Search Results
Charles Vanda Collection
Identifier
Abstract
The Charles Vanda Collection (1955-1987) is comprised of achievement awards, plaques, and certificates that were presented to Charles Vanda throughout his career as a television and radio writer, director, and producer. Also included are newspaper clippings and articles about Charles Vanda, the performing arts, and the University of Nevada, Las Vegas (UNLV), a doctoral hood and a UNLV Runnin' Rebels jacket.
Archival Collection
International Food Service Executives Association Records
Identifier
Abstract
The International Food Service Executive Association (IFSEA) Records contain the organizational records from the IFSEA dating from 1916 to 2010. Included are meeting programs and minutes, menus, conference reports and proceedings, financial reports, newsletters, award certificates, scrapbooks, and stewards and caterers records focusing on the hospitality and food service industry. Materials are from both national and regional branches of the organization and include records from the United States military, with whom IFSEA has partnered with since the 1960s. Club artifacts and trophies are also contained in the collection.
Archival Collection
Binion's Horseshoe Casino Records on Poker
Identifier
Abstract
The Binion's Horseshoe Casino Records on Poker (1960-2006) are composed of materials related to the World Series of Poker (WSOP) held at Binion's Horseshoe Casino. Publicity and promotional materials include press releases and press kits, newspaper and advertising clippings, photographs, advertising campaigns, and advertising copy. These records were mainly generated by the Binion press agent, Henri Bollinger. Other topics covered in the collection include the establishment of the Poker Hall of Fame, and promotional and publicity efforts by Binion's Horseshoe in the 1970s and 1980s.
Archival Collection
Tonopah Mining Company Records
Identifier
Abstract
The Tonopah Mining Company Records derive from the office of the company’s general manager in Tonopah, Nevada and consist of documents directly generated by its mining and milling operations from 1901 through 1941. The collection includes daily work reports, assay reports and certificates, employee time cards, invoices and receipts for mining equipment and supplies, monthly stores reports, and the company’s numerous insurance policies. Several of the company’s annual reports, including an original typescript copy of the 1907 annual report, are included in the collection. Additionally, select records from the company's subsidiary, Desert Power and Mill Company, as well as the Tonopah and Goldfield Railroad, which include overcharge claims, freight and repair bills, and delivery receipts are included in the collection.
Archival Collection
Flora Dungan Papers
Identifier
Abstract
Flora Dungan Papers (1929-1974) contain high school and university records, certificates, newspaper clippings, press releases, notes, correspondence, and booklets about her life and political activism in Nevada. Also included are Legislative materials, an audio cassette tape, a copy of the Nevada Constitution, and an oil painting of Flora Dungan.
Archival Collection
Southern Nevada Jewish Heritage Project
"The goal of this 2014-2015 project is to build a web and mobile resource that will connect researchers from around the world to thousands of historical items—photographs, brochures, scrapbooks, letters, drawings, videos, and more—detailing the lives and contributions of Jews in Southern Nevada. It will include carefully researched biographies, timelines, and histories of institutions, events, and prominent themes showing the integral roles Jews have played in the history of Southern Nevada.
Corporate Body
Tick Segerblom (Clark County Commisioner) oral history interview conducted by Magdalena Martinez and Taylor Cummnings: transcript
Date
Archival Collection
Description
From the Lincy Institute "Perspectives from the COVID-19 Pandemic" Oral History Project (MS-01178) -- Elected official interviews file.
Text
Photographs of Peppermill signs, Las Vegas (Nev.), 2002
Date
Archival Collection
Description
Site address: 2985 S Las Vegas Blvd
Sign details: The Peppermill Inn Restaurant is located on the east side of Las Vegas Blvd, just north of the now defunct Silver City Casino. The actual establishment faces west toward the strip, separated from the traffic by the front parking lot. The lowrise brown clad establishment, boasts three specific pieces of signage on the exterior structure. In the parking lot near Las Vegas Blvd, a small two-sided, ground level cabinet, mirrors the aesthetics of the actual structure. Upon the west side of the building, the shingled roofline boasts channel letters filled with neon, as well as a more secluded sign on the north side of the building, toward the rear.
Sign condition: Structure 3 Surface 3 Lighting 3 The condition of the three different pieces of signage are all in different states of repair.
