Oral history interview with Charles Lee Hank III conducted by Claytee D. White and Barbara Tabach on April 10, 2019 for the Remembering 1 October Oral History Project.

Charles Lee Hank III describes his experience with police growing up in Chicago and the dichotomy he feels now as a police officer for the Las Vegas Metropolitan Police Department (LV Metro). Hank discusses the events of the October 1 shooting at the Route 91 Festival, the chaotic experience he and other officers experienced as they looked for the shooter in the Mandalay Bay, and the aftermath as a member of the Las Vegas community and as an officer of LV Metro.

Subjects discussed include: Las Vegas Strip Area Command.

Folder of materials from the Mabel Hoggard Papers (MS-00565) -- Personal papers file. This folder contains newspaper clippings, jewelry designs, a "Basic Principles of Parliamentary Law and Protocol" booklet by Marguerite Grumme (not digitized in its entirety), event programs (including Las Vegas school graduations and reunions), "Nevada Nuclear Waste Storage Investigations" booklet (November 1980), "Black Women: The Unsung Heroines, Black History Week 1979" booklet, and other miscellaneous booklets (not all are digitized in their entirety).

From the Lincy Institute "Perspectives from the COVID-19 Pandemic" Oral History Project (MS-01178) -- Education sector interviews file.

When farm-girl-turned-waitress, Margaret "Maggie" Price, came to Las Vegas from Ohio in 1950 with her husband, Francis "Frank" Price, she had no idea what was in store for her in the hot desert oasis. Maggie's career spanned a period of historical transformation in Las Vegas when Downtown was becoming overshadowed by the development on the Las Vegas Strip. Vaudeville and striptease acts were still alive, but the arrival of big-named acts, such as the Rat Pack, Barbara Streisand, and the King himself, Elvis Presley, were just beginning to take the lead. Organized crime was still a prominent part of the culture and brothels still operated somewhat openly. The three decades Maggie and Frank worked in Las Vegas provided them with front-row seats for the birth, transformation, and occasional death of numerous casinos, including the Sahara, the Flamingo, the Sands, the Dunes, the Tropicana, and the International. Initially going to work as a waitress at the El Rancho Vegas, Maggie

Born in 1936, architect Joel Bergman spent his childhood in Venice, California, the son of Edythe Klein and Harry Bergman, a baker who later turned to dealing in scrap metal. The award-winning designer of such Las Vegas projects as the International Hotel, the MGM Grand Hotel (later Bally's), additions to the Riviera Hotel and the Golden Nugget downtown, the Mirage, Treasure Island, Paris Casino Resort, Caesars Palace, Trump International Hotel and Tower, the Signature at MGM Grand, Rhumbar, Gilley's at Treasure Island, and the Tropicana Hotel and Casino first arrived in Las Vegas in 1968 to work on the International Hotel. In this interview, Bergman discusses his architectural career, which began with his graduation in architecture from the University of Southern California; he also discusses his work with Martin Stern, his sixteen years with Steve Wynn, and the formation of his own architectural firm, Bergman Walls and Associates. Throughout, he pays tribute to the three mentors who had the greatest influence on his work—USC architecture professor Carleton Winslow, architect Berton Severson, and client Steve Wynn—and the ways they visualized people moving through space. He acknowledges other professionals whose work he admired and talks about his wives Marlene Federman, Terrie Colston, Maria Nicolini, and Valentina Bogdanova as well as his children and stepchildren. Joel David Bergman passed away August 24, 2016, three weeks after he gave this interview.

Anna Peltier, owner and founder of ARIA Landscape Architecture in Las Vegas, Nevada, is a transplanted farm girl and a musician. She was born in 1978 on Michigan’s Upper Peninsula in Escanaba, Michigan, where she and two brothers were the second generation to grow up on their parents’ (and formerly their grandparents’) farm. She studied music performance at Michigan State University but after discovering her love of landscape architecture early in her college career, she changed majors and earned her degree in landscape architecture. Moving to Las Vegas in 2007, she first worked for JW Zunino Landscape Architects. While with Zunino she did design work for Lorenzi Park and designed the award-winning Cactus Avenue Interchange. As ARIA’s principal designer, Anna designed Discovery Park in Pahrump, Nevada, and the USA Parkway between Lake Tahoe, California, and Reno, Nevada. In 2013, when Anna opened ARIA, she carefully chose the name of her business. First, for practical reasons she want

always thought I'd be more urban. I would live in a downtown city. I wouldn't have a car. I would walk around. I would work on these big skyscrapers.” At one point in his life, architect Craig Galati dreamt of designing large buildings in some of the nation’s biggest cities. Instead, he was drawn back to his childhood home of Las Vegas, where he created projects meant to preserve the city’s integrity, such as the Grant Sawyer State Office Building and the first building at the College of Southern Nevada Charleston Campus. He speaks to his work in preservation at the Las Vegas Springs Preserve and in welcoming visitors to Mount Charleston with his Spring Mountains Visitor Gateway design. In this interview, Galati talks about his parents’ decision to move from Ohio to Nevada and what it was like growing up in Las Vegas. He recalls his first teenage jobs in the Las Vegas of his youth and his studies in architecture at the University of Idaho. He recounts the dilemma of struggling to find architecture work he enjoyed and how that vision drew him back to Vegas. He describes various projects in his portfolio from his early years to the present. He speaks highly of his partnership with Ray Lucchesi and the basis for their vision: “We wanted to be a place that everybody liked to work for. Buildings were just tools to do something grander. They weren't an object. We had a philosophy that was not object based, it was people based.”