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Southern Nevada Jewish Heritage Project Community Collection

Identifier

MS-00790

Abstract

The Southern Nevada Jewish Heritage Project Community Collection is comprised of organizational records, photographs, event programs, and ephemera donated by members of the Southern Nevada Jewish community as part of the University of Nevada, Las Vegas University Libraries’ Southern Nevada Jewish Heritage Project. Materials document the history of the Jewish community and Southern Nevada from 1941 to 2017. The collection provides information about family life, religious rituals, community events, and local businesses and organizations.

Archival Collection

Kenneth H. Childers Architectural Drawings

Identifier

MS-00851

Abstract

The Kenneth H. Childers Architectural Drawings (1968, approximately 1981-1995) contain the work of Childers and his Las Vegas, Nevada architectural firm, Kenneth H. Childers Architect. The drawings depict both residential and commercial structures built primarily in Las Vegas.

Archival Collection

Beda Cornwall Collection on the Citizen's Library Association of Las Vegas

Identifier

MS-00001

Abstract

The Beda Cornwall Collection on the Citizen's Library Association of Las Vegas consists of material gathered by Beda Brennecke Cornwall that documents the activities of the Citizen's Library Association of Las Vegas during the years 1941 to 1973. Most of the materials document the efforts by the citizens group to raise money in the community to build and sustain a new public library in Las Vegas, Nevada. The remaining part of the collection relates to local and statewide libraries and biographical materials on Beda Cornwall and her husband through various documents and scrapbooks of newspaper clippings.

Archival Collection

Samuel Liddle General Store Records

Identifier

MS-00051

Abstract

The Samuel Liddle General Store Records (1885-1887) are comprised of order forms, inventories, and customer ledgers for Liddle's General Store in Leadville, Nevada. The store was created to provide services to residents and prospectors during a mining boom in White Pine County that lasted from 1887 to approximately 1890. The materials also consist of Liddle's General Store accounts, business correspondence, and transactions, such as wholesale purchases of general merchandise and mining supplies from vendors in Eureka, Nevada, San Francisco, California, and smaller nearby locations. An undated hand-drawn map of the townsite is also included.

Archival Collection

Robert B. Griffith Photograph Collection

Identifier

PH-00106

Abstract

The Robert B. Griffith Photograph Collection (approximately 1950-1970) contains black-and-white and color photographic prints, negatives, and slides of Las Vegas, Nevada including Fremont Street, Helldorado parades, and hotel and casino properties along the Strip including the Sahara Hotel and Casino, the Flamingo Las Vegas, the El Rancho, the Thunderbird Hotel and Casino, and the Hotel Last Frontier. Also included are photographs of Lake Mead Recreation Area and tunnel drilling within and near the Las Vegas Valley, Nevada. Other Nevada locations outside of Las Vegas include Reno, Virginia City, and Crystal Bay, Nevada.

Archival Collection

Tonopah-Goldfield Mining Photograph Collection

Identifier

PH-00023

Abstract

The Tonopah-Goldfield Mining Photograph Collection depicts mining activities in the mining towns of Tonopah and Goldfield in Esmeralda County, Nevada from approximately 1901 to 1920. The photographs primarily depict mines, miners, mills, construction, ore, and workers transporting ore. The photographs also depict events and people in Tonopah and Goldfield, including parades, celebrations, banquets, children, Native Americans, and prominent buildings.

Archival Collection

Transcript of interview with Sandra Peña by Lada Mead and Stefani Evans, March 27, 2017

Date

2017-03-27

Description

Sandra Peña’s story begins in East Los Angeles, where she spent her first fifteen years with her parents (both from Michoacán, Mexico), and her younger sister. The father's managerial position at Master Products allowed the family to live rent-free in a company-owned house behind the main factory, because he collected the rents for the company's two other dwellings. In this interview, Peña recalls the family move to Porterville, in California's Central Valley, her return to Los Angeles at nineteen, and her work with Parson’s Dillingham, a contractor for the Metrolink rail system. She draws the link between the Los Angeles and Las Vegas construction communities by describing her husband's move to Las Vegas to find work; a chance Las Vegas encounter with a friend from Chino, California; her ability to gain employment in Las Vegas at Parson’s, a company that had joint ventured with Parson’s Dillingham, and her move from there to Richardson Construction, a local minority-owned company. As Peña says, "It's kind of all intermingled. Even if you go here and you go there, it's like everybody knows everybody." Throughout, Peña weaves her family story into the narrative as she describes her youth, the birth of her son, the illness and death of her father, and her family's participation in her current employment with Richardson. As she remembers the people, places, and events of her life, Peña speaks to the ways one woman of color built on her interstate construction connections and rose in a male-dominated industry.

Text

Jessica Hutchings oral history interview: transcript

Date

2018-03-21

Description

Oral history interview with Jessica Hutchings conducted by Barbara Tabach on March 21, 2018 for the Remembering 1 October Oral History Project. In this interview, Jessica Hutchings discusses her experience flying to Las Vegas, Nevada on the night of the October 1, 2017 mass shooting. She speaks of her flight's detour to Phoenix, Arizona, and her discovery of the shooting. Hutchings explains how Congregation Ner Tamid, where she is a cantor, contributed to the community healing after the tragedy, including their organization of vigils, a music fundraiser called "Vegas Strong in Song," and discussing the event with teenage Hebrew School students who had questions and concerns about the shooting.

