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The Rebel Yell

Alternate Title

Rebel Yell (1954-2010); currently published as Scarlet and Gray (2010-present)

Description

The Rebel Yell and cultural identity at UNLV


The UNLV student newspaper, like the university itself, has gone through many changes not least, its
name. When the paper made its debut in 1955, what was to become UNLV was the Southern Regional
Division of the University of Nevada, in Reno, popularly known as Nevada Southern. The newspaper,
reflecting its identity with the southern part of the state as well as its ongoing opposition to the
northern-centric bias of the State Legislature in Carson City and the administration of the University of
Nevada in Reno, adopted the name “Rebel Yell” and flew a Confederate flag on its mast head. The
fledgling university took to its identity as “Rebels” which, in fact, continues as a brand for the university
and its students to this day. While administrators and students would later deny any conscious or
intended association of these historical Confederate symbols with the southern Confederacy, slavery,
and racism, they would, nonetheless cause embarrassment in the future when Black (and White)
students began to express their indignation with these symbols and demand that the university change
its image.
In 1962 the most flagrant symbol, the Confederate flag, was removed from the masthead to be replaced
by the only marginally less problematic “Beauregard” figure, a Disneyesque cartoon hound dog in a
Confederate uniform. In 1969 in the wake a national civil rights protests, Beauregard was yanked from
the masthead. In 1970 the student senate, the “Confederated Students” (which would change its name
to “Consolidated Students” in 1973) instituted a “Rebel Name-change committee” charged with coming
up with alternative names. The next year in 1971 the students voted to retain their nickname, the
Rebels, by which their sports teams had traditionally been known, but the newspaper decided to change
its name from the Rebel Yell to The Yell, but affirming on its front page “We’re Still Rebels”. In 1973
when the student senate changed its name, the students again rejected changing the Rebels nick-name.
Only in 1975 was Beauregard officially removed as the university mascot.
In 1982 artist Mike Smith created a new UNLV mascot, the “Hey Reb” trail-blazing pathfinder, in western
frontier garb, with mustachios that rendered him a look-alike for the cartoon character Yosemite Sam. In
1983 the Yell quietly resumed its old title Rebel Yell (briefly the Yellin Rebel) which persisted until 2016,
when, after months of deliberation and renewed calls to rebrand the university the Rebel Yell became
the Scarlet & Gray Free Press, adopting the school colors. According to then-Editor-in-chief Bianca Cseke
“a Confederate battle cry isn’t a great name for a newspaper.”

Essay Contributed by Peter Michel 

1992
September
October
November
December
1993
January
February
March
April
May
August
September
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November
December
1994
January
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March
April
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September
October
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1995
January
February
March
April
May
August
September
October
November
December

Language

English

English

Frequency

Biweekly

Place of Publication

Fayle Family Papers

Identifier

MS-00404

Abstract

The Fayle Family Papers (1895-1998) document the family's personal and business interests in Goodsprings, Nevada and Las Vegas, Nevada. The collection contains mining documents, business records, and photographs from Leonard Fayle’s work with the Las Vegas Valley Water District, where he documented reservoirs, dams, and both abandoned and functioning mines. The photographs also include family members, vacations, and Southern Nevada fraternal organization pictures.

Archival Collection

Fayle Family Photographs

Identifier

PH-00113

Abstract

The Fayle Family Photographs depict the Fayle Family in Southern Nevada and California from 1888 to 1990. The photographs primarily include family photographs of Leonard Fayle, Anna Louise Trapnell Fayle, Leonard Fayle’s parents George Fayle and Jean Henderson Fayle, Leonard Fayle’s siblings George Arthur Fayle and Jean Nevada Fayle, and Leonard and Anna Fayle’s children Jane and Edward Fayle. The photographs also depict the Nevada towns of Las Vegas, Goodsprings, and Jean, including railroad operations, mining, milling, and hauling freight. The collection includes a leather-bound photograph album containing images of the Fayle Family and the Yount Family.

Archival Collection

Mirtha Rojas oral history interview: transcript

Date

2018-12-06

Description

Oral history interview with Mirtha Rojas conducted by Marcela Rodriguez-Campo on December 6, 2018 the Latinx Voices of Southern Nevada Oral History Project. Mirtha talks about her artistic upbringing in Cuba and how she immigrated to the Florida with her brother. She talks about relocating to Las Vegas in 2000, her membership with the Culinary Workers Union Local 226, and her employment as a guest room attendant and shop steward at the Aria Hotel and Casino.

