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MGM Grand Hotel Fire Photographs

Identifier

PH-00435

Abstract

The MGM Grand Hotel Fire Photographs (1980) is comprised of twenty-eight photographic prints of the MGM Grand Hotel fire, which occurred on November 21, 1980. Photographs show the hotel-casino on fire as well as the resulting damages to the property. The photographs were taken by the Tracinda Corporation which was MGM Grand Hotel owner Kirk Kerkorian's investment holding company.

Archival Collection

Former members of the Citizens' Library Association: photographic print

Date

1990-11-22

Description

From the Beda and C. Norman Cornwall Photograph Collection (PH-00248) -- Beda Cornwall reception held at University Libraries Special Collections at the University of Nevada, Las Vegas. Former members of the Citizens' Library Association seated from left to right: Nellie Bunch and Clarabelle Decker. Standing from left to right: J. A. Tiberti, Beda Cornwall, Laura Belle Kelch, Sherwin "Scoop" Garside, and Harold Erickson.

Image

Postcard of James Dayton and Frank "Shorty" Harris' grave, Death Valley (Calif.), 1970s

Date

1970 to 1979

Description

Graves of James Dayton and Frank "Shorty" Harris. The plaque in the photo reads: "Bury me beside Jim Dayton in the valley we loved. Above me write: 'Here lies Shorty Harris, a single blanket jackass prospector.' - Epitaph requested by Shorty (Frank) Harris, beloved gold hunter, 1856-1934. Here Jas. Dayton, pioneer, perished, 1898. --- To the trailmakers whose courage matched the dangers of the land, this bit of earth is dedicated forever."

Image

neo000013-004

Description

Sign animation: Chasing, flashing, oscillating
Notes: The text fascia sign just to the north of the giant glass display illuminates with a background of neon tubing which chases from right to left. The pattern of colors running across are a sequence banks of red, pink purple and blue vertical neon tubing, chase each other creating a pulsating movement of the individual banks of these colors. While they are animating, the channel letters, which spell "Riviera," are dark and proceed to light up one letter at a time. Once all lit they remain lit, until the background stops with all the bars illuminated. Once all the bars are lit, the interiors of the letters turn off one at a time starting on the far right. The giant mirrored section of the building, advertising for the Splash stage show. The sequence can be best described from its dramatic powering up. The entire sign comes alive with a rapid upward chasing pattern covering the surface of the tower. Once alive, small white bulbs grow out of the end of the space on the top and bottom of the end of the "Splash" text. Once all the previous elements are illuminated, the letters in the Splash logo shut off, illuminate one letter at a time in red neon, then the white neon figure of the seal balancing a ball on the end of it's nose, lights up. The neon bordered circular raceway, then animates with the bulbs in the center chasing each other in a clock-wise sequence. Once lit the vast array of white bulbs grown out of the end of the text begin to gently oscillate, as well as the sparse assortment of floating and attached incandescent bulbs on the wall of the tower. Once the bulbs animate for a few seconds, the entire wall chases downward, becoming black as night, except for the Slash logo text. Underneath the entire front side of the western face of the Riviera, the incandescent bulbs which cover the entire surface oscillate in a wildly, while the ringed entablature on the wall animates quietly in comparison. The multi-colored rings of neon tubing chase each other from left to right, chasing the distance then repeating. The sequence then changes direction and chase from left to right. Creating the tops and bottoms of the entablature are raceways lined with incandescent bulbs that chase each other from left to right. On the surface of the west wall incandescent bulbs chase each other along the raceways which run horizontally around the internally lit cabinets. The small vertical raceways which run inside the clear plastic boxes chase each other from top to bottom, but all the raceways are offset to each other by a few seconds. At the North end of the property the signage for the Riviera's, "Nickeltown" gambling attraction, dominates the corner. He animation on the large exploding sculptural fountain lights up the entire corner. The three rocketing pieces of steel are wrapped in repeating bands of their corresponding colors of blue, purple and yellow. All three simultaneously chase from bottom to top, until completely lit. Then they begin to animate in a chasing pattern from bottom to top. After a few moments of chasing, they chase from beginnig to top once more, leaving al the tubes dark in its path. Along the circular entablature, which runs the circumference of the top mass of the fountain, incandescent bulbs chase each other from right to left, but only on the side which faces the casino. The wall, which faces north, contains the multicolored banks of vertical neon bars that animate in a specific pattern. They chase each other from right to left, then only the purple neon tubing illuminates, they chase again, then only the blue neon tubing illuminates. They chase once again, and then only the gold bars illuminate. The bars chase yet one more time, then all of the tubing illuminates, thus ending the sequence. The main entrance to nickel town is adorned with neon text and images, but only the stars higher up on the wall itself animate. The incandescent bulbs elevated above the surface of the mirrored wall, animate in a soft oscillating pattern, adding the twinkling effect. The larger five pointed stars are animated on the interior by a center of oscillating incandescent bulbs, while concentric neon shapes echo outward in the yellow, purple and blue colors seen on the adjacent wall facing north. The smaller snow-flake esque star shapes are alive with oscillating incandescent bulbs. Looking upward along the north face of the closest tower, the giant vertical, Riviera channel letters animate one character at a time, oscillate then shuts off.

Juanita Greer White Papers

Identifier

MS-00254

Abstract

The collection is comprised of the personal, professional and business papers of Dr. Juanita Greer White from 1927 to 1980. Included are correspondence, booklets, dissertations, minutes, newsletters, newspaper clippings, and various other materials linked to women's organizations and Nevada organizations relating to education, health, and aging. Other material includes documents from her work in the Nevada State Legislature, books, catalogs, chemistry papers, plaques, and campaign materials.

Archival Collection