Sign form: Pylon; Fascia
Sign-specific description: The pylon sign, which sits near the street, is a miniature representation of the facade of the Peppermill establishment. Two square legs, constructed of mortared pieces of stone support the two-sided cabinet. The horizontal, rectangular cabinet sits on the pole, and faces north/south. The top edge of the sign is reminiscent of a roofline, with a low rise a-frame design. The grade is very little but exaggerated by the rectangular element rising off of the top edge covered in brown wooden shingles, which also cover the top edge's surface. The effect of the top's finishing is the resemblance of the roof of the Peppermill restaurant. Just below the peak of the "roof-like" element on the surface of the sign, a rectangular metal plate possesses text. The text is stamped out of the metal to reveal recessed negative spaces of fonts. An orange transparent material resides behind the plate, providing the hue for the internally lit apparatus. The text reads "24 Hours" in all capitals. Below the small rectangle, larger, white text runs the length of the sign. The internally lit, closed face, channel letters are in all capitals. In smaller text, along the bottom portion of the face the phrase "Coffee Shop & Lounge," runs the length of the text. The letters are orange, closed faced, internally lit. The actual structure of the restaurant, further east on the property is the model for the previously mentioned sign. The low-rise pitched roofline of the facility concludes at a lowrise rectangular cap. Along the western edge the roofs overhang, large white channel letters lined on the interior with pink neon spell "Peppermill" in all capital letters. Following the brown shingled roofline around the south side of the building, a third sign, not seen by the general public, faces south. A steel cabinet is the two-dimensional representation of both the outer pylon sign as well as the structure itself. A rust colored brown cabinet houses a dork brown steel face, with plastic letters for the advertising of the establishment. "Peppermill" is spelled in all capital letters. Below the top text a two lined, series of orange all capital text spells "Restaurant Lounge." It is apparent that wooden shingles were evident on the top the top edge of the cabinet which rises in the pitched front geometric shape seen on the pylon in the front and the architectural element in the structures center. Underneath the primary cabinet a smaller, horizontal, rectangular cabinet, sits centered underneath the It too is a rust colored brown cabinet, with a dark brown face. Text, as tall as the cabinet spells, "Open 24HRS" in orange plastic all capital letters.
Sign - type of display: Neon; Incandescent; Backlit
Sign - media: Steel; Plastic; Masonry
Sign - non-neon treatments: Graphics; Paint
Sign animation: Chasing, flashing, oscillating
Notes: The text, which resides on the southern wall and reads "Casino," is filled with incandescent bulbs that all illuminate at the same time, and oscillate. They then shut off at the same time, and then repeat. The raceways of incandescent bulbs chase each other while the neon, which surrounds the back lit, plastic, screens on this wall flash on then off. The bottom two raceways sandwiching the reflective panel chase from left to right, while the remainder of the raceways surrounding the signs, run right to left. The incandescent bulbs on the pylon chase each other gracefully up the length of the pylon. The animation is patterned so as to appear as if a section of several bulbs are pulsing its way up the towers, hugging the edge of the bulbous tops. The raceways continue around the east face of the building. The umbrellas in the plaza behind the pylon, also are animated with incandescent bulbs chasing each other downward along the raceways.
Sign environment: The area surrounding the Peppermill contains several interesting properties making the entire area sort of a cove of history. Just to the north the deteriorating, and closed Silver City stands testament to the wave of constant change present on the strip. It is a reminder of the historical significance of the Peppermill and the fact that someday it might not be present at this location any more.
Sign manufacturer: YESCO
Sign - thematic influences: What is evident of the Peppermill theme works around the exterior appearance, and around the name itself. The brown wooden exterior, use of wooden shingles as adornments, and the major color palette all suggest the rustic, if not old west referenced, aesthetic.
Sign - artistic significance: This has become a statement of the "old Vegas" of the 1970s.
Surveyor: Joshua Cannaday
Survey - date completed: 2002
Sign keywords: Pylon; Fascia; Neon; Incandescent; Backlit; Steel; Plastic; Masonry; Paint; Graphics
Mixed Content
Photographs of Davy's Locker sign, Las Vegas (Nev.), November 20, 2016
Date
Archival Collection
Description
Site address: 1149 E Desert Inn Rd
Sign owner: Was Cindy Slight since 2010. Albert Hamika bought the property in 2016. Derek Stonebarger went to the property after they took the sign down and the fish portion of the sign is currently in his possession.
