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George Kelly Ryan Photograph Collection

Identifier

PH-00044

Abstract

The George Kelly Ryan Photograph Collection (1929) depicts waterways in Southern Nevada and Northern Arizona. The collection consists of eight photographic prints and two photographic negatives depicting Saint Thomas, Black Canyon, Boulder Canyon, and the Colorado River.

Archival Collection

State of Arizona vs. State of California Proceedings Concerning the Colorado River Usage Dispute

Identifier

MS-00677

Abstract

The State of Arizona vs. State of California Proceedings Concerning the Colorado River Usage Dispute collection (1957-1961) contains supplemental documents from the Arizona v. California Supreme Court case that began in 1931 and ended in 2000, including briefs, objections, requests for admissions of facts, rebuttal outlines, witness outlines, comments, and requested findings of facts.

Archival Collection

George Kelly Ryan Papers

Identifier

MS-00120

Abstract

The George Kelly Ryan papers (1921-1971) contain correspondence inquiring about Octavius Decatur "O. D." Gass, newspaper clippings from 1929, handwritten recollections of the Gold Ranch by Laura Royce, and a San Pedro, Los Angeles and Salt Lake Railroad Company information, including information on wash-outs in Nevada.

Archival Collection

Photographs of Stardust signs, Las Vegas (Nev.), 2002

Date

2002

Description

Nighttime views of the Stardust Resort and Casino signs on the Strip. Information about the sign is available in the Southern Nevada Neon Survey Data Sheet.
Site name: Stardust Resort and Casino
Site address: 3000 S Las Vegas Blvd
Sign owner: Boyd Gaming
Sign details: This is a large casino property that is clearly a center of attention.
Sign condition: Structure 4 Surface 4 Lighting 4
Sign form: Pylon; Fascia; Porte-cochère
Sign-specific description: Even though the facade of the Stardust has gone through many changes, streamlining itself over the years, yet retains aspects of it's original flavor. The tower faces northwest and southeast and is adorned with horizontal bars of red neon underlining each floor. The top tube only stretches approximately one-quarter of the way across the face, and with each floor, the neon gets increasingly longer. The result is the building being cut across the face at an angle, with one half being illuminated by the red neon and the other by ambiently blue lighting. Large Channel letters spelling "Stardust," are bordered by red neon and filled with incandescent bulbs. The Majority of the external signage is on the low rise structure close to the street, with the tower located to the northwest behind it. The array is comprised of two small pylon message centers, a porte cochere, the main pylon, and assorted entrance signs. On the south side of the building alongside a large parking lot, an entrance sign hangs above a two-sided corner entrance, Wrapping this small corner, polished gold raceways and trim create borders for the accordion surfaced pediment, and shoot up vertically into the sky on the far ends. Blue neon shines from behind the shining trim above the door to illuminate the whit accordion facade. The trim above that is adorned with two tubes of gold neon on the top and the bottom, hidden in recessed channels to cast a gold halo from behind. The two vertical edges are lined with incandescent bulbs. On the south wall of the small corner, channel letters stand on the top edge of the golden molding, reading "Casino." They are black on the exterior, painted white on the interior, and filled with incandescent bulbs, and bordered with red neon. On the Southeast edge of the building another entrance of a bit more design Above a set of doors, and the blue lit accordion facade and golden halo cast metallic trim, a Squared "U" shape made of polished metal raceways, holds a back lit message center housed on a black cabinet. On either side of the vertical legs of the "U" shape, another single raceway rises slightly higher in the air. All the raceways are lined with incandescent bulbs. Above the cabinet, black channel letters, spell "Stardust." They are finished white on the exterior, filled with incandescent bulbs, and outlined in red neon. Moving around to the eastern facade of the building, the facade is a three leveled pediment in the accordion pattern, and separated with the polished trim. The Yellow and blue lighting illuminate this facade also. The pattern is only interrupted by oval shaped back lit cabinets, placed every so often. Eventually you come to the porte. It is no longer finished with mirrors, but still retains the raceways lined with incandescent bulbs. The surface in between is filled with white stucco finish. What is left is a series of 5 hexagonal shapes crafted out of raceways and hung a section ceiling lower than the rest. Geometric patterns radiate from this center piece. North, past the porte cochere a section of building juts out to the east. It contains an entrance on the north and south faces, and two on the east face which are parts wrapping around from the previously mentioned entrances. Over the north and south entrances the "U" shaped polished metallic raceways and external flanking raceways, as seen before on the southeast entrance, play host to a narrow LED message center and channel text spelling stardust. The letters have the same treatment as the previous sign as well, and spell "Stardust" in channel letters. They too are filled with incandescent bulbs and bordered with red neon. Above the text, channel pans are in the shape of four pointed stars as seen on the main pylon, are slightly scattered as if to be showering over the text. They are multi colored, centered