Search Results
Nevada Desert Experience Records
Identifier
Abstract
The Nevada Desert Experience Records (1951-2009) are comprised of files from the anti-nuclear organization, the Nevada Desert Experience (NDE), as well as its predecessor, the Sagebrush Alliance, and those of earlier unincorporated protests at the Nevada Test Site (NTS). Materials include board of directors meeting minutes, financial records, scrapbooks, personnel records, event speeches, correspondence, newspaper clippings, cartoons and other artwork, newsletters, brochures, fliers, research files on nuclear issues and other anti-nuclear organizations, and congressional testimony. The records also contain audiovisual materials, photographic prints and slides, screenplays, manuscripts, and newspapers related to the NDE's media efforts.
Archival Collection
Transcript of interview with Alan Clancy by Su Kim Chung, by February 12, 2015
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Archival Collection
Description
Alan Clancy grew up in Sydney, Australia, the second son of famous ballroom-dancing parents. He recalls that he had incredible energy as a child, and, therefore, his parents enrolled him in the Shirley de Paul Studio to learn gymnastics, tap, ballet, and jazz. He also became a soprano singer. This training did well for him for as he went through high school he won trophies in sports and participated in musical productions. Eventually, because of a neighboring friend, Kay Dickerson, Alan moved to the Rudas Acrobatic Studio where he received further training and eventually contracted with Tibor Rudas to participate in an entertainment group called “The Las Vegas Dancers”. He was only seventeen when the group boarded a ship for Hong Kong in an enterprise which would eventually allow the dancers to entertain around the world for approximately two and a half years. When the group returned, Alan auditioned for the Tommy Leonetti television show and then for Les Girls in Sydney. Eventually Tibor Rudas appeared with a contract for Alan, when he had just turned twenty-one, to fly to Las Vegas to work in the Folies Bergere at the Tropicana Hotel and Casino. When he arrived in Las Vegas, he was surprised at the size of the city and the hotels but was overly impressed by the neon signs, the showrooms with their nude dancers, the costuming, magnificent sets, the choreography, and the dress of the patrons. He remembers his first night performing in the Folies and the amount of stars in the audience, for example, Elvis Presley, Liberace, and Zsa Zsa Gabor. Alan goes on to describe the many people that he met in Las Vegas, working in various shows, and the many friendships made over the years. However, he eventually became interested in opening his own vintage clothing store, Vintage Madness, near the Strip. He talks about his many customers, the stores around him, his creative ways of acquiring items to sell and the success that was made. Unfortunately, during the middle of one night the store burned to the ground which left Alan devastated. Eventually, however, he purchased three buildings on Fourth Street and opened an art gallery, a coffee shop, and a small stage. His mercantile interest allowed him to leave show business and briefly open a store in Laguna Beach, Southern California. It wasn’t long until Barclay Shaw asked him to work in “Splash” at the Riviera Hotel in Vegas and, therefore, he returned to show business. However, Shaw, his friend, died and so did his mother and he lost interest in his stores, renting them out. Consequently, he returned to live in California and began working with Aids patients. Alan returned to Las Vegas for the reunion of the cast of Folies Bergere and noticed the many changes made in Las Vegas from when he first arrived to perform at the Tropicana Hotel.
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Stewart family real estate documents
Date
Archival Collection
Description
Stewart family real estate documents
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Meeting minutes for Consolidated Student Senate, University of Nevada, Las Vegas, May 03, 2004
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Archival Collection
Description
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Dr. Alvaro Vergara-Mery oral history interview: transcript
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Archival Collection
Description
Oral history interview with Dr. Alvaro Vergara-Mery conducted by Barbara Tabach on October 28, 2020 for the Latinx Voices of Southern Nevada Oral History Project. Alvaro discusses his personal history and his upbringing in both Chile and the United Kingdom before immigrating to the United States; due to political unrest in Chile, he moved to the U.K. where his mother was born before attending university in the United States. Alvaro talks about his work as a medical interpreter for University Medical Center (UMC) as well as his college teaching experience at University of Nevada Las Vegas and California State Berkley.
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Photographs of Luxor signs, Las Vegas (Nev.), 2002
Date
Archival Collection
Description
Site name: Luxor (Las Vegas, Nev.)
