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Transcript of interview with Joy Snyder by Lisa Gioia-Acres, December 17, 2009
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Archival Collection
Description
Joy Snyder, born and raised in Pennsylvania, is the daughter of Jean Dasinto and stepdaughter of Ray Hunt. Though she was raised thinking she was an only child, she shares that as an adult, she was contacted by an aunt who gave her information about an Austrian half-sister. The half-sister had tracked the family through WWII records on her biological father! Joy was raised in a very large extended Italian family (her maternal grandmother was first-generation Italian) and became the first in her family to attend college. She had decided early on that she wanted to be a nurse and chose to attend Temple University Hospital in Philadelphia. She recounts memories of her earliest work there, which began the first week of school. After graduation from nursing school, Joy married her childhood sweetheart, William (Bill) Snyder. They made the move to Las Vegas in 1978 and Joy found work right away at Desert Springs Hospital. She worked there about six months and then took maternity leave after the birth of their second son. When she returned to work, it was at Sunrise Hospital (early 1979) in the newborn nursery. Joy comments on many aspects of her career, including the informal approach to health care, the effects of desert climate on mothers and newborns, and the changes she has seen at Sunrise Hospital. She also comments on adoption practices in Las Vegas, drug-addicted babies, and cultural attitudes that appear during the birthing process. Today Joy is retired and her husband Bill is close to retiring. They feel a strong connection to Las Vegas (Bill has a school named after him), but maintain a second home in New York for their trips back East to visit friends and family. They also keep up with various community activities, including book clubs and running clubs for the children at William Snyder Elementary School.
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Meeting minutes for Consolidated Student Senate, University of Nevada, Las Vegas, August 30, 1983
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Archival Collection
Description
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Meeting minutes for Consolidated Student Senate University of Nevada, Las Vegas, July 24, 1986
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Archival Collection
Description
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Photographs of Mirage signs, Las Vegas (Nev.), 2002
Date
Archival Collection
Description
Site name: Mirage (Las Vegas, Nev.)
Site address: 3400 S Las Vegas Blvd
Sign owner: MGM Mirage
Sign details: The main attraction of the property is its spectacular exploding volcano placed among an astounding array of lagoons, waterfalls and palm trees. One of the themed hotel casinos, the architectural form takes precedence over an abundance of flashing lights and neon. Two pylon signs reside on the front of the property along Las Vegas Blvd, another on the west side of the property, two arched banner entrances are placed among them, lettering atop the towers, and various text placed among the vast stretch of landscaping are the only visible large elements of signage.
Sign condition: Structure 5 Surface 5 Lighting 5 The structure and lighting on the signs are in excellent repair, with no apparent major physical damage. The surfaces of the pylons and assorted log text, are a bit dirty, but no more than any other establishment, considering the punishment each must undergo due to the elements as well as the live volcano.
