From the Syphus-Bunker Papers (MS-00169). The folder contains an original handwritten letter, an envelope, a typed transcription of the same letter, and a copy of original letter attached.
Len Zane and his wife left Colorado State to come to UNLV in 1973. He intended to take a one year position in physics which had materialized that summer, and found a department in turmoil, with a high turnover rate and scrambling to fill suddenly vacated positions. The faculty in physics at that time consisted of Harry Fector, Lon Spight, Fred Stirk, and another new hire, Dave Bynum from UNR. During that first semester, Len taught the graduate mechanics class, and found that the five or six students actually knew very little. In addition he taught modern physics and a beginning engineering physics course. Two more instructors were hired during Len's first year at UNLV, Ed Grayzak and Jeff Dundan. Len got a permanent position that first year and was no longer considered a visitor. At the end of his second year, he accepted a one year visiting position at Dartmouth, and returned to UNLV to become chair of the physics department. At almost the same time, he got tenure and was promoted to associate professor. Dr. Zane was chair of the department from 1977 to 1981, and then was asked to step down. He helped write a set of bylaws for the department that would help change of leadership go more smoothly. John Unrue approached Len around 1984 about setting up an honors program, an idea which had the full support of Robert Maxson, then president of UNLV. Len took on the challenge and helped develop curriculum and recruit faculty. He oversaw the honors program through the transition to Honors College, and served as dean of the college for 15 years, from 1985 to 2000. Dr. Zane returned to teaching in 2000, and continues in that capacity today. He has spent over 34 years in education and administration at UNLV, and has enjoyed working with great people and accomplishing personal goals.
Oral history interview with Jose Leonardo Martinez conducted by Barbara Tabach and Nathalie Martinez on August 19 and 29, 2020 for the Latinx Voices of Southern Nevada Oral History Project. Session 1: Jose discusses his childhood and what it was like growing up during the Salvadoran Civil War. He recounts the dangers he's faced and how he made his way to the United States after traveling through Guatemala and Mexico. Subjects discussed include: Salvadoran Civil War; Ciudad Arce, El Salvador; Guatemala; Mexico; Los Angeles, California. Session 2: Jose continues his discussion of growing up in El Salvador and the violence he witnessed in the country's army during the 1980s. He also talks about his personal life after moving to the United States and his experiences navigating gang culture in Los Angeles, California. Jose recounts his previous jobs, his schooling, how he met his wife, and his family's move to Las Vegas. Subjects discussed include: El Salvador army; gang violence.
LaVerne Ligon was born in 1942 in Washington D.C. Around the age of nine, she started dancing at the Jones-Haywood School of Ballet, which started her career in dance. She took her first job as a professional dancer when she was eighteen with the Capitol Ballet Company. She moved to Las Vegas, Nevada in 1973. In 1974, she successfully auditioned for a touring cast of Hello, Dolly! After completing that show, Ligon performed in a number of productions in Las Vegas, including Hallelujah Hollywood and Jubilee. She retired from dancing in the early 1980s after sustaining an injury and she opened the Simba Talent Agency, a dance school for at-risk youth. She also worked for Family Services, but is now retired. She continues to work on projects with the Simba Talent Agency. BJ Thomas was born in 1935 in Plain Dealing, Louisiana. He moved to Las Vegas in 1968 after working for the Post Office in San Francisco. He worked a number of jobs for two years before beginning to pursue work as a stage hand. Thomas worked for shows at the Tropicana and Caesars Palace. He is currently retired. Leonard Polk Jr. was born in 1948 in Monroe, Louisiana. He and his mother moved to Las Vegas in 1949 when he was just two months old. His father worked on the Hoover Dam. Polk grew up in West Las Vegas and remembers the movement to integrate the schools in the city. As a young adult, he joined the Marines and served a tour of duty in Vietnam. Polk began to work for shows in Las Vegas after he finished his military career. He worked for the Aladdin Baghdad Theater and for the MGM Grand Hotel. He is currently retired, but remains active with the First African Methodist Episcopal Church.