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Alpha Kappa Alpha Sorority, Theta Theta Omega Chapter 73rd Far Western Regional conference agenda and report

Date

2002-05-01 to 2002-05-05

Description

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

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Alber A. Mora oral history interview: transcript

Date

2018-12-07

Description

Oral history interview with Alber A. Mora conducted by Rodrigo Vazquez and Laurents Bañuelos-Benitez on December 7, 2018 for the Latinx Voices of Southern Nevada Oral History Project. Alber Mora talks about his life growing up in Cuba with his family and the circumstances of their departure from the country; his brother faced pressures to join the military, which led the Mora family to immigrate to the United States by way of a fishing boat in 1994. Alber discusses the family's lives in Houston, Texas and how he met and married his wife, Rosemary, before the couple moved to Los Angeles and Alber began working at Porto's Bakery, a famous Cuban eatery in L.A. Alber shares how he and his wife eventually moved to Las Vegas, where he works for Caesar's Palace and for the Culinary Workers Union as a Shop Steward.

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Transcript of interview with Ernest Jackson Jr. by Larry E. Cooper, March 1, 1980

Date

1980-03-01

Description

On March 1, 1980, Larry E. Cooper interviewed general contractor Ernest (Ernie) Jackson Junior (born December 6th, 1932 in Bruce, Mississippi) in Cooper’s home about his experiences in the Westside as a Black Las Vegas resident. Jackson Jr. discusses the lack of property buyers on the Westside and his goals of improving the Westside by building on the land. Jackson Jr. also discusses his youth as a baseball star for Las Vegas High School in the fifties.

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Christine Szukala oral history interview: transcript

Date

2021-11-12

Description

Oral history interview with Christine Szukala conducted by Bridgette Foote on November 12, 2021 for Reflections: The Las Vegas Asian American and Pacific Islander Oral History Project. Christine shares her family history and the story of her Thai mother and American Air Force father who met in Thailand and married before moving to the United States in 1970. She talks about her upbringing in Las Vegas, Nevada near Nellis Air Force base with her six siblings. Christine discusses her beliefs of how her newly immigrated mother adapted to American life, including altering her recipes to fit her husband's taste and reducing her visits to nearby Buddhist temples.

