Debra March was born in Detroit, Michigan, in 1953. She is one of eight siblings all of whom attended Catholic school as children and eventually went on to professional careers. Debra's father worked for the city of Detroit, then moved to Las Vegas and was hired by the Clark County School District. He ultimately retired from there. Debra came to Las Vegas for the first time in 1973. Though she left for a couple of years, she eventually settled here and attended UNLV, earning an undergraduate degree in anthropology and biology. She then served a little over six years as a park ranger in Red Rock and Lake Tahoe. While at Lake Tahoe, Debra got her real estate license. She followed her husband to Ely, where she became a social worker. She ran the welfare division for rural Nevada in several counties and also kept her real estate license active. In 1989, Debra applied for the position of administrator of the Nevada Real Estate Division in Las Vegas. In her capacity as deputy administrator, Debra oversaw the activities of individuals who sold real estate. She and others in the division also monitored land sales time-shares, campground memberships and appraisers. She served in that position for four and a half years. In 1996, Debra was hired at UNLV. Many of the faculty members in the real estate school today are the ones who were there when she was hired, such as Mike Clauretie, Dick Hoyt, and Bob Aalberts. The Lied Institute, which she directs, supports an academic program in real estate and finance. It also conducts research, addresses community issues such as affordable housing, and offers adult and executive education programs. Debra is very involved in addressing many of the problems of housing and transportation that affect everyone living in the valley. In addition to heading the Lied Institute, she is also a Henderson planning commissioner, serves on the National Board of the American Planning Association, and is vice chairman of the board of the Urban Land Institute. She is proud of having established a real estate mentoring program that matches students with industry professionals, and she works closely with students to help them with their career goals.

Daytime views of the O'Sheas Casino signs on the Strip. Information about the sign is available in the Southern Nevada Neon Survey Data Sheet.
Site address: 3555 S Las Vegas Blvd
Sign owner: Park Place Entertainment
Sign details: O'Shea's Casino is located just north across a small driveway from the Flamingo. The small but busy facade is a small, yet busy stop along the Las Vegas Strip. The exterior signage consists of two corner signs, a blade sign, hanging off of the west face of the building, a main entrance sign, backlit screens as well as various images laden with neon. All of these create a flashing display of luminescence all just above the pedestrian's head.
Sign condition: Structure 5 Surface 5 Lighting 5
Sign form: Fascia
Sign-specific description: O'Shea's Casino is located just north across a small driveway from the Flamingo. O'Shea's theme and signage is influenced by Irish culture and imagery, integrated into the forms of signage along the Las Vegas Strip. The building design itself is influenced by traditional European housing imagery, generalized with other elements of architecture also. One example of this is the coloring, exposed wooden beams and narrow rooflines over treated windows, which suggest styles seen in classic European architectural imagery. Examples of other elements such as sculpted windowsills and exterior molding are more akin to neoclassical than the Irish pub or cottage. A small blade sign hangs in the center of the structure facing north /south. Attached off of the building by two poles, the double sided cabinet is designed with a circular portion at the top that transforms along it's bottom edge into length portion of the "blade" that continues down to a rounded bottom. The Circular portion serves as the "O" in O'Shea's. The exterior of the signs width is finished in a polished gold aluminum surface. The top portion continues into a full circular space in the front where the backlit image of the O'Shea's leprechaun mascot resides in it's center. The image has a circular green neon border at the edge of the cabinet and is set into a field of incandescent bulbs, which occupy the remaining space in the face of the "O". Incandescent bulbs also run around the edge of a face on a gold raceway. Channel letters run vertically down the face of the blade spelling the remaining "Sea's" of the title. Each letter is filled with incandescent bulbs, and bordered on it's exterior in green neon. The remainder of the space, which comprises the surface of the sign, is a green material. The entire edge of the rest of the sign is also bordered with incandescent bulbs. Below the blade sign, the main entrance for the establishment is denoted by the large, arched, marquee logo, and wall sign for the casino. The arch shape is bordered by gold polished raceways, with the interior space where the O'Shea's logo is written in a bowed, horizontal arrangement with the "O" and "S" being the biggest letters in this group. The same back-lit leprechaun figure which is present in the blade sign, in seen in the "O" of the logo. The letters are of channel design and filled with incandescent bulbs. Gold scrollwork adorns the green background above and on the sides of the logo. An entablature, running the length below the arch, reads "casino" in channel letters filled with incandescent bulbs and bordered with green neon. The orange background in contained on the bottom edge with a gold polished raceway, which