with arrays of incandescent bulbs and interior neon contours. The accordion facade and lighting are below the composition. Below the accordion pediment, a polished gold bullnose creates a pediment above the door and wraps around to the east face of the structure. A pointed end polished metallic cabinet is placed in the section of the bullnose over the door, spelling "Casino Entrance" in channel letters and filled with red neon. The surface of the bullnose is laden with incandescent bulbs. The facade wraps around the front with another pointed end cabinet reading entrance in the same fashion as the previously mentioned text. A small section of foliage and shrubbery line the west face of this extension of the casino before the same arrangements of sign are seen repeated on the north face. Passing the entrance the property opens up into a courtyard with an arrangement of low rising concrete cylindrical fountains created a multi-leveled garden of spurting water and plants. Just past the courtyard another entrance is found created out of the northeast corner of the building. Like the other entrances, elements such as the blue lit accordion face, double rows of vertical metallic raceways, properly treated channel letters, are present. The gold raceways wrap the corner with backlit cabinets on the east and north faces. The channel letters read "Stardust" on the east face and "Casino" on the northern face. The ceiling that the overhang creates is finished in polished metallic material and laden with incandescent bulbs. Just outside the last entrance the first of two low rise message pylons. The one located on the north end of the property is larger and more spectacular. The large triangular cabinet's faces are backlit, slightly concave message boards. The tops of each o these cabinets in adorned with a smaller, purple steel cabinet, approximately eighteen inches tall, and running the length of the cabinet. "Stardust is spelled across the length of the cabinet in channel letters, and filed with rose neon. The cabinet is laden with incandescent bulbs, creating a canvass for the letters to reside. The three edges, which is the gap where the three signs meet and the bottom of the cabinet are covered in incandescent bulbs. The surfaces are treated with polished metal. The pole which the cabinet sits is a white, two sided, support with two peaks growing out horizontally about two-thirds up the height. The shape, along with a Stardust style star channel pan in its center, is a representation of the repeated image associated with the logo of the property. The edge of the post is treated with a border of purple paint and lined with purple incandescent bulbs. Just inside the border stripe a channel recesses forming another border for a tube of purple neon. The star pan channel in the center is bordered in teal neon and filled with incandescent bulbs. A top the entire cabinet is an array of stardust stars of various colors, bordered in neon, and or filled incandescent bulbs. The array is assorted again to appear as if they are being showered, tapering to one single star at the top. The entire cabinet rotates slowly from right to left. The cousin to this sign is at the extreme south end of the property, set before an entrance give a larger double backed cabinet sits off center on a square post. The white plastic face is housed in a white steel cabinet with rounded edges. The top or the sign is comprised of the same purple cabinet and channel letters seen in tops of the concave message boards of the rotating relative at the north end. The width of the cabinet is strewn with incandescent bulbs, continuing underneath as well. The post is painted two tones.
Sign - type of display: Neon; Incandescent; Backlit
Sign - media: Steel
Sign - non-neon treatments: Graphics; Paint
Sign animation: Chasing, flashing, oscillating
Notes: The incandescent bulbs inside the text reading "Paris" on the balloon oscillate rapidly.
Sign environment: To the south of the Stardust is the Westward Ho, and to the North is Circus Circus. It stands with these two as well as the Frontier as vestiges of an older era of Las Vegas resorts. The Riviera also resides across the street. Vast shoots of concrete, spread out in front of the hotel, creating a continual plaza which runs from north to south. It contains lush flowers and fountains that toss water to each other is shooting arcs. In the daytime, the white of the remodeled facade is almost blinding against the concrete.
Sign manufacturer: Ad-Art (pylon); Sign Systems, Inc (porte cochere)
Sign designer: Paul Miller (pylon) Brian K. Leming ( porte cochere and facade)
Sign - date of installation: 1968
Sign - date of redesign/move: The original Electra-Jag style letters were replaced in 1991 by a sleeker Helvetica type face, as well as the letters for Enter the Night being changed to read "The Wayne Newton Theatre" in 1999. Also in this year, the facade was changed to a reserved white finish. The accordion shape is still present but no longer tri colored. The move was presumably made in an attempt to compete and fit in with its bigger corporate competitors.
Sign - thematic influences: The Stardust's theme revolves around an outer space/science-fiction theme, which was exceptionally popular during the era which it was created. When the original design, no longer present, was created in 1958, the Russian space project of Sputnik was just realized.
Sign - artistic significance: This is one of the most widely-admired and imitated signs on all the Strip.
Surveyor: Joshua Cannaday
Survey - date completed: 2002
Sign keywords: Chasing; Flashing; Oscillating; Pylon; Fascia; Porte-cochère; Neon; Incandescent; Backlit; Steel; Paint; Graphics

