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Alpha Kappa Alpha Sorority, Theta Theta Omega Chapter executive committee meeting agendas

Date

2000

Description

From the Alpha Kappa Alpha Sorority, Incorporated, Theta Theta Omega Chapter Records (MS-01014) -- Chapter records file.

Text

Interview with Dorothy Jean (Whitcomb) Grier, January 3, 2005

Date

2005-01-03

Description

Narrator affiliation: Secretary, Los Alamos Scientific Laboratory
Access note: No audio available

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Donn Arden Photographs

Identifier

PH-00328

Abstract

The Donn Arden Photographs (approximately 1920-1989) contain photographs, negatives, and photographic slides of dancer and choreographer Donn Arden. The photographs primarily document Arden's life as a dancer and choreographer in Las Vegas, Nevada and in Paris, France, including performances at the Stardust Hotel, Desert Inn, and MGM Grand in Las Vegas and the Lido in Paris. The photographs also depict rehearsals, dancers, showgirls, Arden's friends and family, and performance locations.

Archival Collection

Fallman Family Papers

Identifier

MS-00908

Abstract

The Fallman Family Papers (approximately 1950-2005) consist of correspondence, newspaper clippings, photographic prints and slides, scrapbooks, and pamphlets from James and Ima Fallman and their daughter, Janice. The correspondence primarily relates to James and Ima Fallman and chronicles Ima's involvement with the Francisco Garces chapter of the Daughters of the American Revolution (DAR), James's work as a bartender in Las Vegas, Nevada, and awards he received during World War II. The newspaper clippings mention either James Fallman or his daughter, Janice, and her involvement with the Las Vegas High School Rhythmettes dance team. The majority of materials from Janice describe her school days at Las Vegas High School and events participated in as a child and young adult.

Archival Collection

Photographs of Peppermill signs, Las Vegas (Nev.), 2002

Date

2002
2017-09-21

Description

Photos show Peppermill signs during the day. 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 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

Transcript of interview with Tony Scodwell by Lisa Gioia-Acres, September 29, 2008

Date

2008-09-29

Description

Tony was born the only son of the only son in Beloit, Wisconsin. Following his parents divorce when he was 12, he and his father went to live with his grandparents who, he admits, spoiled him. While neither of his parents played a musical instrument, Tony’s grandmother was a professional organist. In addition, Tony had an uncle who was a professional saxophone player and who was an inspiration to him. Tony’s dad was very supportive of his decision to learn trumpet and rented Tony an instrument, took him to his lessens, and sat with him while he practiced. Tony was firm in his convictions by the 9th grade that he was going to be a musician. Following high school, Tony was awarded a full scholarship to the Berklee School of Music in Boston which was a very prestigious music school. Tony repeatedly left school to go on the road which the school fully expected of their students. The last time he left the school he never went back. Tony states he got his degree on the road with experience from playing in bands like Stan Kenton, Tommy Dorsey, and with his idol Harry James. Tony took his career abroad when he took up residence in Cologne, Germany to play with a band there. Tony came to Las Vegas to play in a band with Buddy Rich which turned out to be of a shorter duration than he expected. Tony then played in Las Vegas and Reno for a time before going back on the road after realizing he preferred playing jazz on the road as opposed to playing in show bands. After eight years on the road, Tony returned to Las Vegas, got married, and settled down. Aptitude tests proved accurate when they showed Tony had a talent for things mechanical and metal as Tony went on to manufacture trumpets in addition to playing them. One can feel the love Tony has for his trumpets as he describes the process of creating them. After playing trumpet for almost 30 years, Tony decided it was time to concentrate on his photography for a while. Tony does not consider himself retired, but rather he likes to play, take pictures, and, of course, he practices the trumpet every day.

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