In this chapter, Stern describes her upbringing in Russia and fleeing to Poland. It is accompanied by a letter to the publishing company William Morrow.

Meeting minutes include reports from committees of the board, correspondence, and balance sheets.

As he reveals in this oral history, Roger Thomas is, among many other things, a son, a father, a brother, a husband, a student, an artist, a visionary, and a philanthropist. As the second son of Peggy and E. Parry Thomas’s five children, Roger was raised a Mormon child of privilege and civic responsibility. The banking family summered in Newport Beach, wintered in Sun Valley, and taught their children by words and deeds that it is not up for debate if you will be involved in your community; the only question is how you will apply your talents and resources to benefit your community. Roger absorbed the lessons well. As a child who struggled in school but excelled in art, he attended his last two years of high school at Interlochen Arts Academy, graduating in 1969, finally finding himself “in an environment where what I did had currency.” From there he earned his BFA from the School of the Museum of Fine Arts Boston and Studio Degree from Tufts University before returning to Las Vegas and eventually joining Steve Wynn’s team in 1981. As Executive Vice President of Design for Wynn Design & Development, he is the man in whom Steve Wynn places his trust to make real at each Wynn property the Wynn design philosophy: aim for a constituency of highly sophisticated, well-traveled, very educated people and give them a reality, a now, that is so fetching, so alluring they wish to be no place else. As he was mentored by his father and Steve Wynn, he too is mentoring those who will follow him. At Wynn, the next generation will carry forward the Wynn idea of evoca-texture, of creating “moments of experiential emotion that result in a memory so captivating and so unique that if you want to repeat that you have to come back.” At home, he collaborates with his daughter on a children’s book that has the potential to become a series; she is the illustrator, while he provides the words. Roger Thomas sat for this interview five days after his father, E. Parry Thomas, passed away in Idaho. Instead of postponing the interview to a more convenient time, Roger kept the appointment and explained, “This is for UNLV. If I’d cancelled my father would have killed me.”

Throughout his career, former Clark County School District Superintendent (1989–2000) Brian Cram took his father's words to heart. He heard them repeatedly over the years as he watched and later, helped, his father clean classrooms at Robert E. Lake Elementary School: this place—the classroom—this is the most important place. Cram was born in Caliente, where his father worked on the railroad. In 1939, when Cram was a toddler, the family moved to Las Vegas and his father found work first as a sanitation engineer at a hospital, and then at CCSD as a custodian. The elder Cram, who spent his formative years in the Great Depression, prided himself on doing "good, honorable work" as a custodian, because the work—the classroom—mattered. Even so, he wanted more for his son. Cram largely ignored his father's advice during his four years at Las Vegas High School, where he ran with The Trimmers car club, wore a duck tail and a leather jacket, and copped an attitude. Cram's swagger, though, d

Interviewed by Barbara Tabach. Born and raised in Zacatecas, Mexico, Irma moved to Las Vegas in 1989. She is the Cultural Program Supervisor at Winchester Community Center and has devoted much of her career to preserving Hispanic cultural traditions in Las Vegas. She has been an active leader in local events such as Community Roots, International Food & Folk Life Festival, World Vibrations, and Dio de Los Muertos.

Interviewed by Monserrath Hernández. A native Las Vegan, Justin Favela reminisces about growing up on the east side of the Las Vegas Valley. Favela provides insights about what he refers to as the caste system he is part of, how skin color makes a difference in social hierarchies, and his personal evaluations of the litany of terms such as Latinx, Latino/a, Hispanic etc. He discusses values impressed upon him by his family, especially his grandmothers; one is Guatemalan and the other Mexican. Favela was born in 1986 and discusses his universe where pop culture, gender, ethnicity, history, and Latinidad mix. He talks about his personal artistic expressions and the two podcast series he has created and hosts.

This interview conducted by Cork Proctor and is part of the Arnold Shaw Collection at UNLV University Libraries Special Collections. It has been added to the Southern Nevada Jewish Heritage Project with Mr. Morris?s permission. In this conversation, Morris reflects upon his career, how he got started as a musician, and the wide range of influential artists he has worked with over the years, as a drummer, musical director and talent manager. Stories include playing with Louis Prima, live and on his albums; serving as Elvis? musical director; filling in for Frank Sinatra?s drummer; entertaining Howard Hughes; and playing at President John F. Kennedy?s inauguration.