In twenty-first-century, urban America, Randall "Randy" Walker is one of the few fathers who can say he raised his children in the same house in which he grew up. Walker did not inherit the house at 443 Republic Street, in Henderson. Instead, Walker bought the house from his parents after he graduated from Brigham Young University in Utah, worked with Exxon Oil Company in Houston, returned to Southern Nevada to work in his first government job as a budget analyst for Clark County, and sold the house he previously owned. He did not have to move his wife and children far-their previous home was at 442 Republic Street, directly across from his parents. In this oral history, Walker shares why his family came to Henderson in 1952, describes growing up in the small town of his youth, and tells what it was like to have his father as his high school Spanish teacher. He focuses on his career in government and how he applied his accountant mindset to the various positions he held with Clark County, the Las Vegas Metropolitan Police Department, the City of Las Vegas, and McCarran Airport. Along the way he shares his experiences with large governmental building projects such as the first 911 Call Center, the Downtown Transportation Center, the Regional Justice Center, and at McCarran Airport, the D v Gates, Terminal 3, and the airport tunnel and connector roads. He explains how his work with these various projects brought him into interaction with such diverse fields as architecture, accounting, construction, design, infrastructure, public art, public safety and local, state, and national politics. Throughout, Walker displays the collegial and common-sense approach to government, leadership, and problem solving that grounds the decisions he makes and explains why Richard Bunker wanted him at Clark County, why Clark County leaders recruited him to be county manager (and why that did not happen), and why McCarran Airport was able to accommodate without interruption Southern Nevada's record-breaking growth in residential and tourist traffic, and why, even in his absence, McCarran was the first major airport allowed to reopen following the 2001 September Eleventh terror attacks.

The documentation of the Holocaust of World War II reveals the desperation of Jewish families to protect their loved ones from doom. In this oral history, Sonja (neé Niekerk) Walter recalls the story of being an infant handed off to a family friend for safety and nurturing. Next to Sonja is Wilma, her “sister” and the biological daughter of that friend. Sonja and Wilma are tethered together by history and love for Cor Vandenberg, mother and protector. Sonja was born in 1943 Holland to Simon and Rose Niekerk. At thirteen days of age she was given sanctuary by Cor, who raise her as her own for the next two and half years. She and Wilma reminisce about the circumstances that brought them together, their love of Cor, and the impact of being a child survivor of the Holocaust. Sonja also shares her family’s journey to the United States and to Las Vegas.

In 1976, when Bob Campbell accepted the city manager position in Henderson, Nevada, he and his family had just endured nearly a month of sub-zero temperatures in their native Missouri. Southern Nevada's mild winter coupled with the promise of developing the 8,600 acres that would become Green Valley convinced Bob and his wife, Pat, to make the move. Bob came to Henderson with a degree in public administration and city manager experience in two Missouri towns, but Green Valley offered something akin to "an artist having a blank canvas on which to plan and create." In this interview, Bob talks about the ways his career in public administration blossomed in Southern Nevada. After about five years with the City of Henderson, Campbell joined Mark Fine and American Nevada Corporation to develop Green Valley; five years after that, he moved to Southwest Gas Corporation to work with Bill Laub and later, Kenny Guinn. From about 1989 to 1997, he helped develop Lake Las Vegas. In 1994, Bob and Pat together formed The Campbell Company, a private consulting firm whose clients included Transcontinental Properties' Lake Las Vegas project as well as Henry Chen's Ascaya. v Much of the interview focuses on the Lake Las Vegas project: its original visionary, false starts, and its tumultuous development as an arm of the Bass brothers of Fort Worth, Texas; their developer, Ronald Boeddeker of Transcontinental Properties in Santa Barbara, California, and Boeddeker's appointee, Alton Jones. Along the way Campbell shares the strategies employed by the Wednesday morning group of Henderson boosters who met at Saint Peter's Catholic Church and who succeeded in gaining the necessary local, state, and federal approvals to move the project forward. He reveals the intimidation, physical threats, and sexual harassment suffered by those who questioned the way Jones did business. Overall, though, he explains why he continues to respect the Bass brothers and is still proud of Lake Las Vegas, "proud that we got it on, and proud that it's turned out to be what it is."