sharply curves into a downward point at the very center. All the raceway edges of the sign are lined with incandescent bulbs. Flanking the wall on either side of the main entrance are two backlit message centers with vinyl lettering. They also are bordered with incandescent bulbs, strewn upon polished raceways. To the south toward the Flamingo Casino, a corner marquee sign faces toward the southwest. The message center on the right of the main entrance essentially continues its shape wrapping in radius fashion all the way around the corner. As the entablature wraps the corner, the color changes to a section of black, containing the channel letters hung at a slight angle, spelling the words " Hall of Fame," in cursive text. Small stars in channel design adorn the black background. On the left of the text, O'Shea's is painted in red paint, in a cursive script at a similar angle as the premier text. Neon is shaped over the surface of the letters to allow it to be spelled in light. The word "Casino" is spelled on the right hand side, and treated in the same fashion. A top the black portion of pediment, the sign continues with it's corner finishing, rounded marquee, containing the text, "Magic & Movie," in a three lined arrangement. Putting the two signs together the appropriate title for the advertisement of the attraction is read "Magic and Movie Hall of Fame." The channel letters on the top portion are filled with neon and treated white on the interiors. The edge of the cabinet is treated with white bull nose borders, sandwiching a field of pink holding two tubes of contoured neon. At the peak of the sign a small element reminiscent of a fan, created using a multi layered box, uses different levels receding into space, with the center blade at the front of the sign. The sections are lined with gold raceways and incandescent bulbs, with the center blade being horizontally striped with tubes of neon. Two small gold finished gargoyle statues flank either side of the theatre-esque entrance. Underneath the overhang created by the corner sign, polished aluminum element creates a sloping drum shape above the door. This drum is divided into sections by gold polished raceways. The flat portion, which returns to the ceiling of the overhang is adorned with painted images of clovers, encircled in rings of green neon. This section is reminiscent of the top section of the corner drum of the Barbary Coast. The black pediment along the south portion of the building., abruptly changes to the orange color seen on the main entrance. Along the south wall section of the pediment green pan channels in the shape of clovers hang, lined on the interior with neon. A small sign denoting parking is also present. Another corner entrance is located on the north end of the property, facing northwest. It too has the rounded corner entrance and logo sign. Slightly different than the main entrance, the same "Casino text and structure is seen on the orange pediment above the door, as well as the channel logo with the mascot located in the letter "O." A three-sectioned panel with swooping wings and an arched center creates the field for the main logo. A more busy section of two dimensional scrollwork sits below the neon filled text. The wings of the top section a recessed panels with checkerboard design behind that. Each side of the entire top section is book ended with two small square posts. Three small miniature spires line the very top, and the same inverted drum shape sits underneath the door. Street posts reside on the sidewalk outside.
Sign - type of display: Neon; Incandescent; Backlit
Sign - media: Steel; Plastic
Sign animation: Chasing, flashing, oscillating
Notes: All of the bulbs, which reside in the fascia signs which designate entrances, oscillate rapidly. The entrance sign a bit closer to the north end of the property also contain the pan channel star shapes, with incandescent bulbs in the center. The bulbs which, reside on the widths edge of the small pole sign at the south end of the property, oscillate giving a twinkling effect. The main pylon's animation is rather simple considering the amount of lighting. Bulbs which create the dazzling background chase each other upward to the very point, then once they reach the top, each letter light up from left to right, one at a time, then off one letter at a time. The letters all turn on simultaneously while, while the background chases up, leaving the lights off in its trail. The text then shuts off as well. The small incandescent bulbs lacing the background of the main body of the sign oscillate subtly, twinkling themselves. Each letter of the text contains a single row of incandescent bulbs, just inside the border of the red neon. This row is always on in a chasing animation from left to right even when the letters are dark. The animation for the three sided, pole sign, at the north end of the property is adorned with sparkling animation as well. The purple bulbs, which create the border of the main base, chase each other from bottom to top, and the star shape in the center is filled with oscillating incandescent bulbs. The bulbs, which also encrust the bottom surface of the cabinet, oscillate as well. The incandescent bulbs, which adorn the background of the text portion of the sign, also sparkle with a soft random oscillating pattern. The stars which sit on top of the cabinet, animate in a random, non descriptive fashion. The inner star shaped pans oscillate with incandescent bulbs, and the neon borders flash on then off, in a clumsy random order. The three-sided sign also rotates, one of the few animatronic signs on the Strip.