Sign form: Pylon; Fascia; Porte-cochère
Sign-specific description: Just north of Caesars Palace a giant pylon sign faces north/south, on the east side of the strip. Two giant square posts support a giant backlit advertisement panel, and an adorning entablature containing the channel letters spelling "Mirage." Between the two giant legs two cabinets are present to fill the space. Just below the main backlit panel an LED screen resides just above another back lit panel. The two giant legs have a series of polished metallic panels running vertically up the sides, creating a recessed channel. The sections are separated with slight overhangs. The bottom smaller panel cabinet is an advertisement for "Danny Gans" and the main panel advertises for the "Seigfried and Roy" magic show. A small banner rests between the main entablature, and the panel, reading "Magicians of the Century." The black channel letters in the main pediment spells "The Mirage," and are filled with incandescent bulbs. The lush foliage and walkways continue north where a covered awning faced with a carved wood and brass bullnose, allows pedestrians to take a moving walkway up to the resort. The landscaping continues north where it meets a driveway denoted by a low arched banner supported by a pair of square columns on either end. "The Mirage" is spelled in polished gold channel letters, with white interiors and filled with incandescent bulbs. The banner itself is sculpted into two sweeping solid shapes on the tops and bottoms, with a series of folded ribbon like scroll shapes. The center section is crafted as to allow light to pass through the negative spaces created by the rows of positive scroll shapes. The banners face east. On the faces of each of the flanking posts, two images of jumping dolphins are sculpted and finished in the same fashion. Past the gateway the thick beds of foliage and palm trees can be seen headed back along the drives. Continuing north a multi tiered lagoon rushes circulating water on and over waterfalls, while yet more green shrubbery and palm trees encrust islands and images of eroded rocks and geological formations. The beautiful imagery continues north, twisting and turning in and behind itself to create a fantastic spectacle for a passerby to be lured in and be fascinated. Approximately in the middle of the length of the expanse, the famous functioning volcano rests quietly amongst smaller rocks and waterfalls. Just past the volcano the lagoon opens up into a wide flat area of water where bronze dolphins are positioned to look as if they are jumping out of the water. Still the rich foliage dominates the landscape, until another arched gateway interrupts the expanse to allow traffic. The foliage, and lagoon landscaping, picks up again, cozily grasping the base of a smaller pylon of similar design as the first. The two reflective paneled legs rise up to connect with a horizontal piece of the same design. A large backlit cabinet advertising for Danny Gans occupies approximately three-quarters of the space between the legs. An entablature of the same design as the main pylon, yet smaller, crowns the top of the sign. The trademark font spells "The Mirage" in black channel letters and filled with incandescent bulbs. Just past the small double sided pylon, a small of recess of rocks plays home to the end marker of the Mirage. A bust of Siegfried and Roy with a tiger is ambiently lit, provided photo opportunities for tourists. An interesting function has been added to the bust. In the flower bed behind and on the sides of the object, faux boulders are places with glowing crystals protruding from the surface. The tower of rooms for the Mirage is the popular three winged "Y" configuration converging onto a center structure. On each face of each wing, giant black channel letters spell "The Mirage" in their trademark text. Each is filled with incandescent bulbs.
Sign - type of display: Neon; Incandescent; Backlit
Sign - media: Steel; Plastic
Sign animation: Oscillating
Notes: The incandescent bulbs located within text logos on the pylon sign, and upon the tower oscillate to appear as shimmering. The effect is one of the more common animations particularly among the larger, corporate casinos.
Sign environment: The placement of the Mirage right on the curve of the Strip makes the pylons visible from a good distance from either direction. The environment displayed by the mirage is that of paradise. When walking past, and up to the property, it hard not to stop and stare at the amazing foliage and spread of waterfalls, and rocks.
Sign manufacturer: Ad-Art
Sign designer: Pylons: Charles Barnard with touches from Wynn's design group Atlandia Design Group. Dolphin Archways: Barnard and Jack Dubois as well as hotel architect, Joel Bergman
Sign - date of installation: 1989
Sign - date of redesign/move: The main pylon has since been updated with a new Siegfried and Roy Back lit Mural, a new LED screen, and another back lit plastic screen featuring Danny Gans. An internally lit banner reads horizontally across the top of the giant Siegfried and Roy Mural which reads Magicians of the Century.
Sign - thematic influences: The theme is tropical island paradise. Complete with active volcano, the front spectacle of rushing waterfalls, chirping bird noises, and leaping bronze dolphins, serves as the backdrop for the simple, slim design of the property's pylon structure. The pylons were designed to reach harmony with the structure of the tower itself, rather than the island theme. The dolphins over the entrance arches however represent the tropical island theme, as well as speaking about the dolphin habitat inside.
