Folder of materials from the Mabel Hoggard Papers (MS-00565) -- Educational work and legacy file. This folder contains correspondence to and from Mabel Hoggard related to her teaching career. Correspondents include the University of Nevada, Las Vegas; Oran K. Gragson; Attorney Harry H. Jones, OCD supervisor; Mabel Hoggard Elementary School; Clark County School District; Department of Education, and others.
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.
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.
Judy Smith was a teenager when her family relocated from Barstow, CA to Las Vegas in 1958. It was a wide open setting, an ideal location for riding her horse. It was also an era of growth as the city became a gambling destination and the Strip became dotted with early casinos and hotels. Judy attended Las Vegas High School, worked for the Las Vegas Sun and earned a scholarship to UNR. By 1967, she was married and moving back to Vegas with her young family. They chose the John S. Park Neighborhood as the place to call home. For Judy living in John S. Park is about a "sense of place" and "a sense of timelessness." She describer the evolution of the neighborhood and the greater Las Vegas community from the pioneers to the contemporary leaders. In 2006, Judy's home was gutted by a fire. Her life was saved by an observant neighbor. She could have relocated at the time, but chose not to move from the area that she has called home for over 40 years.