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First played in Las Vegas with Jack E. Leonard in 1960. Only worked at two hotels during his 24-year Las Vegas career - Flamingo and riviera

Adelaide was born in Manhattan, New York to a father who was a pianist and arranger and a mother who was a dancer on Broadway. She grew up as an only child in the theater district where she was exposed to the arts from a young age. Her parents insisted she be well rounded. To that end, she began piano lessons at age six and was frequently taken to museums. Adelaide was always drawn to music and began working professionally by the age of 12. She attended the High School of Music and Art for four years along with others who went on to great fame. While in high school, she earned awards for composition. Her knowledge and abilities of the bass earned her a full scholarship to the Eastman School of Music. All of the jobs she had during high school and college were music related; playing gigs or teaching. While working towards a triple major at Eastman, she felt over-extended and eventually transferred to the Manhattan School of Music who was honored to have a transfer from Eastman. Also because of the extra credits from Eastman, she was able to obtain a master’s degree inside of a year. Adelaide went on the road with Buddy Rich’s band where they played in Chicago and Los Angeles before finding their way to Las Vegas. Adelaide was always the only woman in the band, and there were difficulties of being a woman in the field of mostly male musicians. The band found their way to Las Vegas in 1967. She never realized how well known she was until she arrived in Las Vegas. Adelaide came to Las Vegas on a trial run and ended up staying. The first job she had in Las Vegas was playing solo piano at Guys and Dolls before moving on to playing as a rehearsal pianist for a Broadway show. Over the years, Adelaide played many venues with many famous musicians. She is not hopeful for the future of musicians in Las Vegas, feeling the casino owners would rather replace live musicians with canned music. However, Adelaide’s career is not over as she is still performing for a variety of events. With her two degrees from very prominent music schools, Adelaide feels she may have gone further in career if she had stayed in New York, but she has no regrets about coming to Las Vegas.

Kim Bird's family moved to Las Vegas in 1955 when she was twelve years old. Pam Fogliasso arrived in 1954 with her family in 1954, when she was ten. Kim married and had a son and a daughter; she lives in Las Vegas. Pam married, had two children, and lives in Parumph, Nevada. Though Kim and Pam moved here in the mid-1950s, they had family members who had lived in Southern Nevada and worked on building Hoover Dam - Kim's grandfather and Pam's great-uncle. Both women remember growing up in a Las Vegas that was run by the mob and safe for teenagers; meeting friends in local hangouts such as the Blue Onion and attending sock hops, babysitting, and cruising down Fremont Street. They attended high school with black students but were also aware of the segregation that existed on the Strip. This interview focuses on Kim and Pam's experiences growing up in Las Vegas, and on their teenaged years attending Rancho High School.

Patty Ann Drew’s life experiences capture large movements in Las Vegas history: mob-dominated gambling, the Helldorado Rodeo, explosive growth, medical advances, and Clark County School District’s Sixth Grade Centers—all in a desert city centered in the Mormon Culture Region. Patty arrived in Las Vegas as an infant with her parents and older brothers in 1944 and was raised in the Huntridge area, where she and her brothers attended John S. Park Elementary School and matriculated from there to Las Vegas High School. In this interview, Patty talks about her parents working on the Strip, her school days, joining the Church of Jesus Christ of Latter-day Saints, marrying her high school sweetheart, and becoming a young mother in Las Vegas. After Patty married her second husband, Thomas Ross, the couple built a house west of Jones Boulevard and Patty gave birth to her third son. In addition, she returned to school to earn her Bachelor’s and Master’s degrees and taught at C. H. Decker Elementary School for twenty years.

Born in 1936, architect Joel Bergman spent his childhood in Venice, California, the son of Edythe Klein and Harry Bergman, a baker who later turned to dealing in scrap metal. The award-winning designer of such Las Vegas projects as the International Hotel, the MGM Grand Hotel (later Bally's), additions to the Riviera Hotel and the Golden Nugget downtown, the Mirage, Treasure Island, Paris Casino Resort, Caesars Palace, Trump International Hotel and Tower, the Signature at MGM Grand, Rhumbar, Gilley's at Treasure Island, and the Tropicana Hotel and Casino first arrived in Las Vegas in 1968 to work on the International Hotel. In this interview, Bergman discusses his architectural career, which began with his graduation in architecture from the University of Southern California; he also discusses his work with Martin Stern, his sixteen years with Steve Wynn, and the formation of his own architectural firm, Bergman Walls and Associates. Throughout, he pays tribute to the three mentors who had the greatest influence on his work—USC architecture professor Carleton Winslow, architect Berton Severson, and client Steve Wynn—and the ways they visualized people moving through space. He acknowledges other professionals whose work he admired and talks about his wives Marlene Federman, Terrie Colston, Maria Nicolini, and Valentina Bogdanova as well as his children and stepchildren. Joel David Bergman passed away August 24, 2016, three weeks after he gave this interview.

Architect Paul Senzaki, and artist-illustrator Charlie White III recall their experiences of working in Las Vegas: Paul on Treasure Island, The Palms, Fremont Street Experience, and World Market Center and Charlie on Treasure Island and its successor, TI; New York New York. Architectural historian Alan Hess, who is an expert on Las Vegas architecture, offers historical context and asks pertinent questions. While this interview touches on several iconic Las Vegas buildings, the conversation mostly details why and how Steve Wynn's Treasure Island involved the labors of artists, illustrators, art directors, and designers of stage and screen as well as the those of architects, contractors, planners, and subcontractors.