Text

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

Date

2002

Description

Daytime and nighttime views of the Gameworks' signs on the Strip. Information about the sign is available in the Southern Nevada Neon Survey Data Sheet.
Site address: 3785 S Las Vegas Blvd
Sign details: Game Works is located on the underground level of The Showcase Plaza, which is also home to such establishments as M&M World and the Show case theatres. Two small gateway pylons for the Game Works center, stand on other side of staircases that lead to the underground facility. Just east of there a large wall front design hands approximately nine feet above the ground on the structure of the mall.
Sign condition: Structure 5 Surface 4 Lighting 5
Sign form: Pylon; Fascia
Sign-specific description: The large wall marquee that reads GAMEWORKS in all capitals, utilizes deep, yellow, steel, channel letters painted black on the exteriors. The slightly arched sign is on the West wall of the building, facing West from the East side of the strip. The interior of the text contains double rows of yellow neon. The cabinet, which the words sit upon, is a black steel cabinet shadowing the individual letters in one cabinet. The backing cabinet itself is illuminated from its interior, with middle section of the width of the cabinet is made of a steel grating. This function allows the blue neon on the inside to cast a blue glowing halo seen from the exterior. Sitting on top of the right hand side of the marquee are two steel boxes manufactured into the shape of a male and female figure dashing to the end of the sign. These figures are made of black steel box like formations while retaining a cartoon-ish silhouette. Their posture suggests motion or running. These figures are constructed in the same fashion as the black cabinet, which the text is supported upon. They too are glowing with the blue interior neon halo. In front of the large wall sign are the two, single sided, gateway pylons. They serve as markers for the stairs that lead the underground facility. They sit on either end of the large channel cut into the sidewalk. One faces South on the South entrance, and one faces North at the North end. The signage is actually a smaller replica of the large building front logo. The same interior lit cabinet supports the same design of yellow channel letters, with the backing "shadow" cabinet. A difference between the larger and smaller cabinets is that the cabinets are surfaced with the grated material. The only difference in the channel letters besides their obvious discrepancy in size, is that single rows of neon comprise the interior of the channel letters. On either side of the sign, two, "space age" themed posts provide support. They are topped with a sculpted cylindrical fashion capital. The bases for which they are attached to the concrete with, are blue in color. The actual shaft of the pole is made of several smaller pipes, with a plastic cylindrical tube in the center. Inside this tube is a string of attached incandescent bulbs running vertically. Below the text, suspended with two rods, is an oval shaped, aluminum cabinet. In the face of the cabinet there are the words "cafe" and "lounge" painted in blue. Over the painted text is blue neon. From both sides of the sign, the blue neon scrawl is visible Separating the two words is a black circle with a red neon rectangular shape in the center. The ends of the cabinet are made small circular cabinets approximately seven inches in diameter.
Sign - type of display: Neon; Incandescent; Backlit
Sign - media: Steel; Plastic; Fiberglass
Sign - non-neon treatments: Paint
Sign animation: none
Sign environment: The Game Works facility is located directly across the street from the pedestrian "Brooklyn Bridge" element of the New York New York and sit is the shadow of the MGM super pylon. The vibrant yellow of the sign do stand out as distinct among the tremendous and attractive signage of the Showcase plaza. The large channel cut into the sidewalk, along with its large surrounding counterparts, makes the entrance reminiscent of that of a subway. The plaza itself is self-contained and while standing along the front a person is enveloped in the plaza without being distracted by the rest of the strip itself. The large signage looms over a pedestrian while walking by, or shouts at you while sitting along the shrub filled flowerbeds.
Sign - thematic influences: The actual theme of the sign is correspondent to that of the business, which the sign advertises. The property is an interactive gaming facility and lounge. The use of the glow of a monitor or computer screen. The polished aluminum poles supporting the gateways are reminiscent of the futuristic, or "space-age" theming associated with the classic representations of science fiction in movies and television throughout the twentieth century. Such examples of this classic representations may be seen in television programs from the past like "Lost in Space," or even literary descriptions in Orson Well's "War of The Worlds" of Ray Bradbury's "Martian Chronicles" The combination of materials along with the innovative use of lighting also suggests electricity and digital elements which associate with the function of the facility.
Sign - artistic significance: If not significant for simply combining different elements to create a completely self-contained sign, it fits into the movement in Las Vegas's history , which is geared more toward the family. Not only the space that it occupies, but also the function itself in intended to attract young people if not children into it domain. It is an obvious standout for the vote to make Las Vegas move toward a more family oriented town. Aesthetically the signage is modern innovation on a classic design.
Surveyor: Joshua Cannaday
Survey - date completed: 2002
Sign keywords: Pylon; Fascia; Neon; Incandescent; Backlit; Steel; Plastic; Fiberglass; Paint

Mixed Content