Search Results
"All That Chaz": article draft by Roosevelt Fitzgerald
Date
Archival Collection
Description
From the Roosevelt Fitzgerald Professional Papers (MS-01082) -- Drafts for the Las Vegas Sentinel Voice file. On the 1980 Las Vegas Chaz Nightclub not allowing Black individuals.
Text
Correspondence, Levi Syphus to Sadie George
Date
Archival Collection
Description
Text
Frey, James H. (1941 June 29-)
James Frey was born in Eureka, South Dakota, in 1941. His father worked in creamery and his mother was a registered nurse. When Frey was nine, the family, including his twin sister, relocated in Sioux Falls where his dad was plant manager for a dairy. He joined the YMCA in the fourth grade and ended up working for them until around the age of 22. He attended Augustana College in Sioux Falls, graduating with a major in sociology and a minor in history. After graduation, he worked for three years at the YMCA in Sioux Falls as program director.
Person
Corporate records, 1920 to 1992, 1927 to 1979
Level of Description
Scope and Contents
The corporate records (1920-1990) for Hughes Productions consist of administrative, distribution, financial, and legal records, as well as records from the Motion Picture Association of America and United Artists Corporation and records pertaining to unproduced works.
Administrative records contain correspondence, as well as vault inventories, assets list, and personnel files. Distribution records contain agreements, correspondence, and information pertaining to The Outlaw's ban. Financial records include ledgers, correspondence, invoices, and international profit reports. Legal records include contracts for actors and screenwriters, as well as correspondence, agreements, and affidavits pertaining to loan information and court case proceedings.
Motion Picture Association of America (MPAA) records consist primarily of weekly reports from the MPAA detailing film title registration reports either held or withdrawn, as well as memoranda. United Artists Corporation records include contract analyses, settlement statements and ledgers detailing The Outlaw's domestic and international earnings. Unproduced works contain screenplays, synopses, story treatments, right's agreements, and correspondence pertaining to stories sent to Hughes Productions.
Archival Collection
Collection Name: Howard Hughes Film Production Records
Box/Folder: N/A
Archival Component
Transcript of interview with Dorothy George by Claytee White, October 13, 2003
Date
Archival Collection
Description
After serving as a nurse in World War II in Hawaii, Okinawa and Japan, Dorothy returned home to Chippewa Falls, Wisconsin. She experienced a particularly bad winter and she set out for California but stopped in Las Vegas to visit the family of her traveling companion, a girlfriend from her home town. The girlfriend returned to Wisconsin and George applied for a nursing license and got it within three days. She never left. Dorothy met her husband while working the night shift at Clark County Hospital. He would come in regularly to assist his patients in the births of their babies. Their occupations and their service in World War II drew them together in a marriage that has lasted over fifty years. From 1949 to this interview in 2003, Dorothy George has seen Las Vegas grow from a town that she loved to a metropolitan area that is no longer as friendly. She reminisces about the Heldorado parades, family picnics at Mount Charleston, watching the cloud formed by the atomic bomb tests, raising six successful children, leading a Girl Scout Troop, and working in organizations to improve the social and civic life of Las Vegas.
Text
Interview with Ernest Benjamin Williams, October 27, 2004
Date
Archival Collection
Description
Text
Transcript of interview with Irving Kirshbaum by Cheryl Rogers, February 23, 1979
Date
Archival Collection
Description
Interview with Irving Kirshbaum by Cheryl Rogers on February 23, 1979. In this interview, Kirshbaum discusses the Riviera Hotel where he began working in 1955. He also talks about the landscape of the Las Vegas Strip in the 1950s, and the state of gambling, comps, customer service, and dealer training. The interviewer asks about the treatment of minorities at the Riviera, and in Las Vegas generally, and the effect of corporate ownership on casinos.
Text
Photographs of Mandalay Bay signs, Las Vegas (Nev.), 2002
Date
Archival Collection
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
Mixed Content