Sign details: The property was originally opened in 1968 by Davey Pearl, who was most known for being a boxing referee and later inducted to the World Boxing Hall of Fame. The actual opening date of the bar is unknown, but property records have shown that its building was constructed in 1968. The bar was known for the welcoming environment inside and inexpensive drinks. The sign itself drew people in because of its unique design. Right before their closure they started to have a variety of events taking place there such as: open mic night, trivia, and genre specific music nights. The current owners have demolished the iconic and beloved sign for the bar. The only portions that remain are white sign that reads "Cocktails" in red and the waves that the fish once "swam" above. The current owner of the property has told the Las Vegas Weekly, "I want to emphasize I wasn't like, 'Ok let's destroy this sign.' I like the sign, and I like the historic memorabilia"I tried. The only thing I can I can say is, it was time for it to come down." After hearing about this news Derek Stonebarger, who owns ReBar on Main Street, was distraught when he heard the news of the sign being taken down so he went to the property to find its remains. He hopes to restore as much of the sign as he can and possibly display it in a Nevada-themed restaurant he plans to open up.
Sign condition: Since the sign has been taken down it is a 0.
Sign form: Roadside pole sign
Sign-specific description: This sign was designed to look like a fish was swimming in the ocean. The top of the sign give the appearance of waves. A neon tube was attached to the implied waves. Underneath this was a large, white fish whose tail and nose extended beyond the confines of the square shape of the sign. The fish appeared to have a large smile and two smaller fish "swimming" beside it. One of these smaller fish was near the larger fish's mouth and the "L." The other fish was located right under the "ker" in "Locker." Both of these fish were a light blue color, the same blue that matched the wave on top of the sign and surrounded the larger fish. In the middle of the large fish that makes up much of the sign were the words "Davy's Locker" in bright red and an elaborate cursive style font. Neon tubes outlined these letters, as well as all three fish included in the sign. Underneath all of this is a neon tube in the shape of a wave that is difficult to see in photos of the sign during the day, but glowed brightly at night. Below this signage was a back lit plastic sign reading "Cocktails" in a red script and "Gaming Spirits Pool" under that in a sans-serif, bold, dark blue font. Extending from the top of the sign at the end near the street was a pole with two, small square signs attached to that. The top one was yellow and read "OPEN 24 HRS." The one below that was white and read "COLD BEER." There are other photos of this sign where the plastic portion of the sign reads "COCKTAILS" in red still, but "Slots Video Poker" in blue and "Package Liquor" under that in red.
Sign - type of display: Neon and backlit plastic sign
Sign - media: Steel and plastic
Sign - non-neon treatments: Plastic backlit portion
Sign environment: The surrounding environment of Davy's Locker was in a district that was close to UNLV as well as another popular bar that still caters to locals, Champagnes Cafe. It was located in a bustling area along to Maryland Parkway that locals travel on a daily basis. Davy's Locker was a popular watering hole for many people in the neighborhood due to its convenient location.
Sign - date of installation: Around the 1960's
Sign - date of redesign/move: It was first restored in 2011 and another time in 2014. Sign was taken down from the property in 2017.
Sign - thematic influences: The theme of the sign appears to take inspiration from the phrase "Davy Jones' Locker." This is a common phrase that refers to "the bottom of the sea" or even "the mythical resting place of drowned mariners." Davy Jones is also believed to be an evil spirit from the bottom of the sea; therefore, the sign shows the influence of these aquatic origins that possibly inspired the name of the property.
Sign - artistic significance: The theme of the sign is aquatic, which also ties into the name of the property. The name of the property appears to take influence from the myth of Davy Jones, the evil spirit of the sea.
