Alan Feldman fell in love with Las Vegas because of the Siegfried & Roy show at the Frontier. After the opening illusion, Crystal Chamber, “I don’t remember breathing.” Feldman grew up in a home with a creative father who was a self-trained musicologist and expert on Paul Robeson. His mother worked as a bookkeeper so Alan was encouraged to be grounded and to soar. As a theater major at UCLA, he was encouraged to hone his Public Relations skills. That expertise brought him to Las Vegas and to Steve Wynn and to work toward a changing relationship with the Culinary Workers Union Local 226. His work here has been life changing; management and labor did not have to fight at the end of each contract. He speaks of the changed understanding in this way: “…we also wanted to make a better product, and in making a better product we needed the employees to step up. Because if you are going to put five million dollars into a restaurant in 1990 where prior to that the most anyone had ever spent was a million, if you were going to tell the world come to Las Vegas because the experience is better, then the experience needed to be better. Maybe this is the part of Steve that he does deserve credit for, although, again, I think it's more—no, he's not alone now and folks like Jim Murren have absolutely taken up this same kind of notion. The building doesn't deliver your bags. The building doesn't hand you the meal. The building doesn't take your order. So great, you've got a volcano and you've got fountains and you've got stunning architecture. Fantastic. But if you don't have a smile on your face when you're welcoming someone to the hotel, it sucks and the rest of it doesn't matter.”

Rosemary Christian, David Peinado, Dale Pryor, Virginia Velasquez, and Greg Venezia are among the elite of Las Vegas bartenders. The bars that they work and have worked span from one end of the Strip to the other; the original Aladdin, The Silver Slipper, O’Sheas, the Monte Carlo, Slots ‘A’ Fun, the Luxor, Caesars Palace, and the Rio. Their stories take us from family ownership to corporate. Families allowed all casino bars to be set up in an identical fashion, each type of glass and each liquor bottle was set in the same location all over town. A bartender could walk into a new location and start work without a moment’s hesitation. Corporate thinking changed that need for an outside bartender to work in random places. When women began in this lucrative field, tension occurred but lessened as men recognized that women could lug beer kegs with the best of them and they could easily calm down a drunkard using her womanly touch. The thread throughout this roundtable discussion sews together the exceptional lives of these five bartenders with their membership in UNITE HERE Bartenders Union Local 165. In conjunction with the Culinary Workers Union Local 226, insurance, wages, job satisfaction, uniforms, giving back to the Las Vegas community, and many other benefits occur, seemingly, without effort. “We are skilled craftsmen.” “We have security working for the union and health benefits and a pension. So it's something that's long term. It's longevity working for a union. You know you always have someone backing you.”

As International Counsel to UNITE HERE, Culinary Workers Union Local 226, Richard McCracken is a true union man whose law firm represents labor. He is an independent thinker who prefers direct action rather than the strategies and negotiations of the National Labor Relations Board. This interview covers union activity in several locations throughout the country but concentrates on Nevada with stories about Las Vegas and Reno labor connections that are profound. Once which organizing in Reno after the murder of two organizers, Richard was given a spiked drink. An older, more seasoned organizer instructed him to eat a cigarette forcing him to cough up everything in his system. Very early in his career, Richard learned that direct action was better and the strategies and techniques of the National Labor Relations Board. The Culinary Workers Union’s fight with the Showboat was one of unusual direct action. The union interfered directly in a matter of with the casino’s shareholders. Union work takes courage. McCracken admires that courage in D. Taylor, Hattie Canty, Jim Arnold, and many other local union leaders. His life is also an example of that same courage, determination, and legal savvy.

Nevadans Dixie Morrison and Neil A. Brundy met in 1959 at a rodeo in St. George, Utah. Born in St. George, Utah, Dixie was raised in Meadow Valley Wash, in Lincoln County, Nevada, on an 800-acre ranch, where she milked cows, barrel-raced, and attend high school via correspondence. Neil lived in Caliente until he was four, when his parents bought ten acres near Rancho Road (US 95) and moved to Las Vegas. Neil attended Fifth Street School, Las Vegas High School, and graduated from Rancho High School’s first graduating class in 1957. The couple married in 1964 in the Little Church of the Flowers and proudly parented six sons. In this interview, the Brundys describe life in rural Nevada and in Las Vegas in the 1940s, 1950s, and 1960s; work on the railroads; barrel-racing; and rodeos. As members of the Church of Jesus Christ of Latter-day Saints, they also talk about their family history work. Their memories evoke the streetscapes of pre- and postwar Las Vegas, its outskirts and downtown; race- and class-based tensions in the schools; the glamour of Las Vegas casinos when they were owned and operated by the mob; and the country music stars who performed downtown. Now residents of Southern Utah, Dixie and Neil come to Las Vegas to hear hardcore rock. Their three youngest sons formed the hardcore rock band, Folsom. When Folsom plays locally the proud parents attend a performance and enjoy family time with their band member sons and the sons and their families who live locally.

