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Bethany Khan, Ken Liu, and Zachary Poppel (Culinary Union) oral history interview conducted by Elia Del Carmen Solano-Patricio: transcript
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Archival Collection
Description
From the Lincy Institute "Perspectives from the COVID-19 Pandemic" Oral History Project (MS-01178) -- Business interviews file.
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Meeting minutes for Consolidated Student Senate University of Nevada, Las Vegas, July 24, 1986
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Archival Collection
Description
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Photographs of Mirage signs, Las Vegas (Nev.), 2002
Date
Archival Collection
Description
Site name: Mirage (Las Vegas, Nev.)
Site address: 3400 S Las Vegas Blvd
Sign owner: MGM Mirage
Sign details: The main attraction of the property is its spectacular exploding volcano placed among an astounding array of lagoons, waterfalls and palm trees. One of the themed hotel casinos, the architectural form takes precedence over an abundance of flashing lights and neon. Two pylon signs reside on the front of the property along Las Vegas Blvd, another on the west side of the property, two arched banner entrances are placed among them, lettering atop the towers, and various text placed among the vast stretch of landscaping are the only visible large elements of signage.
Sign condition: Structure 5 Surface 5 Lighting 5 The structure and lighting on the signs are in excellent repair, with no apparent major physical damage. The surfaces of the pylons and assorted log text, are a bit dirty, but no more than any other establishment, considering the punishment each must undergo due to the elements as well as the live volcano.
Sign form: Pylon; Fascia; Porte-cochère
Sign-specific description: Just north of Caesars Palace a giant pylon sign faces north/south, on the east side of the strip. Two giant square posts support a giant backlit advertisement panel, and an adorning entablature containing the channel letters spelling "Mirage." Between the two giant legs two cabinets are present to fill the space. Just below the main backlit panel an LED screen resides just above another back lit panel. The two giant legs have a series of polished metallic panels running vertically up the sides, creating a recessed channel. The sections are separated with slight overhangs. The bottom smaller panel cabinet is an advertisement for "Danny Gans" and the main panel advertises for the "Seigfried and Roy" magic show. A small banner rests between the main entablature, and the panel, reading "Magicians of the Century." The black channel letters in the main pediment spells "The Mirage," and are filled with incandescent bulbs. The lush foliage and walkways continue north where a covered awning faced with a carved wood and brass bullnose, allows pedestrians to take a moving walkway up to the resort. The landscaping continues north where it meets a driveway denoted by a low arched banner supported by a pair of square columns on either end. "The Mirage" is spelled in polished gold channel letters, with white interiors and filled with incandescent bulbs. The banner itself is sculpted into two sweeping solid shapes on the tops and bottoms, with a series of folded ribbon like scroll shapes. The center section is crafted as to allow light to pass through the negative spaces created by the rows of positive scroll shapes. The banners face east. On the faces of each of the flanking posts, two images of jumping dolphins are sculpted and finished in the same fashion. Past the gateway the thick beds of foliage and palm trees can be seen headed back along the drives. Continuing north a multi tiered lagoon rushes circulating water on and over waterfalls, while yet more green shrubbery and palm trees encrust islands and images of eroded rocks and geological formations. The beautiful imagery continues north, twisting and turning in and behind itself to create a fantastic spectacle for a passerby to be lured in and be fascinated. Approximately in the middle of the length of the expanse, the famous functioning volcano rests quietly amongst smaller rocks and waterfalls. Just past the volcano the lagoon opens up into a wide flat area of water where bronze dolphins are positioned to look as if they are jumping out of the water. Still the rich foliage dominates the landscape, until another arched gateway interrupts the expanse to allow traffic. The foliage, and lagoon landscaping, picks up again, cozily grasping the base of a smaller pylon of similar design as the first. The two reflective paneled legs rise up to connect with a horizontal piece of the same design. A large backlit cabinet advertising for Danny Gans occupies approximately three-quarters of the space between the legs. An entablature of the same design as the main pylon, yet smaller, crowns the top of the sign. The trademark font spells "The Mirage" in black channel letters and filled with incandescent bulbs. Just past the small double sided pylon, a small of recess of rocks plays home to the end marker of the Mirage. A bust of Siegfried and Roy with a tiger is ambiently lit, provided photo opportunities for tourists. An interesting function has been added to the bust. In the flower bed behind and on the sides of the object, faux boulders are places with glowing crystals protruding from the surface. The tower of rooms for the Mirage is the popular three winged "Y" configuration converging onto a center structure. On each face of each wing, giant black channel letters spell "The Mirage" in their trademark text. Each is filled with incandescent bulbs.
