Search Results
Transcript of interview with Dr. Jack Lund Schofield by Suzanne Becker, January 13, 2009
Date
Archival Collection
Description
In the dusty border town of Douglas, Arizona, Dr. Jack Lund Schofield was born in the family home in 1923. Due to the economic woes of the Great Depression, the Schofield family moved several times until 1937—the year that Jack's father took a position as a tungsten broker and moved his family of five children to Nevada. For Jack, who was ready to start high school, the move from Phoenix to Las Vegas with a small population of 5000 was a shock. However, it did not take the gregarious Jack long to make friends at Las Vegas High School. He played sports and was a Golden Glove boxing champion. As Jack's high school years drew to an end, two major events occurred: he met his future wife and World War II began. He proudly highlights his service as a fighter pilot in both WWII and the Korea conflict, his family genealogy, and his devotion to being an excellent educator, businessman, family man, and politician. In 1995, he earned his doctorate in education at the age of 72. His resume includes being an elected official, serving on the Board of Regents and having a middle school named after him. Jack and his wife, Alene, have resided in the John S. Park Neighborhood for over 50 years and describes his affection for the neighborhood and some of the changes that have occurred.
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Transcript of interview with Sherwin "Scoop" Garside by David Anderson, March 25, 1976
Date
Archival Collection
Description
On March 25, 1976, David Anderson interviewed Sherwin “Scoop” Garside (born May 26, 1915 in Tonopah, Nevada) about his life in Southern Nevada. Garside first talks about his father’s business in running an early Nevada newspaper and his personal knowledge of the early mining that took place in different parts of Nevada. He also talks about living in the town of Tonopah, the American Indians who lived in the area, and his experiences from living in Las Vegas. Garside also mentions the beginnings of gambling in Las Vegas, the population boom periods of Las Vegas, and his experiences in witnessing the aboveground atomic testing.
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Transcript of interview with Laralee Nelson by Claytee White, April 20, 2010
Date
Archival Collection
Description
Laralee Nelson and her four sisters were born and raised in Provo, Utah. She was raised in a Mormon household, her parents worked at Brigham Young University and she attended BYU She was .nearly thirty years old when she moved to Las Vegas with her husband. The move was the first real move away from her Utah home base. She fondly recalls summers at an archaeological dig in Israel while studying for her undergraduate degree. But these were nothing compared to relocating to Las Vegas. Laralee's mother was a librarian at BYU and an obvious inspiration to her career choice. Once she arrived in Las Vegas, she applied for a cataloging position at UNLV. From 1982 to 2010, it was her first and only position. From that span of years, she witnessed monumental changes in the library. Changes in leadership, a move from the old Dickinson Library to the new Lied Library, and the impact of technology. Laralee's anecdotes, especially one about the professor with the red wagon and another about her father clearing a rocky path on a family trip, reveal core success of a library built to serve the university community.
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Transcript of interview with Gary Sternberg by Barbara Tabach, February - April, 2015
Date
Archival Collection
Description
In this oral history, Gary explains how the family came to live in the United States?Cleveland and Los Angeles. In 1957, he married Noreen and they eventually came to live in Las Vegas where Gary worked for Sears selling washing machines, had a repair business and an importing business with Noreen. Gary was an entrepreneurial soul and inventive much like his father. He owns three patents.
On August 25, 1931, Augusta and Herman Sternberg welcomed their second child, Gerd (aka Gary), into the world of Cuxhaven, Germany. Augusta was a devout Christian of Polish ancestry who had fled Russian persecution. Herman was a German-born Jew salesman and inventor. The couple fell in love and had two children, Gary and Ruth who was a year and half older. By 1938, German politics were targeting Jews and Herman was ripped away from his Christian wife and children and sent to a concentration camp. Fate and friendship rescued Herman with the option to go to China. And so begins the history of the Sternberg family and how they all would eventually live together during World War II in the confines of a Jewish ghetto in Hongkew, China from May 1939 to July 1948. Gary had an extraordinary career as a dealer. He was not the stereotypical young dealer-to-be: he was in his 40s when he signed up for the Michael Gaughn Dealing School in the mid-1970s. Gary?s charming wit and ease of making friends soon gained him a position at El Cortez and then Caesars Palace. It was the same personality that would sustain his stellar thirty-one year career at Caesars. He was employed there from April 1974 until his retirement May 8, 2005. Though Jewish tradition would identify Gary as Christian, he self-identified as Jewish, officially converted and has been an active member of the Jewish community. Among his anecdotes-and he has many-is one about securing a $30,000 donation from Frank Sinatra and Jilly Rizzo for Congregation Ner Tamid.