Site address: 3900 S Las Vegas Blvd
Sign owner: Mandalay Resort Group
Sign details: The giant black, glass, pyramid rises out of the desert as certainly one of the most unique structures. The pyramid is also accompanied by a monolithic, heavily geometric structure, finished in the same black, panels of windows. Just to the north. The front of the property is dominated by an array or Egyptian architectural landmarks such as an giant obelisk, the Sphinx, various statues of Egyptian gods and pharaohs line the multi tiered expanse of concrete and stucco. The property is pedestrian interactive, being able to pass underneath the giant obelisk, and through and beneath the giant Sphinx. The feel produced by area is appropriate for the desert environment.
Sign condition: Structure 5 Surface 5 Lighting 5
Sign form: Pylon; Fascia; Porte-cochère
Sign-specific description: On the expanse of concrete in front of Las Vegas Blvd, just north of the obelisk, a double-sided pylon sign joins the ancient composition. The pylon actually is more akin to the pylons seen at properties such as the Monte Carlo or the Mirage. It is located in the northern portion of the property on the west side of the strip-facing northwest along Las Vegas Blvd Two square posts support a two-sided square cabinet which houses a back lit advertisement and a set of crafted letters spelling the name of the establishment. Occupying the upper portion of the space between the legs another internally lit, two sided, cabinet, atop a small pair of internally lit sculpted cabinets. From a distance the cabinets look like thumbs holding up the cabinet. The shapes are graphically treated on the surfaces to look like colorful recreations of a hieroglyphic bird, the wings being the elongated portion of the cabinet. The only art attached to the cabinet is the portion designated for the head of the creature. Three sets of sculpted cornices, create borders for the different planes. The bases of the legs are treated with the ledging, the section separating the top cabinet, from the rest of the sign, and finally another set around the top crowning edge of the sign. Both sides of the top edge have a sculpted element in the very center. A flat circle, presumably a representation of the sun, flanked by two snakes are set on a pair of large wings spreading to either side. This element is ambiently lit from underneath. The text, which spells "Luxor," is composed of polished gold channel letters, with closed faces with graphic treatments in blue upon the faces. The faces are painted to appear if the letters are faceted into three dimensions. They are lit from behind with whit neon creating a halo effect around the letters. The surface of the actual structure is finished to appear as if it is constructed of limestone, utilizing false joints and seams. The south end of the property close to the street is the four-sided obelisk. The text on the obelisk is the same word treated in the same fashion, structurally and aesthetically, as the pylon sign. The only difference is that it reads vertically from top to bottom. Statuary adorn the base of the obelisk in a repeating pattern as well as it being covered in hieroglyphic patterns. A tunnel allows for the pedestrian to pass underneath the obelisk. The porte cochere is located underneath the body of the Sphinx, another use of the architecture to incorporate the pedestrian element. If you head east through the sphinx, a tunnel opens up into a small courtyard where a shuttle bus may be caught. The ceiling of the porte cochere is adorned with a circular chandelier, composed of metal representations of leafy branches radiating around a rounded center. The ends of the arms hold length-wise half cylinder lamps. The ceiling above is painted blue. The most spectacular element of the Luxor is its super powerful light in the place of the capstone at the very peak. The beam is one of the most powerful lights in the world, and can be seen from high above into the earth's atmosphere as well. The edges of the pyramid are also raceways, which can be seen in action in the dark. An animation of bulbs makes it appear as if a single bulb of light streams up the base to the very peak. The animation runs at an interval of every couple of seconds. On the very south edge of the property, actually on the southeast corner, is a sculpted, small pylon which houses a color led screen.
Sign - type of display: Neon
Sign - media: Steel; Masonry
Sign - non-neon treatments: Plaster
Sign animation: Chasing
Sign environment: Standing next to the Mandalay Bay on the west side of the southern end of Las Vegas Blvd, the Luxor's front exterior is a sprawling mass of smooth vertical planes turning into eloquent statue and stucco walls. They are interlaced with drives and signage complete with a platform at the base of the Sphinx, which is just east of where the valet and porte cochere are grounded in the base of the beasts belly. From the edge of a Platform a tram station is located and also a view of the signage can be seen as well. The Luxor's environment is a very pedestrian one as well. Being in an isolated part of the strip, the noise clutter brought about by the surging traffic is considerably better than the heart of the strip.