Sign - type of display: Neon; Incandescent; Backlit
Sign - media: Steel; Plastic
Sign animation: Oscillating
Notes: The incandescent bulbs located within text logos on the pylon sign, and upon the tower oscillate to appear as shimmering. The effect is one of the more common animations particularly among the larger, corporate casinos.
Sign environment: The placement of the Mirage right on the curve of the Strip makes the pylons visible from a good distance from either direction. The environment displayed by the mirage is that of paradise. When walking past, and up to the property, it hard not to stop and stare at the amazing foliage and spread of waterfalls, and rocks.
Sign manufacturer: Ad-Art
Sign designer: Pylons: Charles Barnard with touches from Wynn's design group Atlandia Design Group. Dolphin Archways: Barnard and Jack Dubois as well as hotel architect, Joel Bergman
Sign - date of installation: 1989
Sign - date of redesign/move: The main pylon has since been updated with a new Siegfried and Roy Back lit Mural, a new LED screen, and another back lit plastic screen featuring Danny Gans. An internally lit banner reads horizontally across the top of the giant Siegfried and Roy Mural which reads Magicians of the Century.
Sign - thematic influences: The theme is tropical island paradise. Complete with active volcano, the front spectacle of rushing waterfalls, chirping bird noises, and leaping bronze dolphins, serves as the backdrop for the simple, slim design of the property's pylon structure. The pylons were designed to reach harmony with the structure of the tower itself, rather than the island theme. The dolphins over the entrance arches however represent the tropical island theme, as well as speaking about the dolphin habitat inside.
Sign - artistic significance: The main pylon was the first of its kind to feature a full color illuminated photographic pictoral. Designed by Rosco, it was billed as the largest of its type in the world. The resort's themed spectacular was also the first of it's kind in regards to its extravagance and unique functionality. Approximate 125,000 people visited the property on its opening day. The resort fits well into the theme of design of the large, corporate property, after all it was one of the pioneers of such a movement in Las Vegas. The Mirage also set the standards for the now frequently seen element of the attraction spectacle, and the standard of quality on the Las Vegas Strip
Surveyor: Joshua Cannaday
Survey - date completed: 2002
Sign keywords: Oscillating; Pylon; Fascia; Porte-cochère; Neon; Incandescent; Backlit; Steel; Plastic
Mixed Content
"Exported Democracy": 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 Beijing students' demonstration.
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"We the People": 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 what the Fourth of July holiday means to the Black community.
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Florence Lee Jones and John Cahlan Papers
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Abstract
The Florence Lee Jones and John Cahlan Papers (1929-1983) contain material created by the couple related to their work at the
Archival Collection
Transcript of interview with Rachel Gibson by Kay Long & Caryll Batt Dziedziak, August 25, 1998
Date
Archival Collection
Description
Rachel Gibson was the granddaughter of Nevada pioneers. Her maternal grandparents, George Rammelkamp and Anna Dougherty, were among the earliest white residents of northern Nevada, settling first in Dayton and later Yerington. Her mother, Clara Angelina, and her two aunts, Elizabeth and Georgie, graduated from the University of Nevada at the turn of the century. Clara taught in Yerington for a number of years before marrying Chase Masterson, a dentist. Rachel was born in 1913 in Yerington. The eldest of three children, she continued the tradition of women’s learning and education that began with her mother’s generation. Her 1930 class was the first to graduate from Las Vegas High School, and soon after Rachel moved to California to attend college. Although her father had counseled her to study law, Rachel chose the field of economics. She received her Bachelor’s degree from the University of California at Berkeley, and worked in San Francisco for one year before returning to complete
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Transcript of interview with Sydney Wickliffe by Claytee White, February 1, 2013
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Archival Collection
Description
Sydney Wickliffe, nee Botkin, was born in Long Beach, California in 1944. Her parents, Donald and Betty Botkin, moved their young family first to Denver and then to the small town of Ulysses, Kansas before heading for Las Vegas in 1952, when Sydney was eight years old. Since then, she has called Las Vegas her home, graduating from Rancho High School's inaugural senior class in 1962. Growing up in a growing city, Sydney combined an active youth with long hours working in her father's North Las Vegas pharmacy and, later, would earn her degree in accounting from UNLV. As a CPA, she worked as an auditor for the Gaming Control Board and, in 1987, was promoted to deputy chief. From there, she took on the challenging role of director in Nevada's Department of Business and Industry as a member of Governor Kenny Guinn cabinet. As she says, even "one of the north-town girls" can go a long way - and in this interview, she shares memories that help us all see what the Las Vegas she remembers was like in the 1950s and 60s and how it helped to shape the person she is today.