Daytime and nighttime views of the Gameworks' signs on the Strip. Information about the sign is available in the Southern Nevada Neon Survey Data Sheet. Site address: 3785 S Las Vegas Blvd Sign details: Game Works is located on the underground level of The Showcase Plaza, which is also home to such establishments as M&M World and the Show case theatres. Two small gateway pylons for the Game Works center, stand on other side of staircases that lead to the underground facility. Just east of there a large wall front design hands approximately nine feet above the ground on the structure of the mall. Sign condition: Structure 5 Surface 4 Lighting 5 Sign form: Pylon; Fascia Sign-specific description: The large wall marquee that reads GAMEWORKS in all capitals, utilizes deep, yellow, steel, channel letters painted black on the exteriors. The slightly arched sign is on the West wall of the building, facing West from the East side of the strip. The interior of the text contains double rows of yellow neon. The cabinet, which the words sit upon, is a black steel cabinet shadowing the individual letters in one cabinet. The backing cabinet itself is illuminated from its interior, with middle section of the width of the cabinet is made of a steel grating. This function allows the blue neon on the inside to cast a blue glowing halo seen from the exterior. Sitting on top of the right hand side of the marquee are two steel boxes manufactured into the shape of a male and female figure dashing to the end of the sign. These figures are made of black steel box like formations while retaining a cartoon-ish silhouette. Their posture suggests motion or running. These figures are constructed in the same fashion as the black cabinet, which the text is supported upon. They too are glowing with the blue interior neon halo. In front of the large wall sign are the two, single sided, gateway pylons. They serve as markers for the stairs that lead the underground facility. They sit on either end of the large channel cut into the sidewalk. One faces South on the South entrance, and one faces North at the North end. The signage is actually a smaller replica of the large building front logo. The same interior lit cabinet supports the same design of yellow channel letters, with the backing "shadow" cabinet. A difference between the larger and smaller cabinets is that the cabinets are surfaced with the grated material. The only difference in the channel letters besides their obvious discrepancy in size, is that single rows of neon comprise the interior of the channel letters. On either side of the sign, two, "space age" themed posts provide support. They are topped with a sculpted cylindrical fashion capital. The bases for which they are attached to the concrete with, are blue in color. The actual shaft of the pole is made of several smaller pipes, with a plastic cylindrical tube in the center. Inside this tube is a string of attached incandescent bulbs running vertically. Below the text, suspended with two rods, is an oval shaped, aluminum cabinet. In the face of the cabinet there are the words "cafe" and "lounge" painted in blue. Over the painted text is blue neon. From both sides of the sign, the blue neon scrawl is visible Separating the two words is a black circle with a red neon rectangular shape in the center. The ends of the cabinet are made small circular cabinets approximately seven inches in diameter. Sign - type of display: Neon; Incandescent; Backlit Sign - media: Steel; Plastic; Fiberglass Sign - non-neon treatments: Paint Sign animation: none Sign environment: The Game Works facility is located directly across the street from the pedestrian "Brooklyn Bridge" element of the New York New York and sit is the shadow of the MGM super pylon. The vibrant yellow of the sign do stand out as distinct among the tremendous and attractive signage of the Showcase plaza. The large channel cut into the sidewalk, along with its large surrounding counterparts, makes the entrance reminiscent of that of a subway. The plaza itself is self-contained and while standing along the front a person is enveloped in the plaza without being distracted by the rest of the strip itself. The large signage looms over a pedestrian while walking by, or shouts at you while sitting along the shrub filled flowerbeds. Sign - thematic influences: The actual theme of the sign is correspondent to that of the business, which the sign advertises. The property is an interactive gaming facility and lounge. The use of the glow of a monitor or computer screen. The polished aluminum poles supporting the gateways are reminiscent of the futuristic, or "space-age" theming associated with the classic representations of science fiction in movies and television throughout the twentieth century. Such examples of this classic representations may be seen in television programs from the past like "Lost in Space," or even literary descriptions in Orson Well's "War of The Worlds" of Ray Bradbury's "Martian Chronicles" The combination of materials along with the innovative use of lighting also suggests electricity and digital elements which associate with the function of the facility. Sign - artistic significance: If not significant for simply combining different elements to create a completely self-contained sign, it fits into the movement in Las Vegas's history , which is geared more toward the family. Not only the space that it occupies, but also the function itself in intended to attract young people if not children into it domain. It is an obvious standout for the vote to make Las Vegas move toward a more family oriented town. Aesthetically the signage is modern innovation on a classic design. Surveyor: Joshua Cannaday Survey - date completed: 2002 Sign keywords: Pylon; Fascia; Neon; Incandescent; Backlit; Steel; Plastic; Fiberglass; Paint
