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Photographs of O'Shea's signs, Las Vegas (Nev.), 2002
Date
Archival Collection
Description
Site address: 3555 S Las Vegas Blvd
Sign owner: Park Place Entertainment
Sign details: O'Shea's Casino is located just north across a small driveway from the Flamingo. The small but busy facade is a small, yet busy stop along the Las Vegas Strip. The exterior signage consists of two corner signs, a blade sign, hanging off of the west face of the building, a main entrance sign, backlit screens as well as various images laden with neon. All of these create a flashing display of luminescence all just above the pedestrian's head.
Sign condition: Structure 5 Surface 5 Lighting 5
Sign form: Fascia
Sign-specific description: O'Shea's Casino is located just north across a small driveway from the Flamingo. O'Shea's theme and signage is influenced by Irish culture and imagery, integrated into the forms of signage along the Las Vegas Strip. The building design itself is influenced by traditional European housing imagery, generalized with other elements of architecture also. One example of this is the coloring, exposed wooden beams and narrow rooflines over treated windows, which suggest styles seen in classic European architectural imagery. Examples of other elements such as sculpted windowsills and exterior molding are more akin to neoclassical than the Irish pub or cottage. A small blade sign hangs in the center of the structure facing north /south. Attached off of the building by two poles, the double sided cabinet is designed with a circular portion at the top that transforms along it's bottom edge into length portion of the "blade" that continues down to a rounded bottom. The Circular portion serves as the "O" in O'Shea's. The exterior of the signs width is finished in a polished gold aluminum surface. The top portion continues into a full circular space in the front where the backlit image of the O'Shea's leprechaun mascot resides in it's center. The image has a circular green neon border at the edge of the cabinet and is set into a field of incandescent bulbs, which occupy the remaining space in the face of the "O". Incandescent bulbs also run around the edge of a face on a gold raceway. Channel letters run vertically down the face of the blade spelling the remaining "Sea's" of the title. Each letter is filled with incandescent bulbs, and bordered on it's exterior in green neon. The remainder of the space, which comprises the surface of the sign, is a green material. The entire edge of the rest of the sign is also bordered with incandescent bulbs. Below the blade sign, the main entrance for the establishment is denoted by the large, arched, marquee logo, and wall sign for the casino. The arch shape is bordered by gold polished raceways, with the interior space where the O'Shea's logo is written in a bowed, horizontal arrangement with the "O" and "S" being the biggest letters in this group. The same back-lit leprechaun figure which is present in the blade sign, in seen in the "O" of the logo. The letters are of channel design and filled with incandescent bulbs. Gold scrollwork adorns the green background above and on the sides of the logo. An entablature, running the length below the arch, reads "casino" in channel letters filled with incandescent bulbs and bordered with green neon. The orange background in contained on the bottom edge with a gold polished raceway, which sharply curves into a downward point at the very center. All the raceway edges of the sign are lined with incandescent bulbs. Flanking the wall on either side of the main entrance are two backlit message centers with vinyl lettering. They also are bordered with incandescent bulbs, strewn upon polished raceways. To the south toward the Flamingo Casino, a corner marquee sign faces toward the southwest. The message center on the right of the main entrance essentially continues its shape wrapping in radius fashion all the way around the corner. As the entablature wraps the corner, the color changes to a section of black, containing the channel letters hung at a slight angle, spelling the words " Hall of Fame," in cursive text. Small stars in channel design adorn the black background. On the left of the text, O'Shea's is painted in red paint, in a cursive script at a similar angle as the premier text. Neon is shaped over the surface of the letters to allow it to be spelled in light. The word "Casino" is spelled on the right hand side, and treated in the same fashion. A top the black portion of pediment, the sign continues with it's corner finishing, rounded marquee, containing the text, "Magic & Movie," in a three lined arrangement. Putting the two signs together the appropriate title for the advertisement of the attraction is read "Magic and Movie Hall of Fame." The channel letters on the top portion are filled with neon and treated white on the interiors. The edge of the cabinet is treated with white bull nose borders, sandwiching a field of pink holding two tubes of contoured neon. At the peak of the sign a small element reminiscent of a fan, created using a multi layered box, uses different levels receding into space, with the center blade at the front of the sign. The sections are lined with gold raceways and incandescent bulbs, with the center blade being horizontally striped with tubes of neon. Two small gold finished gargoyle statues flank either side of the theatre-esque entrance. Underneath the overhang created by the corner sign, polished aluminum element creates a sloping drum shape above the door. This drum is divided into sections by gold polished raceways. The flat portion, which returns to the ceiling of the overhang is adorned with painted images of clovers, encircled in rings of green neon. This section is reminiscent of the top section of the corner drum of the Barbary Coast. The black pediment along the south portion of the building., abruptly changes to the orange color seen on the main entrance. Along the south wall section of the pediment green pan channels in the shape of clovers hang, lined on the interior with neon. A small sign denoting parking is also present. Another corner entrance is located on the north end of the property, facing northwest. It too has the rounded corner entrance and logo sign. Slightly different than the main entrance, the same "Casino text and structure is seen on the orange pediment above the door, as well as the channel logo with the mascot located in the letter "O." A three-sectioned panel with swooping wings and an arched center creates the field for the main logo. A more busy section of two dimensional scrollwork sits below the neon filled text. The wings of the top section a recessed panels with checkerboard design behind that. Each side of the entire top section is book ended with two small square posts. Three small miniature spires line the very top, and the same inverted drum shape sits underneath the door. Street posts reside on the sidewalk outside.