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

Date

2002

Description

Daytime views of the Frontier Hotel and Casino signs on the Strip. Information about the sign is available in the Southern Nevada Neon Survey Data Sheet.
Site name: Frontier Hotel and Casino
Site address: 3120 S Las Vegas Blvd
Sign owner: Phil Ruffin
Sign details: The New Frontier Hotel and Casino sits south of the Stardust, on the east side of Las Vegas Blvd The Frontier main pylon still remains at the south end of the property, a short distance from the southeast, near the porte-cochere. A rear port e cochere also resides on the east side of the building . Like so many other properties the Frontier is composed of a low-rise building accompanied by, another higher rise structure, and a tower of rooms. A parking lot sits on the north end of the property, denoted by a small, double-sided pole sign. Two porte-cocheres adorn on the southeast and west sides of the property, as well as the famous pylon outside the eastern porte- cochere.
Sign condition: Structure 4 Surface 4 Lighting 4
Sign form: Pylon; Porte-cochère; Fascia
Sign-specific description: A parking lot sits on the north end of the property, denoted by a small, double-sided pole sign. It is a simple rectangular cabinet, with a small steel circular cabinet on the top east edge of the sign, and a triangle on the west edge of the height, pointing west. The two are connected by a long horizontal section, which runs along the top of the cabinet. The circle, arrow, and connecting pieces are lined with incandescent bulbs. The surface if the Frontier is reserved, not holding too many exterior references to a western theme, besides the actual script of the logo, and wood paneling of the overhangs, little else is there to support the theme. Just south of the parking lot and on the west side of the strip, the Frontier is separated from the sidewalk with a large section of green lawn, and a guard of tall palm trees against the east face of the building. Tall windows occupy most of the wall separated by columns of brick. The structure continues south and juts east to create an entrance, with a text logo above the door with brass edges and a wood panel facade. The three sided entrance is two tiered flat font design, with the lower half being taller, fit with a backlit message board. The top half is shorter in height, and plays home to the polished channel letters spelling "Frontier," and filled with incandescent bulbs. The surface of the top half of the facade is a rusted brown color, referencing panels of exposed wooden construction. The bottom edge of the entire face of the sign is a protruding brass geometric edge, as well as being the device that separates the two parts of the sign. The top edge of the top section is brass treatment also, but is crafted into different forms along its path. Directly in the center of the front face, there is an arch curving over a set of vents. The two sides are treated with an pointed triangular shape. The porte-cochere is located just south, if you follow the property, pointed toward the southeast extending off of the building. The northeast and southwest sides of the porte- cochere are lined on the top and the bottom with the same protruding, square molding, rising into a long, low rising arch, peaking in the center of the sign. The center portions of the sides are the same rusted brown tone seen on the entrance mentioned earlier. Suggestions of the paneling are evident at the edges. The "Old west" font, polished channel letters spell out "Frontier" on the rust facade. Each is filled with incandescent bulbs, and outlined in neon. Most impressive about the covered area is the space occupied by the ceiling. The underside of the port-cochere is separated by four large, deep, recessed rectangles with mirrored walls. The walls slope into another smaller recessed rectangle rising straight up only a sort distance before stopping. Standing directly underneath the section, it is seen as a smaller rectangle located within a larger one. Both rectangles are lined on all edges by polished gold raceways, and incandescent bulbs. The open space is occupied by multi armed, ornate brass chandelier. Each arm is adorned with faux gas lanterns. The arms are curved in a quite extreme fashion, making the piece appear more as an organic shape, or a creature such as an octopus. The centers are adorned with decorative silver spheres. Over the doors to the casino a large backlit message center panel, curves with the radius of the face of the building. The brown and polished metal edges of the sign combined with the incorporation of the architecture of the building, gives it a reserved, streamlined look. South of here the building grows in height and becomes a series of tall windows that create the wall. Following the property around to the building's west side, another porte-cochere can be seen. An eight-sided post serves as a valet station. The facade of the roof is treated as the entrance on the east side of the building. Protruding square brass edges form borders for polished channel letters filled with incandescent bulbs. Text is contained within the southwest, southeast, and western panels. Frontier is spelled in the properties font on both the southeast, and western sides. The southwest side reads "Parking" in the company's font, but is flanked by "self" and "valet," in smaller plain white channel letters filled with neon. The western and southeastern sides are crafted with the top edge of the pediments being an arch flanked by two triangle shaped rooflines. Elements also seen elsewhere over the other entrances. Looking up, facing this porte-cochere, the tower of rooms looms high overhead. Signage is located on all four sides of the tower. The northeast and southwest sides of the tower hold giant channel letters that spell "Frontier" with the interior being a reflective orange material. The facade is a giant replication of the two sides of the southeast and western sides of the multisided porte-cochere below. A giant polished metal framework, with a rounded arch flanked by two A frame roof lines, as well as the rust colored background hold the letters. The text is filled with incandescent bulbs. Along the northwest and southeast sides of the tower "Frontier" is spelled vertically down the face of the building in the distinctive channel letters. They too are filled with incandescent bulbs and finished orange on the inside. The famed main pylon sign for the frontier