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Displaying results 90831 - 90840 of 90912

Interview with Benjamin Clinton Diven, April 12, 2005

Date

2005-04-12

Description

Narrator affiliation: Physicist, Los Alamos National Laboratory; Manhattan Project

Text

Helen J. Stewart Photographs

Identifier

PH-00104

Abstract

The Helen J. Stewart Photographs depict the Stewart Family from approximately 1860 to 1950. The photographs primarily depict Helen J. Stewart and her children as well as the Stewart Ranch (also know as the Las Vegas Ranch) in Southern Nevada. The photographs include the early Las Vegas, Nevada town site, landscapes of Southern Nevada and the American Southwest, mines and mining camps, railroads and railroad workers, the Las Vegas Fort (also known as the Old Mormon Fort), hotels and early businesses in Las Vegas, Native Americans and Native American artifacts, and postcards.

Archival Collection

Julia Ratti (Washoe County Health District) oral history interview conducted by Kellian Beavers and Elia Del Carmen Solano-Patricio: transcript

Date

2022-10-03

Description

From the Lincy Institute "Perspectives from the COVID-19 Pandemic" Oral History Project (MS-01178) -- Government agency interviews file.

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University of Nevada, Las Vegas (UNLV) Fall 2021 commencement program

Date

2021-12-14

Description

Commencement program from University of Nevada, Las Vegas Commencement Programs and Graduation Lists (UA-00115).

Text

Photographs of Greek Isles signs, Las Vegas (Nev.), 2002

Date

2002

Description

Daytime and nighttime views of the Greek Isles Hotel and Casino signs. Information about the sign is available in the Southern Nevada Neon Survey Data Sheet.
Site address: 305 Convention Center Dr
Sign owner: Mark IV Realty
Sign details: The property which is at the eastern end of Convention Center Dr., is one tower at the east end of the property, and is attached to a low-rise structure which reaches westward along the east side of Convention Center drive. Various signs adorn the facade of the Greek Isles including a small pylon sign, a porte- cochere and two wall/logo signs. The stucco surface of the front of the building is painted with images of rustic Mediterranean cottages, as well as the rising or setting sun image seen on the pylon as well.
Sign condition: Structure 5 Surface 5 Lighting 5 Notes: The signage for the Greek Isles is essentially brand new, with exception to the porte-cochere. The Porte cochere was left over from the previous establishment with a bit of standard upkeep.
Sign form: Pylon; Fascia; Porte-cochère
Sign-specific description: At the east end of Convention center Blvd The Greek Isles casino resides at the old site of establishments such as The Paddlewheel, and The Debbie Reynolds Hotel Casino. The signage consists a pylon sign, a porte- cochere and two wall signs. Located on the south side of the street, the signage is located in relatively small span of space along the north face of the establishment. At the western most end of the property, a section of the low rise structure radiuses outward creating a giant white, convex stucco canvass. A golden sunset has been painted on the entire surface of this rounded wall. A bright white round section represents it with the color blending from an intense yellow into a burnt orange on the top edge of the building. At the top of the wall along the surface, "Greek Isles is spelled in shallow blue channel letters, with each letter set upon a white cabinet which mimics the shape of the font. Incandescent bulbs fill each channel letter, surrounded by a border of blue neon. The text is very angular, also mimicking ancient Greek text and the text utilized in Caesar's Palace. Just below the text on the surface of the wall. A wall sign in the shape of a rectangle with scrolls on the either sides. The resultant effect is a two-dimension representation of an Ionic top of a column. The outer edge of the sign including the spiraling scrolls on either side is created with a narrow blue channel. Tubes of blue neon line the interior of this channel. The open rectangular space left in the banner of the sign reads "Hotel &Casino," in red channel letters, lined with red neon on the interiors. Further east on the surface of the building, the white stucco is treated with a mural of broken tile overhangs and open shutters. Column, and corbels are other elements represented in the mural of a Greek village. Another sign is located on the wall between the western most sign and the central Porte cochere. This sign is two parts. Pair of concrete columns support a cabinet, crafted in the same fashion as the secondary portion of the previously mentioned sign. The details of the scroll are created by gold raceways lined with incandescent bulbs. Painted in red , all capital, letters, the text "Restaurant &Lounge Show," lies horizontally across the white surface. Neon is crafted over the tops of the letters. Sitting on top of the cabinet is another set of channel letters. The shallow blue letters are filled with incandescent bulbs. The shadowing cabinet, behind the letters is painted gold. Blue neon borders each one of the letters. On either side of the text, three slightly arched rods angle out of the body of the faux scrolled cabinet. The rods are lined on the surface with one single tube of blue neon. A pair of gold, polished, doors lie underneath the sign between the columns. The main entrance of the building is underneath the porte-cochere, continuing east along the property. The surface of the awning is illuminated with lengthy backlit cabinets, lined on the top and the bottom with gold raceways lined with incandescent bulbs. Blue tubes of neon line the top and the bottom edges of the surface of the cabinet. The underside of the awning is divided in clear plastic covered recessed cubes, forming a grid over the surface. The interiors of the cubes are mirrored, and sloped to a point in the negative shape of a pyramid. The centers are adorned with incandescent bulbs. The borders that periodically broken up with polished, reflective panels of a bronze hue. The property continues east still, until a north/south drive separates the building from the pylon sign for the establishment. A pair of white painted steel poles are capped with a white cabinet, sculpted itself to add elements to the poles themselves. The left and right bottom edges of the cabinet are crafted to look lime the scrolled column capital, represented in the two logo wall signs on the east surface. The scrolls are created with blue paint, n the white surface, as well as the address painted in the center. The combination of the sculpted cabinet and supporting poles create a solid base for a giant black cabinet which housed a color LED message center. Atop the cabinet, another horizontal cabinet sits wider in length than the LED cabinet. The cabinet is crafted like the two wall signs as well, with bulbous radius ends, adorned on the surface and edges with the channel raceways creating the scroll shape. This channel is lined with blue neon. All capital, red channel letters, filled with red neon, reads "Hotel & Casino." A top this cabinet another sculpted cabinet hold the main logo text of the sign. The sign is crafted as a half circle, creating a cabinet with the entire outer edge being a single radius. The surface of the sign is painted in the same fashion the sunset mural on the east end of the building. The sign starts as a dark orange at the bottom and fades to a yellow at the top. The edge of the radius is interrupted by the main text. "Greek Isles" is spelled in the same fashion as all the other signs. The mimicking backing cabinets for the letters are painted white as well. The outer edge is also lined with gold polished raceways , and incandescent bulbs. The width of the sign from the LED cabinet on up is painted black
Sign - type of display: Neon; Incandescent
Sign - media: Steel
Sign - non-neon treatments: Graphics; Paint
Sign animation: none
Sign environment: The Greek Isles is on the unique street line of Convention Center drive. To the east there is a nightclub, a chain motel, The Las Vegas Hilton, and the transplanted Riviera pylon. To the west, on that side of the street, is a bank complex and the Casino Royal. Across the street the vast expanse of the Hilton Convention Centers parking lot, makes the Greek Isles seem much larger for it's relatively small set of signage.
Sign manufacturer: YESCO
Sign - date of installation: 2000
Sign - date of redesign/move: The Greek Isles signage is the same since its initial installation, but replaces other vestiges of the previous properties, most recently the Debbie Reynolds Hotel and Casino.
Sign - thematic influences: The theme of the property is quite evident in its name as well as in its facade. The exterior is made to appear with elements of a rustic Greek village utilizing a white stucco finish treated with mural designs of wooden shutters and other village amenities. On western end of the property, the large round, surface of the wall is treated with graphic paint representative to a rising or setting sun. This element also adds to the apparent ambiance of the serene village. The text for the property is crafted in the generalized angular style of the ancient Greek text, not that much dissimilar to the Caesar's Palace logo text. In fact they are almost identical in fashion.
Surveyor: Joshua Cannaday
Survey - date completed: 2002
Sign keywords: Pylon; Fascia; Porte-cochère; Neon; Incandescent; Steel; Graphics; Paint