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Photographs of Mandalay Bay signs, Las Vegas (Nev.), 2002
Date
Archival Collection
Description
Site name: Mandalay Bay (Las Vegas, Nev.)
Site address: 3950 S Las Vegas Blvd
Sign owner: Mandalay Resort Group
Sign details: Mandalay Bay resides on the west side of the Strip, south of the Luxor. The expanse of property is surrounded with ornate foliage, jutting faux rocks, and assorted statuary accented with the flavor of an ancient island. The three-winged tower looms over the low-rise casino structure. The surface of the tower is covered with an impressive expanse of gold mirrored windows, and vertically striped with gold tubes of neon. The towers also home to the giant channel letters, which serve as the logo building text for the establishment. The ground level the property is home to two giant pylon signs at either end of the property as well. One resides on the east side of the property, while the other on the west.
Sign condition: Structure 5 Surface 5 Lighting 5
Sign form: Pylon; Fascia
Sign-specific description: The Mandalay Bay has little signage, but is cohesively joined together into a simple yet effective use of lighting, which fits in well with it's environment. The building itself is actually the biggest piece of signage, being vertically striped with tubing of gold neon. There is actually over three miles of neon tubing which runs up and down the surface of the tower, reflecting off of the gold, mirrored, surface of the tower. The tower itself during the day is unassuming, for the off white stucco, and mirrored surface, blend to create a harmonious surface. When dark, the building transforms into a mysterious figure clad in golden stripes. On each wing of the Y shaped tower, " Mandalay Bay" is spelled in channel letters across the top edge of the surface. These giant black pans hold incandescent bulbs, which oscillate rapidly. The two pylon signs sit flanking the building on extreme edges of the property. The two pylons are rather plain in design, but are efficient and large. They are highly integrated architecturally, being essentially two giant vertical rectangles. Two massive square legs support an upshot of space defined by two internally it color screens advertising for the "Shark Reef" and for the "House of Blues" These two are squares which sit side by sides, comprising the bottom section of the face. Above that, a large LED screen stretches up to the end of this section. The three signs are closed in on either side by a set square legs capped on the top and bottom with molding. Making up the top section of the pylon another horizontal plane rises up a bit before being topped with a series of crown moldings. Two lines of channel letters spell " Mandalay Bay" and are filled with incandescent bulbs.
Sign - type of display: Neon; Incandescent; Backlit
Sign - media: Steel; Plastic; Masonry
Sign - non-neon treatments: Graphics; Paint
Sign animation: Oscillating
Notes: The incandescent bulbs inside the channel letters which spell the text for the establishment oscillate in a pattern which makes them appear as if shimmering. This style is the most common animation next to the incandescent bulbs on the raceway.
Sign environment: The Mandalay Bay resides in exclusive company on the south end of the Strip. It stands as one of the four major establishments before Tropicana Ave. The other three include the Luxor, the Excalibur, and the Tropicana
Sign manufacturer: LED and plastic sign inside pylon were manufactured by Ad-Art
Sign - date of installation: 1999
Sign - thematic influences: The theme of the Mandalay Bay is one revolving around an island paradise, transformed into a sleek ultra modern super resort, creating a sort of independent city of steel glass, neon, lush foliage, and assorted statuary. It could best be said that it is a combination of the influences of the Tropicana, the Mirage, and Treasure Island, all mixed together as one. The pylons themselves find themselves more a kin to those displayed by the large corporate properties like the Bellagio, and the Mirage. The simple vertically oriented rectangle, plays host to LED screens and backlit color advertisements, and channel letters filled with incandescent bulbs. These elements can be seen in other large properties such as the Mirage.