Sign environment: Being essentially part of the Flamingo, O'Shea's is only separated by a small drive, producing the easy traffic flow from the north entrance of the former. The north of O'Shea's on the immediate vertical explosion of the front tower/porte cochere of the Imperial Palace. It is easy to say that O'Shea's is sandwiched in between two giants, assuming its place as the charming gap between the Flamingo and the Imperial Palace which is quite a bit more pedestrian friendly. Traveling north on the east side of the strip, O'Shea's is not hard to miss at all
Sign - date of installation: Original date of installation 1989. The southwest, and northwest corner signage were added at a later date
Sign - thematic influences: O'Shea's centers around the theme of the Irish pub, utilizing various imagery to get support the design. The color green is used extensively in the main signs color scheme while the ever-popular image of the folkloric leprechaun illuminated it a cartoon form upon the pylon. The green pan channels, which are shaped like shamrocks, are place along the exterior wall, an obvious reference to the St. Patrick's Day Holiday as well a reference to good luck. ( example: the four-leaf clover, luck of the Irish.) Luck is something synonymously associated with an industry such as gaming. Gold is also used extensively with the exterior referencing the infamous pot of gold associated with the lore of leprechauns. The actual structure itself is constructed with elements which suggest a European rustic cottage.
Surveyor: Joshua Cannaday
Survey - date completed: 2002
Sign keywords: Chasing; Oscillating; Fascia; Neon; Incandescent; Backlit; Steel; Plastic

Dr. Tony Miranda grew up in Santa Maria and Santa Barbara, California. His father was a chef at the Santa Maria Inn, and the rest of the family spent summers picking strawberries in the surrounding fields. He has a sister who earned a degree in psychology from UCLA, and he credits her voracious early reading habits for inspiring him to continue with his education. Dr. Miranda married and worked as a postman for a while, then began taking night school classes in order to obtain his high school diploma. He liked school so much that he continued at Long Beach City College, then Cal State Long Beach to earn his bachelor's degree. He was offered several fellowships and chose SC on a Teacher Corps fellowship. A friend informed him of an NIMH doctoral fellowship at UCLA, and he chose to take it. In 1976, before he finished the doctoral program, Tony applied for a teaching position at UNLV. He was accepted provisionally, meaning he had to complete his doctoral dissertation in one year. He successfully completed his doctorate and was offered a tenured track position. Dr. Miranda taught Introduction to Chicano Literature for a year, and then took a post-doctoral ethnic studies course at UC Santa Barbara. He returned to UNLV to teach, served as faculty senator, and held the position of chair of the anthropology and ethnic studies department from 1993 until 2004. Today he is revising his book on Hispanics of Southern Nevada and teaching three classes. His second wife has been retired since 1995, having spent 16 years with SIIS. When he retires, they will continue to make Las Vegas their home.

Dr. Robert Skaggs grew up around the St. Louis area. His father was a teamster with a milk delivery route, tried his hand at the restaurant business, and during WWII worked tor U.S. Cartridge. Several members of Dr. Skaggs's family were teachers, including his grandmother and a couple of aunts. Robert graduated trom Normandy High School and afterwards attended the Missouri School of Mines and majored in metallurgical engineering. He graduated in 1954 and went to work tor DuPont tor two years. He went to graduate school at Iowa State on an Atomic Energy Commission scholarship, and afterwards was hired by Standard Oil of California. During this time he met and married Anna Pedersen (1961) and moved to Minneapolis to work for Honeywell. Around 1966, Bob started teaching at the University of Kentucky. After a couple of years, he got wind of teaching opportunities at the Southern Division of the University of Nevada (now UNLV), and interviewed with Herb Wells. He and his family moved to Boulder City (1969) and he began teaching at what is now UNLV. He was involved in the work bringing accreditation to the engineering department, establishing a chapter for Tau Beta Pi, the Engineering Honor Society, and building a master's and a PhD program. After a heart attack in 1975, Dr. Skaggs took a sabbatical from UNLV and did some team teaching at University of Arizona in Tucson with Ray Sierka. He returned to UNLV on a half time teaching basis, and also worked for the Bureau of Mines. He was again involved in accreditation preparations and stayed to graduate a PhD student in engineering. He looks upon his experiences at UNLV as very positive and delightful.