Mixed Content

Alpha Kappa Alpha Sorority, Theta Theta Omega Chapter list of committees

Date

2003-01-04

Description

From the Alpha Kappa Alpha Sorority, Incorporated, Theta Theta Omega Chapter Records (MS-01014) -- Chapter records file. Includes committee responsibilities, members, and chairs.

Text

Transcript of interview with George Pollak by Claytee White, May 25, 2010

Date

2010-05-25

Description

George was raised in Mattapan, a suburb of Boston, by his mother and father. George had four siblings and was the second youngest. George shares fond memories of growing up and playing softball and tennis in the neighborhood park with his numerous friends. George could listen to a song on the radio and play it on the piano by ear when he was as young as four years old. George had several jobs to earn money growing up, including working in a record store and as a busboy. Eventually George and his brother joined a trio with Steve Harrington and performed in clubs. In 1958, George joined his brother and Paulette Richards in Las Vegas where they had a contract to play at El Rancho Hotel & Casino where they played until it was destroyed by fire. Following the fire, George and his brother parted ways and each did their own thing. In the 1960s, George began playing with the band at Caesars Palace. George used his background in accounting to do some bookkeeping and payroll for some of the ban

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Transcript of interview with Frankie Perez by Elsa Lopez and Laurents Bañuelos-Benitez, November 5, 2018

Date

2018-11-05

Description

Frankie Perez (1986- ) is an individual that constantly found himself navigating two worlds, whether it was military versus civilian; female versus male; or being Latinx in the United States. As a result of this navigation, Perez has a unique perspective on our ever more complicated world that not many individuals possess. Perez served in the military during the Do Not Ask, Do Not Tell policy which made it difficult for someone dealing with gender identity, to seek out the proper support they need. Despite the policy, and other policies that were put in place afterwards to inhibit the transgender community in the military, Perez began his transition while still serving his country. In direct contradiction of popular opinion, Perez discovered that the military easily accommodated his transition. Outside of the military Perez is an active voice in the LGBTQ community. As a member of the LGBTQ, Latinx, and military community, Perez has a unique perspective that he uses to fight for both LGBTQ and Latinx rights. Currently, Perez is finishing his degree in gender and sexuality studies at UNLV. He hopes to use his education to help people have the difficult discussions and improve conditions for his communities.

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