Mixed Content

Interview with Linda (Mack) Smith, June 30, 2004

Date

2004-06-30

Description

Narrator affiliation: Deputy Manager Nevada Operations Office, U.S. Department of Energy; Nevada Test Site Historical Foundation

Text

Transcript of interview with Gerald Gordon by Barbara Tabach, November 02, 2016

Date

2016-11-02

Description

In 1961, at the age of thirteen, Gerald ?Jerry? Gordon became a bar mitzvah. This typical coming of age celebration was unusual in that he had simultaneously studied in both his home state of California and his adopted home of Las Vegas, where he spent summers with his grandparents. 1961 is also the same year that the Gordons made Las Vegas their permanent home. Jerry graduated from Las Vegas High School, attended University of Nevada, Las Vegas and earned his law degree from University of California, Los Angeles. His gregarious and trustworthy personality led him to career building steps in the legal community of Las Vegas that included illustrious names such as Louis Wiener, Jr., David Goldwater, Neil Galatz, and many others. His personal law specialty became bankruptcy, especially dealings with hotel/casinos. As a member of the Jewish community, Jerry?s energy and expertise to organize was instrumental in the construction of Congregation Ner Tamid, the reform synagogue, at its site on Valle Verde and I-215. It was a multi-year process and includes a vast array of stories?a cash donation from Moe Dalitz, finalization of receiving of a donation land from the Greenspun family during the High Holy Days, and the ongoing challenges of a building campaign during a recession. In addition, he explains that CNT included two unique negotiations: 1) a cell tower and 2) a solar field on the synagogue?s property. Jerry and his wife Yvonne met while attending UNLV. Yvonne taught math at various levels in the Clark County School District. They raised their two children, Sara and Jeffrey, in Las Vegas, and forged an important role together in Congregation Ner Tamid. In April 2017, they were among those honored for their work with the synagogue.

Text

Richard W. Bunker Interview, July 18, 2017, July 21, 2017, and September 28. 2017: transcript

Date

2017-07-18
2017-07-21
2017-09-28

Description

Fourth-generation Nevadan, Las Vegas native, and great grandson of Mormon pioneer Edward Bunker, Richard W. Bunker knows Southern Nevada as few others do. For example, when Richard Bunker speaks of water, he talks about his father's family leaving their home after the completion of Hoover Dam because their little town of St. Thomas was submerged in the rising waters of Lake Mead; he recalls swimming at the Old Ranch pool, the Springs, and the Mermaid pool; he shares stories of hiring Pat Mulroy, mentoring her, and encouraging her to apply to lead the Las Vegas Valley Water District; he mentions the Dunes and its two fresh-water wells, the Sanitation District and wastewater treatment. Few others have actively shaped Southern Nevada as Richard Bunker has through his lengthy career as a lobbyist (1973–2000); assistant manager for City of Las Vegas (1973–77); Clark County Manager (1977–79); member and Chair of the Nevada Gaming Control Board (1980–1982); executive director (1988-1990) and

Text

Transcript of interview with Joel Bergman by Stefani Evans and Claytee D. White, August 03, 2016

Date

2016-08-03

Description

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.

Text

Floyd Jenne interview, April 4, 1976: transcript

Date

1976-04-04

Description

From the Ralph Roske Oral History Project on Early Las Vegas; OH-00944. On April 4, 1976, Gordon Brusso interviewed Floyd L. Jenne (born 1915). The interview discussed Boulder City McGill, as well as Nevada history.

Text