Sign - type of display: Neon; Incandescent; Backlit
Sign - media: Steel; Plastic
Sign animation: Chasing, flashing, oscillating
Notes: All of the bulbs, which reside in the fascia signs which designate entrances, oscillate rapidly. The entrance sign a bit closer to the north end of the property also contain the pan channel star shapes, with incandescent bulbs in the center. The bulbs which, reside on the widths edge of the small pole sign at the south end of the property, oscillate giving a twinkling effect. The main pylon's animation is rather simple considering the amount of lighting. Bulbs which create the dazzling background chase each other upward to the very point, then once they reach the top, each letter light up from left to right, one at a time, then off one letter at a time. The letters all turn on simultaneously while, while the background chases up, leaving the lights off in its trail. The text then shuts off as well. The small incandescent bulbs lacing the background of the main body of the sign oscillate subtly, twinkling themselves. Each letter of the text contains a single row of incandescent bulbs, just inside the border of the red neon. This row is always on in a chasing animation from left to right even when the letters are dark. The animation for the three sided, pole sign, at the north end of the property is adorned with sparkling animation as well. The purple bulbs, which create the border of the main base, chase each other from bottom to top, and the star shape in the center is filled with oscillating incandescent bulbs. The bulbs, which also encrust the bottom surface of the cabinet, oscillate as well. The incandescent bulbs, which adorn the background of the text portion of the sign, also sparkle with a soft random oscillating pattern. The stars which sit on top of the cabinet, animate in a random, non descriptive fashion. The inner star shaped pans oscillate with incandescent bulbs, and the neon borders flash on then off, in a clumsy random order. The three-sided sign also rotates, one of the few animatronic signs on the Strip.
Sign environment: Being essentially part of the Flamingo, O'Shea's is only separated by a small drive, producing the easy traffic flow from the north entrance of the former. The north of O'Shea's on the immediate vertical explosion of the front tower/porte cochere of the Imperial Palace. It is easy to say that O'Shea's is sandwiched in between two giants, assuming its place as the charming gap between the Flamingo and the Imperial Palace which is quite a bit more pedestrian friendly. Traveling north on the east side of the strip, O'Shea's is not hard to miss at all
Sign - date of installation: Original date of installation 1989. The southwest, and northwest corner signage were added at a later date
Sign - thematic influences: O'Shea's centers around the theme of the Irish pub, utilizing various imagery to get support the design. The color green is used extensively in the main signs color scheme while the ever-popular image of the folkloric leprechaun illuminated it a cartoon form upon the pylon. The green pan channels, which are shaped like shamrocks, are place along the exterior wall, an obvious reference to the St. Patrick's Day Holiday as well a reference to good luck. ( example: the four-leaf clover, luck of the Irish.) Luck is something synonymously associated with an industry such as gaming. Gold is also used extensively with the exterior referencing the infamous pot of gold associated with the lore of leprechauns. The actual structure itself is constructed with elements which suggest a European rustic cottage.
Surveyor: Joshua Cannaday
Survey - date completed: 2002
Sign keywords: Chasing; Oscillating; Fascia; Neon; Incandescent; Backlit; Steel; Plastic
Mixed Content
University of Nevada, Las Vegas (UNLV) 45th commencement program
Date
Archival Collection
Description
Commencement program from University of Nevada, Las Vegas Commencement Programs and Graduation Lists (UA-00115).