Sign designer: Veldon Simpson
Sign - thematic influences: The theme of the Luxor is obviously that of ancient Egypt. The Ancient Egyptian imagery is placed among the same images but represented in the shiny black glass, giving a touch of future meets the past. The image seen are some of the most commonly seen images when talking about the Ancient Egyptian culture. The Sphinx stands guard at the base of the giant black pyramid, one sign is attached to an obelisk. Various statuary adorn the entire plaza. The environment created with the motif obviously fits into the desert like dust, but still retains the surreal nature associated with the themed hotel. The aesthetics appear to be fantastic, but are a bit odd due to the arrangements and limitations on space. It does however fir into an interesting sub category of resort that is themed around a culture. Yes it is themed around a city, but the culture shines through with more dominance. Another example of this is the Imperial Palace. It is not necessarily themed after a particular city, but the architecture and imagery suggests the Asian culture.
Surveyor: Joshua Cannaday
Survey - date completed: 2002
Sign keywords: Chasing; Pylon; Fascia; Porte-cochère; Neon; Steel; Masonry; Plaster
Mixed Content
"Black History: Lost Stolen or Strayed -- Twenty Years Later": 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 Black reality not significantly improved 20 years later.
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University of Nevada, Las Vegas (UNLV) Fall 2019 commencement program
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Archival Collection
Description
Commencement program from University of Nevada, Las Vegas Commencement Programs and Graduation Lists (UA-00115).
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Transcript of interview with Dr. Catherine Bellver by Caryll Batt Dziedziak, November 13, 1995
Date
Archival Collection
Description
Dr. Catherine Bellver is a woman with tenacity. How else could one describe her drive to create the Women's Studies Program spanning fifteen years? As a faculty member in the Department of Foreign Languages, Dr. Bellver first joined the Women's Studies steering committee in 1979. In the following decade, the committee oversaw the formation of the Women's Studies Program, including: procuring administrative and faculty support, creating bylaws and course criteria, critiquing proposed cross-listed courses, and selecting course offerings. During that period she also worked with a volunteer group to create and staff the first Women's Center on campus. In the early Nineties, she played an instrumental role in the presentation of four public colloquia that addressed key issues pertaining to women. Dr. Bellver acted as interim director of the Women's Studies Program while overseeing the search for a permanent director. She continued to remain involved with the Women's Studies program, serving as faculty member on several committees. She has also worked in the Women's Caucus on the regional and national levels of the Modem Languages Association Dr. Bellver is currently Distinguished Professor of Spanish in the Department of Foreign Languages at the University of Nevada, Las Vegas. Her work has appeared in journals such as Anales de la Literature Espanola Contemporanea, Hispanic Review, Hispanofila, Insula, Journal of Interdisciplinary Studies, Monographic Review/Revista Monografica, Revista de Estudios Modernos, Revista Hispanica Moderna, Romance Notes and Romanic Review. Dr. Bellver's participation in the creation of the Women's Studies Program illustrates how critical institutional and social progress can result from the commitment of a determined group of individuals. Her decades of involvement in creating an academic arena for the study of women and gender issues underscores the significance of women's contributions to the history of Las Vegas. In addition to the history of the Women's Studies Program at the University of Nevada Las Vegas this interview contains information regarding the creation of the first Women's Center on campus.
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Transcript of interview with Della Mae Rostine by Irene Rostine, October 31, 1991
Date
Archival Collection
Description
Della Mae Rostine left Missouri with her husband, Rocco, in 1942, and headed to Las Vegas. Happy to leave behind the hard life and instability the mining industry had to offer, after living in Las Vegas for the first year the couple settled in Henderson, Nevada, known as the townsite at that time. Della Mae’s oral history provides readers with a glimpse of what life was like for the 14,000-plus individuals and families who also moved to southern Nevada during the same period in order to make a living in the growing “war work” industry the area had to offer. Della Mae shares the hardships faced in finding housing, especially for families with children. She discusses challenges ranging from securing home furnishings to purchasing groceries, including the rations on gasoline and butter at that time. Della Mae also discusses her experiences with the Basic Magnesium plant where her husband was hired as a construction worker in the early days of the plant and where she would work briefly as a machinist making shell casings and monitoring the down time on the production line. She also touches briefly on the social opportunities the BMI plant, and later Rheem Manufacturing, offered to the workers and their families. When World War II ended, more than half of residents of the townsite left, leaving fewer than 7,000 people to form what would later become the city of Henderson, Nevada. Della Mae’s oral history is a brief overview of a family life which began when BMI was just getting off the ground and continued through the many changes that took place in the BMI complex and the town site over several decades. The timing of the Rostine family’s arrival and the fact that they stayed and made a permanent home in Henderson led to their designation as one of Henderson’s “founding families.”
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