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"Please Don't Print This (It Might Upset Someone)": article draft by Roosevelt Fitzgerald

Date

1980 (year approximate) to 1995 (year approximate)

Description

From the Roosevelt Fitzgerald Professional Papers (MS-01082) -- Drafts for the Las Vegas Sentinel Voice file. On the death of Charles Bush in Las Vegas.

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Alpha Kappa Alpha Sorority, Theta Theta Omega Chapter arts and humanities committee reports

Date

2001-05-05
2001-06-02
2001-09-28

Description

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

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Alpha Kappa Alpha Sorority, Theta Theta Omega Chapter Thanksgiving basket committee reports

Date

1998-10-03
1998-11-07
1998-11-18
1998-11-20

Description

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

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Transcript of interview with Robert D. "Bob" Fisher by Barbara Tabach, January 8, 2015

Date

2015-01-08

Archival Collection

Description

Robert D. "Bob" Fisher is a Las Vegas, Nevada broadcast personality and lobbyist. He was born in Minneapolis, Minnesota and moved to Las Vegas in 1994 when he was hired to be the founding president and CEO of the Nevada Broadcasters Association (NVBA). During his 22 years as head of the NVBA, he produced and hosted Observations, a public affairs program broadcasted on radio and television throughout the state of Nevada. Soon after, he began producing and hosting the only weekly live television program about diabetes in the United States; in 2015 his weekly live radio program The Diabetes Show was the only one of its kind to be aired over commercial radio in the U.S. Fisher helped bring the AMBER Alert program to Nevada in 2003, and served as its chairman and coordinator for ten years. His other lobbying successes include the classification of certified broadcasters as First Responders and the elimination of Broadcaster Non-Compete contracts in 2013. He served on the Nevada Homeland Security Commission for 13 years, the Nevada Crime Commission, and the Governor's Defense Base Closure and Realignment Commission. Fisher is a founding clergy member of Midbar Kodesh Temple in Henderson, Nevada and served as its cantor for over a decade. After his retirement from NVBA at the end of 2014, he established Bob Fisher Weddings to provide his services as a wedding officiant. In this interview, conducted shortly after his retirement from NVBA, Fisher discusses his childhood in Twin Cities, and the large role Judaism played in his upbringing. He speaks at length about his involvement with United Synagogue of Conservative Judaism over the years, including as regional director of the United Synagogue Youth Far West Region, which took him from Minnesota to California. He talks about his time in Los Angeles, and later, about his life in Las Vegas, including his broadcasting career as well as involvement with Midbar Kodesh Temple.

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Interview with Elsie Lavonne Lewis, November 16, 2004

Date

2004-11-16

Description

Narrator affiliation: Vice-President, Human Resource, Edgerton, Germeshausen, and Grier (EG & G)

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Neil Galatz Scrapbooks

Identifier

MS-00723

Abstract

Collection is comprised of scrapbooks from 1948 to 2009 documenting the career of Las Vegas, Nevada lawyer Neil Galatz, his family, and his involvement with the local Jewish community. Contents include news clippings, photographs, event programs, and other ephemera.

Archival Collection

Jeanne Russell Janish Papers

Identifier

MS-00355

Abstract

The Jeanne Russell Janish Papers span the years 1833 through 1994 with an emphasis on 1894 to 1994. The materials of the illustrator and watercolorist include her school records, research papers, diaries, and personal correspondence. There are two original book manuscripts, dried flowers, hand-woven rugs, a variety of art supplies and tools, and approximately 140 watercolor paintings and pencil sketches of various scenes and subjects, created in China, Florida, and the American Southwest.

