in it.

Every time that we found out there was a competition locally, we tried to go to it and battle in it and make a name for ourselves and create a reputation for ourselves.

We started getting invited to other competitions around the world now and tried out for America's Best Dance Crew, Season 4, and made it onto the show.

We were battling against the other crews and trying to win the championship of, you know, of America's Best Dance Crew.

I had a lot of peers said, You should do movies.

You could easily be an action star or be a superhero.

And once I heard that, it was like, Oh, yep.

Okay.

'Nuff said.

I moved to California.

Started doing the Hollywood shuffle, signing up with a talent agency, getting headshots done and printing resumes and going to auditions and then eventually got picked up by Chris Brown.

Spent the next three years living the life of a major artist's background.

Alison Faulk, who was also a dear friend and a crewmate, asked me if I was still interested in dancing or if I was done dancing as a career, because she knew I was transitioning and moving into stunts.

I was still taking dance jobs.

She said, I might have a job for you, Magic Mike Live.

And at first I was totally against it because I thought what most people thought, I'm not going to be a stripper.

She goes, Wait.

It's not what you think.

And I'm looking at her skeptically, of course.

She's gives me more of a demographic of the show, and it changed everything.

The best way I can explain it, it's the perfect marriage between Magic Mike the movie and the franchise and a Cirque du Soleil production.

Okay.

Let's give this a shot.

My inner self and my inner child is thinking, Oh, my God.

I got to move again for this now upgrade in my dance career.

This gave me a chance to kind of step out from behind dancing for stars and becoming my own star.

Okay.

Sin City, it's all right, Vegas.

That first year was a whirlwind of craziness, took off like a rocket.

We were the first show of its kind.

We saw our faces on billboards, commercials and all the buzz, and lives changed.

The director, Steven Soderbergh, came and seen the live show after hearing about it and insisted to Chan that a third movie needs to be made.

The concept of that was the third movie about making the live show, and they wanted to take people that were actually in the live show and put them in the movie.

Never thought I would be in a Magic Mike movie.

Very surprising thing to happen, and I'm grateful for it.

People come and see the show, they leave with a whole different perception of what the show is versus what they thought it was.

It puts a smile on my face knowing that I was a part of the original creation.

It has an empowering message for women for them to feel seen in a way that they're not normally seen in the outside world, the essence of their sexuality without feeling judged, without feeling shamed, or any of the negatives that are in the exterior world.

It really is an uplifting show when you think about it.

There's no other male review like Magic Mike Live.

And seven years later, still here.

♪ Okay, I'm stepping on the scene with my team so mean ♪ ♪ Flowing so high, they gonna try to intervene ♪ ♪ Flowing so high, they gonna try to intervene ♪♪ -Look at you two.

-Oh, hey.

-Nice little warm-up game of foosball.

-Yes.

-Oh, you blocked that.

-Wow.

-Hi.

What's going on?

-How you doin'?

-I'm all right.

They asked me about how our show differentiates from all the other shows.

And I touched on the message, but I felt like it would be even better to ask two lovely women from our show so they can hear from the source.

(Jaclyn Marfuggi-Caprio) I think one of the coolest things that sets us apart is connection, because I feel like that just makes every woman in the audience feel safe.

And I feel like also Magic Mike Live is like a choose-your-own adventure.

Like you could kind of feel like this is the night I want to have now.

And that's why people come back, you know?

-And never the same twice.

-I feel like we basically just give everyone permission to be themselves.

And, no, you're cool just the way you are.

-I never thought about it as a choose-your-own adventure.

That's an actually interesting-- -It totally is.

-It totally, now that you said that, it totally tracks.

(Meredith Ostrowsky) I love bringing people for the first time and having them react.

I feel like that's super fun because they don't know, they don't know what to expect.

And it just, it just opens them up in the best way.

It's important for them to see themselves up there.

I feel like just the way it unfolds to the next level, it's pretty cool.

-Just pulls back the layers.

There's so many different layers to our show.

-When we bring women up on stage, I forget that that stage might be intimidating.

-Yeah.

Oh, yeah.

-Some of these people have never been on stage.

