The W. I. Booth and A. Allen Photograph Album of Goldfield, Nevada (approx. 1900-1910) contains forty-five black-and-white photographs taken by photographers W. I. Booth and A. Allen. The images depict the Goldfield, Nevada townsite; mines, miners, camps, and equipment; horses pulling freight and carriages across the desert; and topographical features of Goldfield and outlying areas. The photographs document the mining boom in the Goldfield area during the early 20th century.
Arthur G. Grant Photograph Collection (approximately 1950-1965) consists of 120mm and 35mm color photographic slides taken in the mid-1950s in and around Las Vegas, Nevada. Images depict Arthur G. Grant's home life, the Fortune Club business on Fremont Street, general downtown, Helldorado Parade, and a Mount Charleston picnic. The collection also contains images of Lake Mead boat races including an appearance by Donald Campbell and his water speed world record-setting jet powered boat, Bluebird.
The Howard R. Hughes College of Engineering Records contain materials dating from approximately 1968 to 2017 that document the establishment of the School of Engineering and later the Howard R. Hughes College of Engineering School. Materials include records of the Nevada Development Authority Partners for Industry through Engineering and Education (PiE2) program during the 1980s that was headed by Bob Gore of Summa Corporation (formerly known as the Howard Hughes Corporation). Collection records also include samples of class listings, phone directories, degree information, college rules and bylaws, and fact sheets and brochures for different engineering degree programs at UNLV. Materials also include accreditation questionnaires from 1989, 1990, and 1992. Also included are promotional brochures and pamphlets for the school from 2015 to 2017.
The Sherwin “Scoop” Garside Photographs contain photographs from journalist and photographer “Scoop” Garside from 1907 to 1969. The photographs primarily depict events and buildings in Southern Nevada, including construction of the Hoover (Boulder) Dam, the Helldorado Parade in Las Vegas, Nevada, hotels and casinos, schools, and social events. The photographs also depict the Garside Family, including Las Vegas Review-Journal owner Frank Garside, “Scoop” Garside’s father.
The Nevada Women’s Conference Photograph Collection depicts the statewide women’s conference held in June 1977 in Las Vegas, Nevada. The photographs include keynote speaker Gloria Steinem, event organizers, workshops, volunteers, and musical performances.
The Rodney Sumpter Papers on Doe v. Bryan contain the legal files of the lawyer Rodney Sumpter, who represented the appellants in the Nevada District Court case Doe v. Bryan (1985) and subsequent appeal in the Nevada State Supreme Court in 1986. Doe v. Bryan challenged one of Nevada's sodomy laws (NRS 201.190), and the collection contains affidavits, motion requests, correspondence, newspaper clippings, and memoranda regarding the case.
The Junior League of Las Vegas Photograph Collection contains photographic prints and negatives, as well as postcards of locations in and around Las Vegas, Nevada between approximately 1900 and 1980. Early photographs in the collection offer views of the Las Vegas townsite, buildings, railroads, the Las Vegas High School, Overland Hotel, Arizona Club, and residential areas. Other photographs during this time depict the Hoover Dam (Boulder Dam) construction and Death Valley, California. Later photographs show the University of Nevada, Las Vegas (UNLV) campus, downtown Las Vegas, and the Las Vegas Strip.
Part of an interview with Marzette Lewis by Claytee White on October 30, 2012. Lewis discusses community involvement in the movement for equality in elementary schools to stop bussing children to schools in different neighborhoods.
Oral history interview with Cecia Alvarado conducted by Barbara Tabach on September 15, 2020 for the Latinx Voices of Southern Nevada Oral History Project. Cecia describes her personal history, moving to the United States as a teen in the year 2000. She talks of immigration, education, and her work as the State Director of "Mi Familia Vota."
Photos show Mandalay Bay signs during the day and at night. Two surveys were conducted to gather information about this sign. One was conducted in 2002 and one was conducted in 2017. PDFs are available for both surveys. See the 2017 survey PDF for additional information that is not included in the object 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