On a pleasant spring evening at sundown in April 2017, a Pop-Up Shabbat draws a crowd of Jews to the Jackie Gaughan Parkway at the El Cortez Hotel & Casino. Proudly, and quietly, watching from the sideline is Kenny Epstein, owner of the El Cortez. He seeks no recognition, but is enjoying the gathering for Sabbath services and the music that will fill the air. Kenny Epstein is also a classic enthusiast of Las Vegas history. The nostalgia is evident as one walks through the casino and reinforced by the stories of a man who has experienced the city’s growth since moving here in 1959 at the age of 18. The timeline of Kenny’s teen years begins with his bar mitzvah in Chicago and a story of prizefighter Rocky Marciano giving a brief toast. When he was 15, his parents, Ike and Adele Epstein, took the family to visit Las Vegas. About three years later, his father became an executive at the Stardust. Kenny’s own imprint on Las Vegas history was just beginning. In this brief interview, he mentions an illustrious list of mentors and recalls many historic moments from the history of the Las Vegas Strip. All of which led to his ownership of The El Cortez—advertised as the longest continuously operating hotel/casino.

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.

In 2002, Marty Walsh and her husband purchased a home in the John S. Park Neighborhood. Three aspects attracted them to their 1941-built home: the quality construction; the aesthetics and details of the house; and the "old-fashion human element" that she associated with her grandparents. Marty describes their relocation to Las Vegas after living for nine years in Ireland and her joy of discovering the John S. Park community. For her there is a neighborliness that they found in the form of the Neighborhood Watch. She feels the neighborhood still has work to do, but the gentrification has had splendid results as new "urbanites" replace original homeowners. From her artist point of view, she also provides thoughts about the impact the artist community of musicians, painters, and creative artists has had on the neighborhood. Even though she is relatively new to Las Vegas, she is well researched in the historic aspects of John S. Park location: once a fertile plot of land where