Text
Transcript of interview with Fluff LeCoque by Joyce Marshall, May 5, 1997
Date
Archival Collection
Description
This interview is compiled in the bound book version for OH-02270. Born Ffolliott Chorlton in Butte, Montana in 1923, Fluff Le Coque embarked on a career during World War II that would span fifty-five years. Le Coque’s experience as an entertainer started at the age of seven when she began dance lessons during the Great Depression. She expanded her interest in show business at the University of Washington. Attending on a drama scholarship, she performed in theatrical productions and supplemented the scholarship by teaching coordination to university athletes through dance. Le Coque toured as a dancer in a road company during World War II. After the war she came to Las Vegas for the first time. Although she did not consider herself a singer, she performed as a vocalist with the Chuck Gould Orchestra at the Last Frontier. After a brief excursion to Hollywood, she returned to Las Vegas to work at the Thunderbird Hotel as a dancer. It was at the Thunderbird that she became part of the glamour publicity that would help shape the image of Las Vegas. Crowned “Miss Thunderbird,” Le Coque took part in publicity photo shoots designed to attract vacationing customers to the Las Vegas resort casino. While performing at the Thunderbird, Le Coque learned of an opportunity to showcase her talents in a wider arena. She joined a touring company that was preparing to take the production of Hollywood Extravangza to Europe. In Paris, Le Coque took on additional responsibilities in the production end of the business. She served the Hollywood Extravaganza as principal dancer, choreographer, and ballet mistress. On her return to New York, she firmed up her career-long relationship with producers Donn Arden and Ron Fletcher. Le Coque’s association with Arden-Fletcher Productions proved beneficial for an already successful career. She performed as principal dancer for Arden and Fletcher beginning with a six-month engagement at the Lookout House in Cincinnati, Ohio, in the late 1950s Arden wanted her to return to Las Vegas and she accepted immediately. The Las Vegas Desert Inn opened a newly remodeled showroom with Fluff Le Coque as a featured principal dancer. Arden-Fletcher Productions kept a number of performers busy throughout the United States from California to New York. Le Coque, now a valued talent, appeared in the Arden-Fletcher production at the Moulin Rouge in Hollywood. She worked there as company captain and principal dancer for ten years. Following her extended engagement at the Moulin Rouge, she toured the United States and Europe before returning to Las Vegas for good in the late 1960s. Arden again asked her to open a renovated showroom at the Desert Inn and again she agreed. This time Le Coque made Las Vegas her permanent home. She danced until she was forty-five years old and during the later years worked both sides of the stage, as company manager and dancer. Fluff Le Coque retired from dancing in 1970 to enjoy leisure activities and volunteer work. She learned to paint and served as publicity director of the Las Vegas Art Museum. She was wooed out of retirement by Donn Arden, to become company manager of the production show at the new MGM Grand Hotel [later reopened as Bally’s]. At the time of the interview, Le Coque continued to serve as company manager for Jubilee at Bally’s Hotel & Casino. Le Coque’s narrative provides a vivid account of the history of the Las Vegas entertainment industry. In addition to the organization of club circuits during the post-war years, the narrative provides clues about white-black relations during the era. It also informs a wider historical context. Post-war American society underwent significant changes economically, politically, and socially. Expanded work opportunities for women were among those changes. Le Coque’s choice to complete a college education during the 1940s was atypical. Her successful dancing career and later move into production management provides an example of career achievement decades ealier than the majority of American women. By extending her career as a dancer into her forty-fifth year, she resisted the evolving publicity hype that only an ingenue could be a dancer. Her narrative provides a compelling description of both the glamour and physical demands associated with the Las Vegas entertainment industry.
Text
University of Nevada, Las Vegas (UNLV) 17th commencement program
Date
Archival Collection
Description
Commencement program from University of Nevada, Las Vegas Commencement Programs and Graduation Lists (UA-00115).
Text
Nevada Consolidated Copper Company Photograph Albums
Identifier
Abstract
The Nevada Consolidated Copper Company Photograph Albums (1906-1907) contain two photograph albums from the mining company's chief engineer's office. The photograph albums include cyanotype and black-and-white photographs depicting the construction of the smelting plant, equipment, railroad, and landscape of Ruth, Nevada.
Archival Collection
Donald Welch Photograph Collection
Identifier
Abstract
The Donald Welch Photograph Collection (approximately 1961-1981) is comprised of photographs of various golf tournaments hosted at the Desert Inn Country Club in Las Vegas, Nevada collected by Welch throughout his career as the Desert Inn's head golf professional. In particular, the collection includes two photograph albums depicting the Ladies Professional Golf Association (LPGA) Sealy golf tournament in the early 1970s and a 25th anniversary Desert Inn Country Club commemorative photograph book from 1981.
Archival Collection
Norman Kaye Photograph Collection
Identifier
Abstract
The Norman Kaye Photograph Collection (approximately 1950-1970) consists of black-and-white photographic prints of Norman Kaye and the Mary Kaye Trio in performance at the Hotel Last Frontier in Las Vegas, Nevada.
Archival Collection
Norman Kaye Papers
Identifier
Abstract
The Norman Kaye Papers span the years of 1952 to 1969 and are comprised of material from the career of Norman Kaye, a Las Vegas lounge entertainer and longtime poet laureate of Nevada. The materials contain correspondence, newspaper clippings, music manuscripts and poetry, and audio recordings from the Mary Kaye Trio.
Archival Collection
Mike Miller Papers
Identifier
Abstract
The Mike Miller Papers (1971-2014) include advertisements, books, and paintings by Las Vegas, Nevada-based artist and graphic designer Mike Miller. Materials include photographs, art prints, advertisements, newspaper clippings featuring Miller's advertisements, casino advertisements, and books designed, written, or illustrated by Miller.
Archival Collection
UNLV Libraries Collection of Barbary Coast Hotel and Casino Promotional Materials
Identifier
Abstract
UNLV Libraries Collection of Barbary Coast Hotel and Casino Promotional Materials includes clippings, press releases, press kits, and promotional materials for the Barbary Coast Hotel and Casino in Las Vegas, Nevada, dating from 1989 to 1997.
Archival Collection