Arte Nathan is trained in Human Resources. He evolved the thinking in the casino industry to allow management and labor to work for the best interests of both. Educated at Cornell University, he worked with Jim Wilhelm of the Culinary Workers Union Local 226 to develop an unusually profitable relationship that served the casino owner and the people who maintained the cleanliness of the property. “Look, before I got here it was Al Bramlet. I mean the strike of '84 is something that's indelibly etched in all of our minds. The strike in '86 in Atlantic City was much the same. But that type of contentious labor relations is not the future. And there are progressive companies all over the U.S. whether it's General Motors or Ford or Steve Wynn and Mirage Resorts. That's really the story. Are there disconnects along the way? Are there fights and arguments and egos? Of course, there are. But the overriding story of the Culinary Union in Las Vegas between 1980 and 2014 is that they forged a different relationship, a different model that was unique and successful and helped people to live and achieve their dreams. You don't often get that opportunity.” “I'm not the smartest guy in any room. Never have been and I never will be. But I'm willing to try. I'm willing to be open. I have an opinion and I'll fight with my opinion; you fight with yours because two heads are better than one.” He made room for the disabled, ex-felons, and drug addicts. Arte believes that no person is better than another.

Laura Taylor was born in New Haven, Connecticut and spent her childhood bouncing between New York and Ohio to follow her father’s career. Robert Cox, her father, was a businessman who attended Syracuse University on the GI Bill. Her mother, Lillian Cox (neé Bower) was concert pianist and college music professor. At the age of seventeen, Taylor received a scholarship to attend the Cincinnati Conservatory of Music in Cincinnati, Ohio under the tutelage of Dr. Robert Powell. Unfortunately, Dr. Powell died two years later, which prompted a move into commercial music. Taylor performed at a number of local clubs as well as soloed in national commercial campaigns for United Airlines and Buick. She moved to Miami, Florida with her first husband in her early 20s. After she and her husband divorced, Taylor recorded her first album with Good Sounds Records of Criteria Studios. Her songs Dancin’ in My Feet, Lady Scorpion, All Through Me, and Some Love made Billboard and Record World charts. She returned to New York City and formed the Laura Taylor Trio to perform jazz music in famous hotels like the Plaza Hotel and The Waldorf Astoria Hotel. Taylor moved to Las Vegas, Nevada in 1983 to open for Don Rickles at the Desert Inn Hotel, which led to many years of performing in the Desert Inn’s Starlight Theater. She married her second and current husband, Robert Cox, in 1985 after meeting him at a concert. Taylor also enjoyed a number of jazz performances on public radio and at a number of venues across Las Vegas. Today, Laura Taylor is still active in the jazz world of Las Vegas, serving as a member of the Las Vegas Philharmonic and the Jazz Society. She also continues to write and perform jazz music, appearing at Smith Center for Performing Arts as well as releasing five CDs.

Foxhunting may be the Sport of Kings but was also found among the elite in Michigan. In the early 1960s when Jeanne Williams married Ed Wilson, son of Charles Wilson, President of General Motors, she learned the art of riding to the hounds. She left that life for Las Vegas in 1965. During the heyday of Las Vegas, Williams reared her daughter, Christine, on the Desert Inn Country Club working as an artist and sculptor. The Summa Corporation’s job as Women’s Events Coordinator wooed her. She kept the wives of golfers busy with luncheons featuring speakers like Ann Landers and David Frost. These women were also treated to fabulous gifts including designer purses. But soon Williams was swept off her feet by Jack Kent Cooke, one-time owner of the Los Angeles Lakers. She moved with him to Virginia where her art suffered. Jeanne’s return to Las Vegas allowed her artistic canvas to expand with commissions from the town’s movers and shakers. This time, home was the Sahara Country Club and then in 1994, the Canyon Gate Country Club. Those homes gave her space for her art. Her artistry and skill as a sculptor were keenly honed during this period as she joined the prestigious Desert Sculptors Association and the illustrious Las Vegas Watercolor Society. Actress, singer, dancer, painter, sculptor Jeanne Maxwell Williams helped to start the arts movement in Las Vegas.