Sign - artistic significance: The main pylon was the first of its kind to feature a full color illuminated photographic pictoral. Designed by Rosco, it was billed as the largest of its type in the world. The resort's themed spectacular was also the first of it's kind in regards to its extravagance and unique functionality. Approximate 125,000 people visited the property on its opening day. The resort fits well into the theme of design of the large, corporate property, after all it was one of the pioneers of such a movement in Las Vegas. The Mirage also set the standards for the now frequently seen element of the attraction spectacle, and the standard of quality on the Las Vegas Strip
Surveyor: Joshua Cannaday
Survey - date completed: 2002
Sign keywords: Oscillating; Pylon; Fascia; Porte-cochère; Neon; Incandescent; Backlit; Steel; Plastic
Mixed Content
"Exported Democracy": article draft by Roosevelt Fitzgerald
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Archival Collection
Description
From the Roosevelt Fitzgerald Professional Papers (MS-01082) -- Drafts for the Las Vegas Sentinel Voice file. On Beijing students' demonstration.
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Transcript of interview with Judy Lee (Johnson) Jones by Claytee D. White, February 22, 2007
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Archival Collection
Description
In the 1950s and 1960s, the Copa Room at the Sands Hotel and Casino featured glamorous showgirls. For a few years, the Houston Chronicle sponsored a contest that added the Texas Copa Girls to the line. In 1958, one of the winners was 17-year-old Judith Lee Johnson. For the "wild" but "naive" Judy, the experience was a period of funfilled freedom, followed by relentless encouragement of others to attend college, which she reluctantly did. To her surprise, she embraced the college life, took her studies seriously, and received an education degree. She also became Miss Houston. Four years later she returned to Las Vegas and the Sands. As she stepped into her role as a showgirl this second time, she was no longer the newbie. She experiences the lifestyle with more maturity. She talks about the celebrities she met, the lasting friendships she formed, performing in the Elvis movie Viva Las Vegas, and her trip around the world, a trip that included her personal dream of going to Paris. Judy shares details of her family heritage and she wonders to what extent she might have been living her mother's dream. Though her love of performance and theatre is keen, Judy channeled her passions into a 29-year career as an educator. She married a Marine in 1965, raised their children, moved with his career. She and her husband, Walter F. Jones, live in Virginia.
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Correspondence, Levi Syphus to Sadie George
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Archival Collection
Description
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Talia Levanon oral history interview: transcript
Date
Archival Collection
Description
Oral history interview with Talia Levanon conducted by Barbara Tabach on January 21, 2019 for the Remembering 1 October Oral History Project. In this interview, Levanon discusses her role as the Director of Israel Trauma Coalition (ITC), an organization that provides trauma care and counseling in Israel and around the world. She recalls that three weeks after the 1 October shooting, she and a team from ITC arrived in Las Vegas, Nevada to offer training and support and worked closely with Las Vegas Metro Police Department.
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Transcript of interview with Dayvid Figler by Barbara Tabach, June 22, 2016
Date
Archival Collection
Description
Dayvid Figler (1967 - ) is the quiet boy who became an insightful and creative contributor to the local culture of Las Vegas. The oldest of Barbara and Meyer Figler?s three children, he was four years old when the family station wagon reached Las Vegas in 1971. They moved in with Uncle Izzy (aka Big Irish) Figler for a few months. Having the ?juice,? Dayvid?s father soon became a Pan dealer on the Strip. As the family grew, Barbara eventually immersed her energies in her children?s activities, Hadassah and Temple Beth Sholom. In this oral history, Dayvid also recalls his awkward, but incredibly interesting youth, his bar mitzvah at Temple Beth Sholom, and path to a successful career as a criminal defense attorney. He also talks about embracing Las Vegas as his home, owning a home in John S. Park neighborhood and mentions a number of literary depictions of Las Vegas that he admires. Dayvid describes growing up a ?casino kid? who lived in an apartment near the Riviera Hotel. This, in addition to his slight stature and academic brilliance, may have set him apart from many of his childhood peers. He graduated from Valley High School at the age of 16 and by the age of 23 he was a rising star in the legal world. He looks back with appreciation to his list of mentors who encouraged him along the way. Dayvid is also a local favorite as an essayist and poet. For a number of years he could be heard on KNPR/NPR. He has been a performer in hundreds of productions that featured his comic wit and writings, from Lollapalooza to Tom and Jerry?s on Maryland Parkway.
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