But the fact that I think we make them feel so comfortable by that point that they're like, Yeah, I'll go.

-I know.

Sometimes they're like a little too comfortable.

-Very comfortable.

Cool.

Well, you should probably get back downstairs.

There will be another show to do.

-All right.

-Thanks for hanging out.

-So fun.

-I hope I'm not interrupting.

-Come play with us soon.

-She's teaching me.

I'm terrible.

-I'll stick to dancing.

I suck at foosball.

-I mean-- -I doubt that.

♪♪♪ -I'm Michael Green, a history professor at UNLV.

And I'm at the Neon Museum in front of the Sahara hotel sign.

The Sahara is the beginning of the Strip if you're coming from Las Vegas, the end if you're coming the other way.

The Sahara opened in 1952.

Originally, the Club Bingo was on the site, and the people behind the Club Bingo turned it into a hotel.

When it opened, Ray Bolger from The Wizard of Oz was in the showroom.

And the Sahara, like most of the hotels on the Strip, had major performers coming in and out of the showroom.

But the Sahara became known for entertainment of a different kind.

It was the Sahara that really promoted the idea of the lounge as a major place to go.

And a couple of entertainment directors there, Bill Miller and Stan Irwin, were booking performers there.

And they were able to bring in a jazz musician singer named Louis Prima who came with his wife, Keely Smith, and the band Sam Butera and the Witnesses.

And every night, they were the ones to see.

And everybody in town, everybody on the Strip was coming to the Sahara lounge.

Then they brought in a comedian who actually got laughs insulting people, which might have seemed a little off base, but it was Don Rickles.

And he ends up moving from the lounge to the showroom as well.

There were other important performers associated with the Sahara.

In the 1960s, Johnny Carson started performing there, and it became a big thing for the Sahara that he would announce on The Tonight Show that he was going to be going to Las Vegas and playing the Sahara.

And that brought a lot of attention to the hotel.

For about two decades, it was the home of the telethon that Jerry Lewis hosted on Labor Day weekend for the Muscular Dystrophy Association.

Well, the Sahara is still with us.

It was under a different name for a while.

Current ownership has tried to stick with the history while modernizing it.

So today when you come to the Sahara, you come to the oldest property on the Strip that still has part of the original building there.

It's part of Las Vegas history and part of my history-- first place in town I ever went for a formal dinner, and I had no idea what I was doing.

♪♪♪ (Chuck Frommer) Make me sound good, Nikki.

I want you to change my voice, man.

People call on the phone, Oh, is this, is this Chuck?

How could you tell?

It sounds like I'm going through puberty for the 40th time.

I'm Chuck Frommer.

I'm the owner of the oldest meat market in Las Vegas.

So my grandfather, John Mull, came to Las Vegas in 1936 to work on Hoover Dam.

In about 1943, he started John Mull's Meats because he saw the opportunity to sell beef, pork, poultry to a lot of people that really couldn't get wholesome products in Las Vegas.

At that time, the war was going on... ...so they had ration stamps.

He decided to go out on the limb and utilize his ranching capabilities in Utah to produce beef, bring it down, and sell it primarily to the minority people of Las Vegas.

They had a difficult time actually purchasing product because they couldn't get the ration stamps.

In 1951, we received our first business license.

In 1953, we got our first health permit.

They determined that this business was founded in 1953.

Realistically, it was founded in 1943.

John Mull's Meat started out as a, as a meat market, but it primarily was a slaughterhouse.

We had one section of land which would be 640 acres.

The surrounding area was basically just sand dunes.

There was quite a bit of water in Las Vegas at that time.

If you dug a hole and you put a pump in, you could actually make an artesian well.

The aquifers were so close to the surface.

Well, when I was a kid growing up in Vegas, it was really cool.

We used to put a shotgun on our handlebars on our bicycle and ride to Tule Springs, shoot dove after school, and come back over here and go to work.

We never had any issues with the police.

It was like living in a rural community next to a major city.

My father took over John Mull's Meats in 1957.

He decided it was a little too much work for him, so he actually sold it to my uncle who was Bill Mull.

He was a very intelligent guy.

I mean, he really pushed the beef production to the limit.