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Transcript of interview with Ronald "Ron" Lurie by Stefani Evans and Claytee D. White, October 17, 2016 and November 10, 2016
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Archival Collection
Description
Ron Lurie is a product of Las Vegas. Ron Lurie knows Las Vegas. The Los Angeles native arrived in Las Vegas with his parents when he was twelve years old; his father opened Market Town next to White Cross Drug Store. Lurie graduated from Las Vegas High School in 1958 and attended Nevada Southern, where he played baseball and basketball before joining the United States Army Reserves. Returning from training, he began working at a new store, Fantastic Fair. Soon the owner, builder Lloyd Whaley, asked him to manage a new Fantastic Fair. At 24 years of age, he managed the entire Fantastic Fair store, which later became Wonder World. Over time, Lurie would manage three of the four Wonder World stores. In this interview, the former mayor of the City of Las Vegas and former Las Vegas City Council member talks about running for City council because he wanted more parks and ball fields downtown and about his political career, which coincided with the years of explosive growth in the 1970s and 1980s. The current vice president and general manager of Arizona Charlie's also v discusses his careers in the grocery business and in gaming; he speaks to giving back to the community and the changing demography of the area surrounding Arizona Charlie's; he talks of the ways Steve Wynn pioneered an aura of glamour that helped to upgrade Downtown Las Vegas; he recalls the challenges of public safety, regional transportation, flood control, and the Monorail and of civic dreams of a magnetic levitation train that would connect Downtown Las Vegas to Cashman Field. He remembers his parents and his wife; he talks about his children, and he shares vignettes of, among many others, Ernie Becker IV, Bill Briare, Al Levy, Steve Miller, and Bob Stupak. Throughout, Mayor Lurie especially beams when he talks about his family, his friends, his work, Las Vegas, the Boys and Girls Clubs, and baseball. This man loves baseball.
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Craig Galati Interview, October 24, 2016: transcript
Date
Archival Collection
Description
always thought I'd be more urban. I would live in a downtown city. I wouldn't have a car. I would walk around. I would work on these big skyscrapers.” At one point in his life, architect Craig Galati dreamt of designing large buildings in some of the nation’s biggest cities. Instead, he was drawn back to his childhood home of Las Vegas, where he created projects meant to preserve the city’s integrity, such as the Grant Sawyer State Office Building and the first building at the College of Southern Nevada Charleston Campus. He speaks to his work in preservation at the Las Vegas Springs Preserve and in welcoming visitors to Mount Charleston with his Spring Mountains Visitor Gateway design. In this interview, Galati talks about his parents’ decision to move from Ohio to Nevada and what it was like growing up in Las Vegas. He recalls his first teenage jobs in the Las Vegas of his youth and his studies in architecture at the University of Idaho. He recounts the dilemma of struggling to find architecture work he enjoyed and how that vision drew him back to Vegas. He describes various projects in his portfolio from his early years to the present. He speaks highly of his partnership with Ray Lucchesi and the basis for their vision: “We wanted to be a place that everybody liked to work for. Buildings were just tools to do something grander. They weren't an object. We had a philosophy that was not object based, it was people based.”
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