Archival Collection

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

Date

2002
2017-09-04

Description

Photos show Paris signs during the day and at night. 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 name: Paris Las Vegas Hotel & Casino
Site address: 3655 S Las Vegas Blvd
Sign owner: Park Place Entertainment
Sign details: The Paris property lies on the east side of Las Vegas Blvd, between the Aladdin and Bally's. The three properties stretch from Harmon Avenue, all the way to Flamingo Rd. The only real neon signage includes the text seen on top of the replica of the Eiffel Tower, and a three-dimensional balloon shaped pylon sign located at the south end of the property.
Sign condition: Structure 5 Surface 5 Lighting 5
Sign form: Pylon; Fascia; Porte-cochère
Sign-specific description: Leaving the Aladdin property, headed north you are immediately confronted with the giant hot-air balloon, which acts as the main marquis sign for the Paris Hotel and Casino. The three-dimensional balloon shape sits among trimmed shrubbery and foliage, representational of a classic French garden. The sign is located on an island with a long driveway on its north side running east into the property. It towers high above the viewer, almost appearing as if it is floating. In the spirit of properties like the Aladdin and the Excalibur, the facade of the resort is modeled after a theme, which is the French City of Paris. Complete with fountains, replica street fronts and markets, the main focal point is a life size replica of the Eiffel Tower. Some signage is located high up on the tower, in yellow channel letters. The sign reads "Eiffel Tower Restaurant." The three-dimensional sculpted pylon sign is composed of basically three pieces. At the very bottom, a large post holds up the second section of a large cube. All four sides of the cube are occupied by square, advertising screens. The two facing east/west are back lit color plastic, while the ones facing north/south are LCD screens. The cube is finished in stucco, with sculptural treatments along all of the edges of the cubes. The edges are made to look like giant ropes with knots on all eight corners. The sign is located on the East Side of the strip, yet the only directional orientations are on the cube that the balloon sits on. The spherical structure is an exterior frame with blue vinyl material stretched to form the balloon shape. Steel framework also runs around the circumference in six different places along the structure. On the north and south sides Paris is spelled in red channel letters, filled with incandescent bulbs and bordered in neon. The blue vinyl material is treated with graphic painted images, which are repeated around the circumference of the balloon. The images are of lion heads holding red sashes, above golden eagles. On the middle section an image of a woman's face is surrounded by a golden halo. The yellow structural supports, which are visible on the exterior, also house tubes of neon. The resulting effect is a repeating pattern of neon running up the length of the structure, with horizontal bands around the bottom of the structure, below the channel letters and above them also. A criss-cross pattern adorns the two bands below the text, as well as a scalloped pattern above the text also. The porte cochere is a circular drive with the only lighting being incandescent bulbs running along the raceways, which create the structure of the interior. The structure is finished in a patina bronze, made to look oxidized.
Sign - type of display: Neon; Incandescent
Sign - media: Steel; Plastic
Sign - non-neon treatments: Graphics; Paint
Sign animation: Chasing, flashing, oscillating
Notes: The incandescent bulbs inside the text reading "Paris" on the balloon oscillate rapidly.
Sign environment: Located between Bally's and the Aladdin, two heavily frequented and boisterous properties themselves, the Paris fits nicely creating it's own environment that stands alone when entered. If a pedestrian is present among the stunning architecture, it is easy to be pulled into the theme. Even though the Bellagio is west across the street, the expanse of the street keep the Paris far enough away to be mostly independent, that is of course if the Bellagio's water show is not being displayed. The surrounding properties of Bally's, the Aladdin, and The Bellagio make the area of Las Vegas Blvd between Harmon Ave. and Flamingo rd. a fantastic world stylized cities and dazzling imagery, yet an interesting mix of architecture and signage.
Sign designer: Architect/consultant: Bergman, Walls & Youngblood Ltd. Contractor: Perini Building
Sign - date of installation: 1997
Sign - thematic influences: The Paris Hotel Casino is obviously themed after the actual French city of Paris. The entire facade represents the Parisian atmosphere containing the most famous of Parisian attractions including the Eiffel Tower, the Arch de Triumph, open air cafes, plazas utilizing fountains, and the ornate architecture that spans from gothic to neo classical. The Paris fits into the themed hotel casino industry seamlessly, actually boasting one of the more ornate and unique facades. Other properties that parallel the Paris in style and genre include the Aladdin, the Venetian, and the New York New York. In fact it fits into the category of Hotel/Casino whose theme is what dominates the aesthetic surroundings as well as operation inside and out. Other facilities contain elements of a theme, such as the Stardust, but the interior and exterior are no longer the dominant aspect of the aesthetics. It also fits into the category of resorts themed after actual cities.
Surveyor: Joshua Cannaday
Survey - date completed: 2002
Sign keywords: Chasing; Flashing; Oscillating; Pylon; Fascia; Porte-cochère; Neon; Incandescent; Steel; Plastic; Paint; Graphics

Mixed Content

Transcript of interview with James M. Bonaventure by Claytee D. White, September 9, 2014

Date

2014-09-09

Description

James “Jim” Bonaventure worked from thirteen years of age, entering the hotel casino industry at sixteen. The weekend buffet at the Hacienda was not his cup of tea but he hit his stride at his second job, the Horseshoe, and stayed there for seven and half years. But it was the work at the Union Hall that he loved. He stayed there for over thirty years developing the grievance department into today’s state-of-the-art entity that negotiates between employees and employers. Bonaventure served on the front lines of major disputes including strikes. In the beginning, the Las Vegas Police Department sided with hotel casino owners but over the years as personnel changed, they became more egalitarian in the treatment of strikers. The 1984 strike was one of the most contentious and up to that time, the largest in the history of the union. More than 17,000 workers walked off their jobs to protest conditions at 32 Hotel Resorts. Arrests were plentiful. As soon as the leadership reached the picket line, they were immediately handcuffed. The bitterness did not end when the 9-month strike concluded. Bonaventure remembers Bally’s putting up $100,000 to fight grievances. Still, the union won 85% of the cases. Then several downtown casinos reared their collective heads. The Golden Gate Hotel and Casino, Las Vegas Club, and the Plaza Hotel Casino were dubbed the Downtown Three. Strained relationships turned into a lawsuit where the Culinary Union was paid $40,000. Then in 1989 Fitzgerald’s Hotel Casino’s actions called for a picket line. Bonaventure and other leaders agreed on a Noise Night. Union member brought pot and pans and banged on them. The night ended with a lawsuit filed by police officers claiming hearing loss. From the bottom of his heart, Bonaventure is a Union Man. It has been his life’s work. He is most proud of and humbled by his work as a trustee of the Culinary Academy of Las Vegas. Anyone can train there for most positions in the hotel industry and be hired into the industry upon graduation. And it’s the place when U.S. citizenship classes are given to all those ready to apply. During this 2014 interview Jim Bonaventure was thinking about retirement or at least slowing down. I would not be surprised if he’s still at his Culinary Workers Union Local 226 desk handling more grievances than anyone else in his department.

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