When I actually took over John Mull's, I bought it from my uncle.

That was probably the best thing I could have ever done.

I wasn't really aware of what I was in store for.

I really didn't think I was gonna own it for another 40 years.

So when I took it over, I had to make several changes.

We were an FDA plant.

In other words, we were allowed to slaughter, we could sell commercially, and we were governed by the FDA.

It was 1996, 1997, we had a gentleman bring in two beef.

He was a real cowboy.

You know how a real cowboy, he has the chaps, he's got the spurs, a little vest with the little chain.

So I knew he was a cowboy.

I pulled the first beef in and I said, Hey, whatever you do, don't pull forward.

I said, Because if you pull forward, the second beef is just gonna walk out.

I hear the truck pull forward.

I see the second beef walk out.

I went running out the back door.

That beef ran around to the back of the building.

I grabbed his tail.

He's dragging me down the fence.

By the time the cowboy came up, I said, Hey, man, just put your arm in his mouth, pull back, and, I said, he'll lay right down.

He said, I'm not going to do that.

He'll bite me.

I said, He doesn't have any teeth.

He can't bite.

I thought you were a cowboy.

So anyway, I let go of him, and that beef took off.

I hear this boom, boom, boom.

Oh, no, man.

I went out.

He had wrapped his rope around my truck and was like beating the sides of my truck.

And I only had that truck literally for about three months.

It was brand new.

So he takes off.

He goes down the street.

We go after, chasing him.

He hit three cars.

Literally, I had to pay for all three cars.

We had North Las Vegas Police, Las Vegas Police, Code Enforce, the Animal Control.

I said, You know what?

Man, I've had it.

So I just said, Hey, give me my gun.

[sound of gun firing] Well, that was foolish.

Now, everybody in Las Vegas had a camcorder, so they were filming it.

One of the journalists actually came up and said, What were you thinking?

I said, It was a cow.

It wasn't a human being, man.

I said, I just shot a cow.

He had tears in his eyes.

I ended up getting a little community service over that little event, and we actually got taken off the federal program because of that.

That's when we, that's when we became a barbecue joint.

When we got into the barbecue business, we had a lot of trial and error.

If I had a dollar for every rib that I screwed up, I'd probably be a multimillionaire by now.

I've burned up more meat than you'd ever think of, man, believe that.

I-- some meat.

We spent at least a year and a half trying to perfect being able to mass produce ribs.

We started out smoking them.

You've only got so much smoking capabilities.

What we were trying to achieve was a smoked rib flavor by boiling it.

And it took literally a year to perfect that to the point where they were still moist, they were still tasty, they still tasted like they were smoked.

That way it only takes one-tenth the amount of time to cook them.

We destroyed a lot of ribs along the way.

Our style of barbecue is definitely unique to everybody else's.

We produce everything from scratch-- all of our sausage products on hand, all of our seasonings on hand.

We get four semis a week dropping off products.

We go through 24 briskets, 88 slabs of ribs, 240 pounds of burnt ends, 48 Chicken, 32 pork butts, 300 pounds of rib tips on a daily basis.

It's not just a business, it's my life.

I still get up every morning, I'd say, 4:30 in the morning.

And I get to work at about 6:00, and I leave every day about 10:00 at night.

I work seven days a week.

It's not really a job.

It's what I like to do, so it's really not that difficult.

The key to success is loving your business.

You have to do what it takes to make it happen and make it work.

Nothing's gonna come easy.

If you keep pursuing your dream, it's gonna come true.

Oh, I love Las Vegas, man.

I love this city.

This city has been great to me.

The people in this city are great.

I'm extremely proud that I can give back.

You couldn't see anybody more proud than me, man.

♪♪♪ We're not just John Mull's Meat, we're also the Road Kill Grill.

So a lot of the products we make, we make them right here on site.

One of the most popular products that we have are burnt ends.

Now, we do our burnt ends a little bit differently than everybody else.

Most people use the point off of the brisket, which is very fatty.

Sometimes there's some meat and no meat.

What we started doing about five years ago is using chuck flat.

This is chuck flat.

It's basically off the front quarter of the beef.

