Search Results
Meeting minutes for Consolidated Student Senate, University of Nevada, Las Vegas, December 07, 1982
Date
1982-12-07
Archival Collection
Description
Includes meeting agenda and minutes. CSUN Session 13 (Part 1) Meeting Minutes and Agendas.
Text
Correspondence, Levi Syphus to Dr. Wherry E. Neel
Date
1927-08
Archival Collection
Description
This folder is from the "Correspondence" file of the Sadie and Hampton George Papers (MS-00434)
Text
Photographs of Mandalay Bay signs, Las Vegas (Nev.), 2002
Date
2002
2017-08-15
Archival Collection
Description
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
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
Kochy Tang oral history interview: transcript
Date
2021-05-26
Archival Collection
Description
Oral history interview with Kochy Tang conducted by Kristel Peralta, Vanessa Concepcion, and Stefani Evans on May 26, 2021 for Reflections: The Las Vegas Asian American and Pacific Islander Oral History Project. Kochy gives a family history of her parents and how they both came to practice medicine; her father served in a Mobile Army Surgical Hospital during the Korean War and later practiced alternative medicine alongside Kochy's mother in San Francisco and Reno. Kochy shares her educational and employment path pursuing osteopathic medicine and how, with the help of Tony Marnell, she was able to open her pratice within the M Resort and Casino. She discusses her work as a Doctor of Osteopathy (D.O.) and the relationships she has built within the Las Vegas medical community.
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Howard Cannon Papers
Identifier
MS-00002
Abstract
The Howard Cannon Papers (1958-1988) contain the personal, administrative, and legislative papers of Howard W. Cannon, U.S. Senator from Nevada between 1959 to 1983. The collection primarily pertains to Cannon's time in office from the 86th Congress in 1959 to the 97th Congress in 1983. Materials include correspondence, speech transcripts and supporting research material, press releases, reports, memoranda, newspaper and magazine clippings, and Senate voting records. The collection also includes constituent correspondence and casework related to legislative issues such as foreign relations, social security, veterans, tax reform, labor, aviation, nuclear testing and waste, civil rights, and environmental protection.
For a detailed inventory, please contact Special Collections and Archives (special.collections@unlv.edu).
Archival Collection
Transcript of interview with Charles Nur Fernald by Claytee D. White, May 31, 2014
Date
2014-05-31
Archival Collection
Description
Dancer Charles Nur Fernald first came to Las Vegas in 1963 to perform for five weeks in the Kay Starr Show at the Sahara Hotel and again in 1964 working with Donn Arden for three months at the Desert Inn Hotel. Born in Detroit, Michigan, in 1939, Charles moved several times to various places in Arizona and southern California with his parents, Charles Knox Fernald and Marguerite Marie Higgins Fernald, and half-siblings before settling in Hollywood, California, where he remained (except for his short stints in Las Vegas) from 1961 to 1967. In January 1968 Charles came to Las Vegas to perform with Sid Caesar and Imogene Coca at the Flamingo Hotel. After the show closed Charles auditioned for Donn Arden to dance in the Lido de Paris show at the Stardust Hotel, where he remained for sixteen years, 1968 through 1984. He remains the only male dancer who performed with Lido through five different, consecutive productions. In 1969 Charles met his partner, Aquiles Garcia, who was a dancer at the Dunes Hotel. The couple remain in Las Vegas and have been together forty-five years. Charles’s father was very poor and left school after the third grade to go to work and help support his family. He was born in 1889 in Philadelphia, Pennsylvania, the fifth of eleven children. As an eight-year-old he became a “groundhog,” a digger of New York’s underwater tunnels, who helped build the Holland Tunnel. At fifteen he made more money than his father selling newspapers, fresh fruit, and clothing door to door or from the street corner. According to Charles, his father “drank too much, ate too much, smoked too much, and loved too much.” As an only child, Charles’s mother had a very different upbringing from his father, although her family too was very poor. She was born in Detroit in 1902 to a railroad switchman father and mother who not only scrubbed the floors of wealthy Detroiters but also cooked meals for twenty-one boarders at a rooming house. Marguerite’s parents worked hard so they could send their only child to Catholic school and the Detroit Conservatory of Music.
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Leonard M. Jessup interview, August 6, 2018: transcript
Date
2018-08-06
Description
“I decided to just keep going, and I devoted my career to higher ed. I wanted to continue putting back into this system that I felt I got a lot out of. Again, repaying a debt.” What began as a passion for playing school sports would later lead Dr. Len Jessup on a path to lifelong service in the area of higher education. From his California childhood he would soon find himself across different U.S. states performing various higher education duties from professor to university president. In this interview, Jessup talks about his grandparents’ decision to emigrate from Italy to the U.S. and how grateful he feels towards his family as a result. He recalls playing baseball in college. In his eyes, being part of several sports teams helped him develop into the person he is now. He describes doing research during at the University of Arizona and speaks to what it was like moving from one university position to the next. Ultimately, his colleagues would recommend that he move to Las Vegas to
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