Liliam Lujan Hickey is best known in the state of Nevada for being the first Hispanic woman elected to the State Board of Education as well as for the enormous contributions she made while serving from 1998 to 2000. For this, an elementary school in Clark County bears her name. Despite many obstacles, Liliam has continually dedicated herself to standing up for the causes she believes in, such as providing preschool education to the underprivileged, preparing youth to enter the workforce, helping other Hispanics run for office, and proving that with enough courage anyone can accomplish their dreams. Born in Havana, Cuba in 1932, Liliam led a sheltered life that revolved mostly around her studies at a French Dominican school. She met her first husband, Enrique Lujan, when she was only sixteen and they wed soon after. Enrique was twelve years her senior, owned many casinos on the island, and provided a luxurious existence for Liliam and their three children. However, this lifestyle abruptly changed when Castro assumed power in 1959 and Liliam and her family were compelled to relocate to the United States. In Miami, Enrique assisted other refugees financially, hoping that his wealth would remain secure in Cuba. He was wrong. This left the family destitute. In addition to casinos, Enrique had been Cuba?s coach for the Olympics. He moved the family to York, Pennsylvania, where he hoped to find work at the York Barbell Company. Liliam, who had been accustomed to having maids and nannies in Cuba, found herself doing all the housework while she also worked in a factory. The change could not have been more dramatic and the living conditions became unbearable. The family chose to move to San Diego in a Volkswagen Minivan with the hope for a better life. The next few years brought many transitions. Things did turn around in San Diego, and Liliam she recalls her years in southern California as some of the happiest of her life. Liliam found a job working at the Scripps Clinic in La Jolla. After a few years, Enrique found a job in Las Vegas and the family moved again. In Las Vegas, Liliam gave birth to her fourth child, Mary, and life once again became financially difficult for the family. In 1972, the situation grew worse with Enrique?s untimely death. Liliam was a widow at forty years of age. She had to teach herself how to drive a car, write checks, and perform financial tasks that Enrique had insisted on managing while he was alive. Determined not to give up, however, she worked tirelessly to keep the family together. Amidst all this, a friend introduced Liliam to Tom Hickey, and after a brief courtship they were married in 1981. Within a few years, Liliam became active in politics, running for the State Board of Education. Her campaign manager advised her that voters would not be receptive to photos of a Hispanic woman on billboards, and to capitalize on the name “Hickey,” which was a recognizable name because her husband was an assemblyman. She took the manager?s advice and was elected in that campaign and for two more terms, the maximum limit for the office. After the first race, she proudly displayed her face on billboards across the state. During her time at the State Board of Education, Liliam dedicated herself to helping all children receive a better education in Nevada, not only Hispanics. She co-founded the Classroom on Wheels [COW] program, which brought buses to poor neighborhoods to provide pre-school education. She established Career Day, which pairs high schools students with business professionals in an effort to help them make the transition into the workforce. While the COW program is no longer running, 8 Career Day still operates and awards scholarships in Liliam?s name annually, which helps youth receive the educational opportunities they need to succeed. And she involved Hispanic youth in Boy Scouts by bringing ScoutReach to the Las Vegas valley. Lujan Hickey worked in a wide array of other community organizations. In the 1970s, she began to work with Circulo Cubano, which later became the Latin Chamber of Commerce, and she would later belong to the National Chamber of Commerce. A longstanding member of the League of Women Voters, Liliam saw the need to get Hispanics more involved in politics in the state. Her story is one of great inspiration, and when asked why she does it, she simply replies with a smile, “I love life.” Hickey?s narrative offers the reader a glimpse of the experiences of the Cuban refugee experience in the U.S. in general. Specific to Las Vegas, it provides a rare story of the experiences of early Latinas in the political and economic development of Las Vegas in the last half of the twentieth century.