Survey - research locations: Las Vegas weekly articles https://lasvegasweekly.com/as-we-see-it/2016/mar/23/beloved-dive-bar-davys-locker-sold-old-vegas/ https://lasvegasweekly.com/intersection/2017/jan/11/davys-locker-neon-sign-demolished/ https://lasvegasweekly.com/intersection/2017/jan/13/davys-locker-bar-neon-sign-recovered-stonebarger/ , Las Vegas Sun article https://vegasinc.lasvegassun.com/business/2016/mar/25/popular-dive-bar-to-take-a-breather-while-sports-b/ , Roadside Architecture http://www.roadarch.com/signs/nvvegas3.html , Phrase website http://www.phrases.org.uk/meanings/davy-jones-locker.html
Surveyor: Lauren Vaccaro
Survey - date completed: 2017-08-22
Sign keywords: Steel; Plastic; Backlit; Neon; Roadside; Pole sign; Back to back
Mixed Content
Transcript of interview with Fluff LeCoque by Joyce Marshall, May 5, 1997
Date
Archival Collection
Description
This interview is compiled in the bound book version for OH-02270. Born Ffolliott Chorlton in Butte, Montana in 1923, Fluff Le Coque embarked on a career during World War II that would span fifty-five years. Le Coque’s experience as an entertainer started at the age of seven when she began dance lessons during the Great Depression. She expanded her interest in show business at the University of Washington. Attending on a drama scholarship, she performed in theatrical productions and supplemented the scholarship by teaching coordination to university athletes through dance. Le Coque toured as a dancer in a road company during World War II. After the war she came to Las Vegas for the first time. Although she did not consider herself a singer, she performed as a vocalist with the Chuck Gould Orchestra at the Last Frontier. After a brief excursion to Hollywood, she returned to Las Vegas to work at the Thunderbird Hotel as a dancer. It was at the Thunderbird that she became part of the glamour publicity that would help shape the image of Las Vegas. Crowned “Miss Thunderbird,” Le Coque took part in publicity photo shoots designed to attract vacationing customers to the Las Vegas resort casino. While performing at the Thunderbird, Le Coque learned of an opportunity to showcase her talents in a wider arena. She joined a touring company that was preparing to take the production of Hollywood Extravangza to Europe. In Paris, Le Coque took on additional responsibilities in the production end of the business. She served the Hollywood Extravaganza as principal dancer, choreographer, and ballet mistress. On her return to New York, she firmed up her career-long relationship with producers Donn Arden and Ron Fletcher. Le Coque’s association with Arden-Fletcher Productions proved beneficial for an already successful career. She performed as principal dancer for Arden and Fletcher beginning with a six-month engagement at the Lookout House in Cincinnati, Ohio, in the late 1950s Arden wanted her to return to Las Vegas and she accepted immediately. The Las Vegas Desert Inn opened a newly remodeled showroom with Fluff Le Coque as a featured principal dancer. Arden-Fletcher Productions kept a number of performers busy throughout the United States from California to New York. Le Coque, now a valued talent, appeared in the Arden-Fletcher production at the Moulin Rouge in Hollywood. She worked there as company captain and principal dancer for ten years. Following her extended engagement at the Moulin Rouge, she toured the United States and Europe before returning to Las Vegas for good in the late 1960s. Arden again asked her to open a renovated showroom at the Desert Inn and again she agreed. This time Le Coque made Las Vegas her permanent home. She danced until she was forty-five years old and during the later years worked both sides of the stage, as company manager and dancer. Fluff Le Coque retired from dancing in 1970 to enjoy leisure activities and volunteer work. She learned to paint and served as publicity director of the Las Vegas Art Museum. She was wooed out of retirement by Donn Arden, to become company manager of the production show at the new MGM Grand Hotel [later reopened as Bally’s]. At the time of the interview, Le Coque continued to serve as company manager for Jubilee at Bally’s Hotel & Casino. Le Coque’s narrative provides a vivid account of the history of the Las Vegas entertainment industry. In addition to the organization of club circuits during the post-war years, the narrative provides clues about white-black relations during the era. It also informs a wider historical context. Post-war American society underwent significant changes economically, politically, and socially. Expanded work opportunities for women were among those changes. Le Coque’s choice to complete a college education during the 1940s was atypical. Her successful dancing career and later move into production management provides an example of career achievement decades ealier than the majority of American women. By extending her career as a dancer into her forty-fifth year, she resisted the evolving publicity hype that only an ingenue could be a dancer. Her narrative provides a compelling description of both the glamour and physical demands associated with the Las Vegas entertainment industry.
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