Surveyor: Joshua Cannaday
Survey - date completed: 2002
Sign keywords: Oscillating; Pylon; Fascia; Neon; Incandescent; Backlit; Steel; Plastic; Masonry; Paint; Graphics
Mixed Content
neo000139-004
Description
Notes: The logo cabinets which adorn the entrances on the elevated walkways: The letters start with both rows of text in the off position. The top row flashes on, while the bottom row is dark then the bottom row illuminates, as the top row goes dark. Once the top row flashes off it flashes back on so that both rows of text are briefly illuminated simultaneously before they both go dark and the sequence stars over again. While this is going on the incandescent bulbs which line all of the raceways are chasing each other from left to right on the horizontal planes, while the arched sections chase each other downward. The triangular peaks which radiate around the top of the logo sign, flash on and off in a sequence which chase each other downward. First the top center peak flashes on, then the next sequential triangular channel on both sides illuminate simultaneously, flash off, then the next two in the series illuminate. The resultant effect is a chasing pattern starting from the top. The sister animation is located on almost the exact same design on the porte cochere. I would think the previous smaller sign would be based on the larger porte cochere. The other variance besides obvious size difference is the that the channel letters are filled with incandescent bulbs instead of neon. The animation is a bit simpler as well. The incandescent bulbs oscillate continuously while the triangular pan channels which create the radiating crown, animate. The neon in the channels chase each other as described in the smaller walk way version, while the text continues until the entire text flashes off, then on, off, then begin to animate once again. All of the bulbs, which line the raceways of the exterior edge of the porte cochere, as well as the encrustation of bulbs on the brass bull nose portion, animate in rapid succession. All the raceway bulbs chase each other while the bulbs on the brass portion continually oscillate. Animation continues on the east face of the building with the entrances first. The principle for these two signs is oscillation and chasing. All bulbs on the underside of the entrance, as well as in the logo, oscillate rapidly. All bulbs on the raceways chase each other. Further on the surface of the building as well, the Pepsi cola wall sign is found displaying a very unique form of animation, seen here on the strip. The signage for the Pepsi ad is located on the eastern wall. (Detailed in specific description) The Incandescent bulbs which fill the inside of the text that spells Pepsi, chase each other from left to right, leaving all the bulbs in its path illuminated, as if writing out the word Pepsi. The neon bars located within the tilted bottle of Pepsi are illuminated, and chase each other downward, leaving the bars it its path dark. As this sequence in taking place, the waving tubes of neon illuminate, flashed subtly making the neon appear as soda pouring out of the bottle. As the tubing flows then the vertical neon bars in the cup illuminate one at a time making the cup appear as if it is filling up. The text above each of the painted fires head, flashes back and forth as if talking to each other as well. ESPN ZONE animation: The letters in the vertical blade portion of the ESPN Zone illuminate one at a time, starting from the top. Once the entire phrase is lit, in flashes off then on then off, before restating. The orange and red neon tubing which resides inside the pan channels that represent flames flash on and off in a relaxed manner as if to animate the flickering of the flames. The small incandescent bulbs on the black portions above the main matrix reader board flash on and off subtly.
Sign keywords: Neon; Backlit
Film strip of individuals or Hoover Dam construction, image 006: photographic print
Date
Archival Collection
Description
Image
Allied Arts Council of Southern Nevada Records
Identifier
Abstract
The Allied Arts Council of Southern Nevada (AACSN) Records are comprised of the organizational records of the Allied Arts Council, a Las Vegas, Nevada-based non-profit organization that promoted the arts and cultural life in Southern Nevada from 1971 to 1999. Materials include meeting minutes, financial records, correspondence, membership information, publications, event information, project files, photographs, audio cassettes, VHS, and U-Matic tapes.
Archival Collection
Ruthe Deskin Papers
Identifier
Abstract
The Ruthe Deskin Papers (1933-2004) document Deskin's career as a journalist and community activist in Nevada. The papers include Deskin's "Back and Forth" columns, newspaper articles about Deskin, awards and certificates, legal documents, correspondence, photographs, obituaries and memorials, convention programs from the Nevada Press Association, and biographical ephemera. The collection also contains certificates recognizing Deskin's work with Nevada youth from Greenspun Junior High School and Ruthe Deskin Elementary School, as well as the Boy Scouts of America and the Clark County Juvenile Court.
Archival Collection