Part 1: Interviewed by Stefani Evans. Myron G. Martin, President and CEO, and Donald D. Snyder, Chairman of the Board of Directors, share their memories of the founding of The Smith Center for the Performing Arts from the first non-for-profit foundation formed in 1996. The second iteration led by Snyder in 1999 brought in Martin--former Director of UNLV Performing Arts Center--and created a sustainable business plan for a center for the performing arts that would be accessible geographically and culturally for all segments of Nevada society. Here, Martin and Snyder recall how land, funding, and legislation for The Smith Center depended on the ""power of the project"" and the Snyder-Martin team's ability to overcome skeptics in the public, the Nevada Legislature, the Clark County Commission, the Las Vegas City Council, and the Don Reynolds Foundation. Martin and Snyder satisfied the various requirements for each organization and earned unanimous approval at each stop--in fact, the $50 million donation to The Smith Center was the largest the Don Reynolds Foundation had ever granted largest. That the approvals came on three consecutive days from competing municipal jurisdictions makes the accomplishment even sweeter. Subjects: Las Vegas, NV; Cultural center; Performing arts; The Smith Center for the Performing Arts; The Smith Center; Not-for-profit;; Nevada Legislature; Clark County Commission; Las Vegas City Council; The Don Reynolds Foundation; Fundraising; Planning; Endowment; Part 2: Interviewed by Stefani Evans. Martin, who was the youngest of three boys raised in suburban Houston, Texas, likes to say that in college at the University of North Texas he played for the Atlanta Braves and the Texas Rangers. So he did--as the organist. He earned a Bachelors of Music in piano, organ, and voice and an MBA from Golden Gate University. He came to Las Vegas after a fifteen-year career with the Baldwin Piano Company as executive director of the Liberace Foundation; he later became president of UNLV?s Performing Arts Center and in 1999 he became president of the Las Vegas Performing Arts Center Foundation. Here, Martin and Snyder recall the process whereby they hired architect David Schwarz of Washington, DC, to create The Smith Center's ""timeless, elegant"" look; creating a ""shared vocabulary"" by visiting 14 performing venues in 5 European countries; the City of Las Vegas's RFP that resulted in hiring Whiting-Turner Contracting Company; the exterior art/artists, significance of the bell tower, Founding Fifty(seven), and the ability of the theater to adapt from staging The Book of Mormon to staging a community funeral for two slain police officers. Subjects: The Smith Center; The Smith Center for the Performing Arts; Architecture; Fundraising; Acoustics; Public private partnerships; Request for proposals; Whiting-Turner; Theater Projects Group; vocabulary; Part 3: Interviewed by Stefani Evans. Author Jack Sheehan, joining this third session on The Smith Center in his role as Don Snyder's biographer, explains the way he envisions the place of The Smith Center in the larger context of Las Vegas. Martin and Snyder provide names for the group that grew out of the Call to Action meeting and founded the original Las Vegas Performing Arts Foundation. They share anecdotes of a 2005 trip, wherein they were joined by Las Vegas City Councilman Lawrence Weekly, City of Las Vegas Mayor Oscar Goodman, and consultant to the City of Las Vegas Dan Van Epp to visit City Place and the Kravis Center for Performing Arts in West Palm Beach as an example of a place where a performing arts center was a catalyst for revitalization in an area of underused and underutilized urban land. They discuss opening night, March 10, 2012, /From Dust To Dreams: Opening Night at the Smith Center For The Performing Arts/, which was produced broadcast live on national Public Broadcasting System (PBS) television stations, produced by George Stevens Jr. and directed and produced by Michael Stevens for The Stevens Company; hosted by Neil Patrick Harris; and featuring Jennifer Hudson, Willie Nelson, Merle Haggard, Emmylou Harris, Martina McBride, Carole King, Arturo Sandoval, Joshua Bell, Mavis Staples, Pat Monahan; American Ballet Theater dancers Marcello Gomes and Luciana Paris; also Broadway performers Brian Stokes Mitchell, Laura Osnes, Cheyenne Jackson, Sherie Rene Scott, Montego Glover, and Benjamin Walker. Martin describes how provisions of Nevada SB235--introduced March 6, 2017, signed into law by Governor Bob Sandoval, and became effective October 1, 2017--for the regulation of ticket sales to an athletic contest or live entertainment event affect The Smith Center ticket sales. They talk of providing 3,600 good construction jobs during the recession, of Discovery Childrens Museum, of future development plans for the entire 61-acre Symphony Park parcel, and of a second capital campaign to increase the endowment to $100 million to enable The Smith Center to be economically sustainable.

On February 18, 1951, Fred Wilson interviewed Mary Ellen Osborn Lake (born 1870 in Mercer County, Missouri) and her son, Thomas Lake (born 1889 in Missouri). Wilson first asked Mary Ellen questions about when she first arrived in Las Vegas, Nevada in 1904. Much of the relatively brief interview involved questions related to the first Methodist churches in Las Vegas and the Lakes’ involvement and recollections of the locations and members of the church community.

Musician Ronald Simone of Las Vegas credits his father’s guidance and his upbringing in New Haven, Connecticut, for shaping his musical and educational aspirations. Due to its proximity to New York City and the influence of Yale University, New Haven offered its residents the finest in musical entertainment; as a result, many musical greats were from or had lived in New Haven and most Broadway shows opened at New Haven’s Shubert Theater. Born in 1935 with the gift of perfect pitch, Simone began to play the piano at a young age and could play most pieces by ear. He began playing professionally at age eight in 1943 with a weekly stint on a radio show, Kitty's Revue. Still in grade school during World War II he began touring locally with an amateur producer, who formed a show that played military bases and hospitals around Connecticut and into New York and Massachusetts. In high school Simone formed his own trio and a quartet and played piano in gin mills, illegal card rooms, and resorts in upstate New York while playing trumpet in the high school band. He joined the Musicians Union at 18 and continued to play in New York and Connecticut clubs and theaters throughout his five years at Yale. During his second year at Yale the School of Music became a graduate school, from which Ron graduated in 1958. Ron’s sister Louise married one of his Yale classmates, a drummer, and the couple moved to Las Vegas. Ron visited his sister in 1959, loved the musical opportunities he saw, transferred his Musicians Union membership, and moved to Las Vegas with his friend, violinist Joe Mack, in September 1960. After sub work and playing a lounge show at the Riviera, he spent five and a half years in the Riviera showroom, moving in 1966 to the Desert Inn, where he played piano in the exclusive Monte Carlo Room for five years for the likes of Dean Martin, Sandy Koufax, Sammy Davis Jr., and Kirk Kerkorian. From there Simone went to the Dunes, where he remained for the next nineteen years working with choreographer Ronnie Lewis and rehearsing and playing all the Casino de Paris shows, line numbers, and production numbers. In July 1989, Musicians Local 369 went on strike. Because Simone was playing the Follies Bergere at the Tropicana—the first house band to strike—he was among the first musicians to walk out. Musicians at all but three Strip hotels (Circus Circus, Riviera, and the Stardust) followed. While the musicians strike lasted nearly eight months, Simone was recruited for sanctioned sub work for the duration at the Lido de Paris show at the Stardust. After the strike ended he worked with Johnny Haig's relief band playing six nights a week at various hotels.