Photos show Monte Carlo 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 name: Monte Carlo Resort and Casino (Las Vegas, Nev.) Site address: 3770 S Las Vegas Blvd Sign owner: Mandalay Resort Group (50%), MGM Mirage (50%)-Mandalay manages the property Sign details: The Monte Carlo is located on the west side of the strip just past the New York New York. The signage on the front of the Monte Carlo is limited, with the dominant honors going to the architectural aspects instead. The front facade is made to represent the classical architecture actually found in Monte Carlo. Giant patina fountains are flanked by sweeping staircases, where giant recessed arches and niches hold an abundant array of diversely positioned statuary. Sign condition: Structure 5 Surface 5 Lighting 5 Sign form: Pylon; Fascia Sign-specific description: Through the main arch behind the fountain, located on the south east corner, an entrance is guarded from above by black channel letters spelling "Monte Carlo" and filled with incandescent bulbs. This entrance faces southeast. The architecture continues with relief entablature upon fluted columns supporting Corinthian caps, and more statuary. Light posts adorn the sweeping walk in front of the property. Throughout the architecture you can see pools and fountains contained between arches and recessed into other area. Another entrance in the same fashion as the southeast entrance sits facing northeast. Another set of channel letters is set above these doors as well. Just north of the last entrance is the pylon for the Monte Carlo. The pylon fits into the category commonly seen at resorts such as The Mirage, or Luxor. Essentially a giant rectangle in its general silhouette, a multi leveled collection of signs are designated into geometrical planes by the use of classical architectural elements. The sign is at the north end of the Monte Carlo property and faces north/south, and is double sided. The bottom half of the structure is occupied by a tall arch, creating a pedestrian element, allowing passage through the sign. The two legs that flank the arch are created utilizing a pair of double columns supporting a series of crowned ledges supporting yet another architectural element of a pilaster. The resultant effect is two rather massive collections of elements creating the outer legs of columns, combined with pilasters, for the recessed borders of the impressive arch. Above the arch the cabinet rises up divided into two planes, one on top of the other, each holding a message cabinet with a pair of the square post as seen on the structure just below. It creates another pilaster from the front with rows of stacked columns on the structures width. The two arrangements are identical in structure and facade. The difference lies in the different types of display each on holds. The top is a back lit color advertisement currently for magician Lance Burton, while the bottom is an LED matrix screen . The top is an entablature crowned with sweeping overhangs, and containing the text Monte Carlo in black channel letters and filled with incandescent bulbs. The signage on the towers of the hotel are the repeated Monte Carlo logos in giant black channel letters, and filled with incandescent bulbs. On each face of each one of the wings Monte Carlo is spelled in it's trademark text, in black channel letters and filled with incandescent bulbs. Sign - type of display: Incandescent; Backlit Sign - media: Steel; Plastic Sign animation: Oscilllating Notes: The incandescent bulbs inside the channel letters oscillate, at the entrances on the building as well. Sign environment: The environment the Monte Carlo creates with its various forms of advertisement abruptly changes in aesthetic contrast to its southern companion and precursor to the northbound traveler. One minute the pedestrian is listening to the nasal audio streaming from the ESPN Zone loudspeakers, to the delicately ornate facade of the Monte Carlo's fountains and highly detailed statuary. Once you cross the drive it is not hard to be attracted the by classical architecture which serves its purpose of bringing in the patron with the limited space utilized for pedestrian passage across the front. I say limited, even though it is one of the more ornate and expansive ones, that is in comparison to its related properties of the Mirage and the Bellagio. The use of architecture makes the utmost use of this great strength of aesthetic by making it interactive for the pedestrian by allowing them to pass up close to the elements while entering the building or traversing the facade. The two giant wings on either end of the property act as arms to pull in people using swooping steps and large fountains. The signage is integrated into this environment, blending in nicely, in similar fashion as the previously mentioned examples. The oscillating incandescent bulbs can be found inside the channel letters, which is the most common animation seen in this type of signage in the other properties as well. Sign - date of installation: 1995 Sign - thematic influences: The Monte Carlo theme is that of an understated European elegance. Surveyor: Joshua Cannaday Survey - date completed: 2002 Sign keywords: Oscillating; Pylon; Fascia; Incandescent; Backlit; Steel; Plastic
This collection contains the original drafts of the thirteen essays that Elizabeth Harrington wrote about her life in early Las Vegas, Nevada. These articles were written from her memory and experiences of life in Las Vegas beginning in the early 1900s, and were published in the Nevadan section of the Las Vegas Review-Journal from 1975-1979.
The Ladies Auxiliary to the Veterans of Foreign Wars Collection (1951-1977) contains publicity books, scrapbooks, community service records, newspaper clippings, correspondence, photographs, and newsletters pertaining primarily to the Fred S. Pennington post no. 1753 Ladies Auxiliary to the Veterans of Foreign Wars of Las Vegas, Nevada and the associated local chapter of the American War Mothers organization. The Ladies Auxiliary and the American War Mothers are non-profit organizations that assist in providing support and services to veterans and active service members. This material was formerly known as the Luanna Mitchell Collection.