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.

Sgt. Steve Riback is a Detective Sergeant for the Las Vegas Metropolitan Police Department. He has been with the police force for nearly twenty years. On the night of the Route 91 Harvest festival shooting, he had just returned home shortly after 10pm. He had been on an overtime assignment at the Golden Knights hockey game at the T-Mobile prior to the shooting. When he was abruptly awaken by a call from his lieutenant, he was oblivious to the time and immediately rushed into action—contacted his squad members and sped to his station in northwest part of the city. He reflects on his overwhelming pride of the police that day, recalling what he heard on his police radio, seeing the rush of police cars being dispatched, and watching a body camera video later. Sgt. Riback’s squad was assigned to Spring Valley Hospital where they worked tirelessly to identify victims, both injured and deceased. His reflections stir the image of medical professionals and police officers urgently fusing together to handle the situation at hand. Riback shares a myriad of emotions, talks about the options available for officers to deal with their personal trauma, and how he explained to his eight-year-old why Daddy was crying. Riback is also known as the Kosher Cop and has authored a book, My Journey Home, about becoming an observant Orthodox Jewish officer and his struggle for the right to wear his beard and a yarmulke while on duty.

Michael Tell, the youngest son of Jack and Beatrice Tell, is the publisher of the Las Vegas Israelite newspaper and the second generation of ownership. He briefly traces his Jewish ancestral roots back to Eastern European grandparents who settled in New Jersey and New York. He became a bar mitzvah in a conservative Jewish synagogue in New York City. At age sixteen, he accompanied his father, Jack Tell, westward to Nevada. The elder Tell was in pursuit of owning a newspaper and Mike was a perfect companion as Jack took over ownership of the Territorial Enterprise. Mike recalls it was a short lived venture and the family settled in Las Vegas, where his father went to work for Hank Greenspun at the Las Vegas Sun and then for Henderson Home News, owned by Morry Zenoff. In 1965, Jack Tell opened the Las Vegas Israelite. Meanwhile, Mike explored the lucrative business of concert promotions and opened a teen nightclub 1961 called the Twin Lakes Twist. He hired such talents of the era as Bobby Darin and Wayne Newton. Soon his business acumen grew and he moved Mike Tell Productions to Los Angeles. He tells the story of his last concert, booking Al Green, and being held at gunpoint. Then in 1979, he returned to work at the Israelite, which had a circulation of about 2000. The Jewish community was beginning to show signs of growth. He recalls running an ad in 1992 for High Holy Days services to be held at the Aladdin hotel. He used the word “Lubavitvh” in the ad and this sparked an interest in Las Vegas from the Chabad movement. He also recalls anti-Semitic episodes in Las Vegas, such as Ralph Englestad’s Hitler birthday parties and the presence of Skinheads. And he reflects on the changes in the community that he has observed over the decades.

At the age of thirteen, the incredible life journey of Stephen “Pista” Nasser (b. 1931 - ) is preserved in his heart. His ordeal begins when his family are ripped from their home to be interred in a Nazi concentration camp in 1944. Fifty years later, he sits in his Las Vegas home and reflects on his calling to write and speak about his survival and losses. His ordeal is preserved in his book My Brother’s Voice (2013) and in his follow up stage production Not Now Pista. He is also the author of a companion memoir, Journey to Freedom. Stephen and his wife Francoise are tireless in their travels throughout the United States and the world. At the time of this 2018 oral history interview, Stephen had done over 1092 presentations about his harrowing life story to thousands of people of all ages and denominations. Each presentation fills a spot in his heart as he honors his brother and reminds listeners that such devastating episode in history should not be forgotten, and should never occur again. The timing of this interview also coincided with the premiere of a 20-minute documentary based on his writings and the play production. It was shown at the 2018 Las Vegas Jewish Film Festival. Note: the photo above of Stephen and Francoise Nasser was taken shortly after this interview on their next cruise. (2018)