still stands in good repair, as reminder of Las Vegas past. It is located in the south side of the Frontier property facing north south. The two-sided sign is essentially pair of close set steel legs joined by an arch at the top to create one continuous shape. The steel is treated in a pastel pink coloring lined on both edges with a double row of incandescent bulbs. The inner portion of the arch contains three elements. The small cabinet at the top holds the image of the Frontier "F" logo. The edge of this cabinet is painted yellow, with a white internally lit face below that a long cabinet runs the length of the remaining space to the ground. The interior of the cabinet has been cut away to form a pattern of repeated circular holes down the length of the cabinet. This portion has been painted a teal color, with the edges lined with incandescent bulbs. In the space inside of the circles a continuous string of star shapes, reminiscent of the Stardust star emblems, are crafted in yellow painted steel and laden with small incandescent bulbs. The shape is interrupted twice with the main marquee logo for the establishment as well as well as a large internally lit message center. Both portions are not solid, double faced cabinets, but four single faced cabinets. The design is also seen in the Westward HO pylon. The bottom section message center can divided into essentially six parts: four individually denoted sections for vinyl lettering, and two steel panels with an animated neon silhouette of a cowboy riding a mechanical bull. The bottom half of the cabinet is one portion of the collection of section, with a thin, one letter width portion running the length of the cabinet, separating the sign into two halves. The top half is another section flanked by the two steel panels containing the bull rider. The middle portion contains crafted red vinyl logo the "Gilley's" establishment. A thin, one letter space cabinet, emerges out of the top of the sign, running a bit shorter than the length of the cabinet. The panel with the rider is actually three separate images, crafted with gold neon stacked on top of another in different positions to allow the three-stage animation process of the rider to be realized. Fashioned out of red neon text is written in the same text as the Frontier wall logo's above and below the rider. The word "Ride" sits above and the phrase "The Bull" is below the rider. He entire width edge of both the North and South sides are encrusted with yellow incandescent bulbs. While the bottom half of the pylon is dominated by the message center, a bit further up on the structure is the main marquee logo. The green steel cabinet is a rectangular with added elements of shape and design. The ends of the plane are slightly curved back into space, with the actual surface of the shape rising into a small pointed crest in the center. Across the surface of the cabinet the word "Frontier" is spelled in the "Western Font" in channel letters. The letters are outlined in neon and filled with incandescent bulbs. The surface of the cabinet is striped horizontally with tubes of red neon.
Sign - type of display: Neon; Incandescent; Backlit
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: Sitting north of the Fashion Show Mall and, south of the Stardust, the Frontier seems to create its own environment upon an expansive property. The expansive sidewalks, healthy landscaping, and clean, reserved faced, make the Frontier more akin to the larger corporate establishments such as the Mirage, or Monte Carlo. It is quite the dominant presence on the west side of the street, for the east side is the vacant lot where the Desert Inn used to reside. The Frontier stands clean and strong amongst the chaos of the Fashion Show construction, and the empty lot across the street.
Sign manufacturer: Ad-art (Pylon), Sign Systems, Inc (facade and porte-cochere)
Sign designer: Bill Clarke (Pylon) Brian K. Leming (facade and porte-cochere)
Sign - date of installation: pylon: 1967 porte-cochere and facade 1981
Sign - date of redesign/move: The face of the Frontier was remodeled in an effort to keep up with the larger corporate casinos in 1998, but retained the main pylon, tower signage, porte-cochere signage and various entrance signs.
Sign - thematic influences: The obvious theme of the hotel is a Western, cowboy/pioneer themed establishment. The facade of the structure was at one time engulfed in the theme, but has slowly over time changed to compete and fit in with the ever-changing Las Vegas strip. Vestiges of the Western theme are present in the remaining elements of the porte-cochere, side entrances, the tower fascia and roofline, as well as all the text, including the main pylon. Other establishments that carry the much popular theme throughout Las Vegas history, include the Westward Ho, The Golden Nugget, The Bonanza, Hotel Apache, the Boulder Club, and the Pioneer Club.
Sign - artistic significance: In 1967, the Frontier sign was considered the tallest sign on the Strip. The 24 x 84 foot signature panel proved to be one of the largest at the time as well. Charles Barnard's scale model displayed at the Montreal Expo and his design of the seventeen-foot tall logo cabinet, were instrumental in Ad-Art landing the contract for the establishment. (Barnard) The cabinet and center scalloping used to incorporate animatronics, turning in concert.
Surveyor: Joshua Cannaday
Survey - date completed: 2002
Sign keywords: Chasing; Flashing; Oscillating; Pylon; Porte-cochère; Fascia; Neon; Incandescent; Backlit; Steel; Plastic; Graphics; Paint

Mixed Content

Transcript of interview with Lyn Robinson by Barbara Tabach, September 18, 2014

Date

2014-09-18

Description

One day in 2012, UNLV student Lyn Robinson spied a posting on the bulletin board for a photographer for the Sperling Kronberg Mack Holocaust Resource Center. She was an art major with a concentration on photography. She was also had a deep appreciation of the horror of the Holocaust and what the survivors she would take photos of had endured. Thus began a two year project, during which she took photos of over sixty survivors. Her images are preserved at UNLV Special Collections & Archives. Prints are displayed at the Sperling Kronberg Mack Holocaust Resource Center. On September 18, 2014, Lyn shared her work for this oral history recording. She is a native of Florida, daughter of a horticulturist father and pianist mother.

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