There's only one piece per side, so you only end up with two off of the whole beef.

It's pretty well marbled, so it's nice and tender.

It's got enough fat to give you some texture and a lot of flavor.

We actually inject it with a marinade.

We get a uniform seasoning all the way through the meat.

So this is a Promax injector.

As you can see, this is our marinade down here.

And what it does is it vacuums it into the machine, and these little needles actually inject each and every one of these burnt ends.

There's 32 needles that actually puncture about every inch on that burnt end.

So we've actually pulled our burnt ends out of that Promax injector.

You can see the little perforation on here.

The marinade has penetrated everything.

Now we're gonna go ahead and rub them down.

Now, this rub is-- this is a rub that we've actually developed here at John Mull's Meats & Road Kill Grill.

It's called, we call it the rib rub.

What we're going to do is put it on pretty liberally, rub it in.

We'll do all sides of the meat.

And we generally do this in a big tumbler, a big vat.

To make it a little bit more for show, we're gonna go and do it by hand.

This is what the finished product would look like before it goes in the smokehouse.

Now, we're going to put this in the smokehouse, after it's been rubbed, for about 22 hours and smoked with pecan wood.

So that's our next step.

So once we get that done, we'll take it out and show you what it looks like on the finished product.

Well, it's been about 22 hours.

I think it's time to check the smokehouse, take these burnt ends out, cut them up, let you see what you're missing out on here at the Road Kill Grill.

Now, that's some smoke.

Now, I'm tearing up not because of the smoke, just because of the taste.

I'm just eager to try these.

So we actually, we actually wrapped these in Saran Wrap when they reached 165 degrees because that will hold the humidity in.

We're just going to cut these directly off the smoker.

You see how nice and moist they are?

Here's our rub on the outside.

Let's go ahead and cut them into little squares, and that is a Road Kill burnt end.

We'll let Jeremy try it and see how he likes it.

One for Max.

And one for Tommy.

-Why don't you try one real quick.

-Oh, yeah.

Oh, I love these, man.

This all day, baby.

Nice and tender.

The flavor is right.

That's what we're looking for, consistency.

So you've seen it here.

Not only do we make salami at John Mull's Meat, but we make the best burnt ends at the Road Kill Grill.

Come on down and try it.

♪♪♪ (Claire White) Welcome to the Mob Museum in Downtown Las Vegas, Nevada.

Here we explore the history of organized crime and law enforcement in the building's original federal courthouse and post office.

Let's go explore some of our exhibits.

♪♪♪ Here at the Mob Museum, we talk so much about the connection with organized crime and our city.

And by 1982, the mob had had control of our city for nearly 40 years.

And a very important moment in mob history happened on October 4, 1982, when Frank "Lefty" Rosenthal, a Chicago outfit associate survived a car bomb at 620 East Sahara Avenue.

He was outside of the Tony Roma's getting takeout to take home for dinner, when he went to start his car and instead felt an immediate explosion.

That explosion was a car bomb placed underneath his 1981 Cadillac Eldorado.

Rosenthal survived this car bomb, though, because of a steel plate that had been placed under the driver's seat in this particular model of the Eldorado as a stabilizing feature.

The car bombing is still uncredited, and it's unclear who exactly orchestrated the bomb.

But there are a number of key leading suspects, one in particular, Frank Balistreri, who was a Milwaukee mobster, as well as Kansas City mob associate.

And a story that many know from the 1995 movie Casino, another suspect was Tony Spilotro, Rosenthal's fellow associate of the Chicago outfit, former friend and at that point kind of bitter enemy.

Many people think that Spilotro might have been responsible for this car bomb because of their own personal tension.

And if any of this story sounds familiar, that's because it is the first scene in Casino, in which Robert De Niro, playing the character of Sam Rothstein, very less than loosely based on Frank "Lefty" Rosenthal, survives a car bomb very similar to what the actual Rosenthal survived.

To discover more about other historical events in mob history, join us at the Mob Museum in Downtown Las Vegas.

♪♪♪ -That's the show.

Watch more Vegas All In stories and moments whenever you want to.

Go online and search @vegasallinpbs, and we'll see you there.

♪♪♪