Search Results
Transcript of interview with Dr. Steven Parker by Emily Powers, December 19, 2006
Date
2006-12-19
Archival Collection
Description
Dr. Steven Parker grew up and went to school in Connecticut. His parents were caterers and taught him a solid work ethic through example. His only sibling was finishing a post doctorate at Yale and had accepted a job at one of the Cal State schools when his life was tragically ended. Steven graduated from Assumption College in Massachusetts with a bachelor's in political science and got a scholarship to State University of New York at Albany. About hallway through his Master of Public Administration degree, the dean encouraged him to go on for his doctorate. He finished his PhD in 1971, and got a job at Western Illinois University which he started on September 15, 1971, the same day his son was born. Alter 8 years (and another child) in Illinois, Steve and his wife were ready to leave. He had attended a public administration conference in Baltimore in the spring of 1975, and was interviewed by Dina Titus and Tom Wright of UNLV. He had several other job offers, but UNLV looked like the best possibility, so he and his family moved to Las Vegas. Dr. Parker's title at UNLV was associate professor and department chair, although Dina Titus actually chaired the department his first semester here. He took over as chair in the spring of 1980. Steven started when Brock Dixon was interim chair, and has served under university presidents Leonard "Pat" Goodall, Bob Maxson, and Carol Harter. Today Dr. Parker teaches American Presidency and American government every semester, Natural Resource Policy and Political Corruption and Political Ethics once or twice a year, and occasionally teaches Urban Government. He also continues as the director of the University Forum Lecture Series, which was initiated by Tom Wright more than 23 years ago.
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Transcript of interview with John G. Tryon by Dr. David Emerson, February 21, 2006
Date
2006-02-21
Archival Collection
Description
John G. Tryon was one of the early leading figures in the Engineering Department at UNLV. He grew up in Washington, D.C., the oldest of three sons. His father worked with the National Bituminous Coal Commission during the Depression and his mother was editor of the American Association of University Women's Publications. John went directly to University of Minnesota after high school graduation and earned a bachelor's in physics. During WWII he served in the Army Signal Corps and then went back to Cornell University to get his doctorate. His post doctoral work experience includes six years at Bell Telephone Laboratories, eleven years at University of Alaska, and six years at Tuskegee Institute. In 1974, Dr. Tryon interviewed at UNLV and was hired. The faculty carefully built up the curriculum, adding classes one at a time. John introduced a senior engineering design course modeled after one that pioneered at Dartmouth. He had also introduced this particular course at University of Alaska and Tuskegee. John was a member of the Academic Standards Committee at UNLV which helped set standards for academic probation and semester length. He has strong opinions on keeping engineering students who show promise and interest, and letting go of students whose academic strengths don't match the program. He believes students need to be matched to opportunity, be given the chance to find a niche that fits, and that they should not be given inflated grades or false hope. Dr. Tryon met his wife-to-be in Ithaca, New York, while attending Cornell University. His wife's mother, who was married to a botany professor, had invited him to Sunday dinner, something she had done for a number of students. John and his wife, who eventually became an English teacher, have two sons who grew to college age while they were in Alaska. Today they enjoy their church community, their family, and their circle of friends.
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Photographs of Blue Note signs, Las Vegas (Nev.), 2002
Date
2002
Archival Collection
Description
Views of the Blue Note club signs on the Las Vegas Strip. Information about the sign is available in the Southern Nevada Neon Survey Data Sheet.
Site address: 3663 S Las Vegas Blvd
Sign owner: Blue Note International: Father & Son team of Danny and Steven Bensusan
Sign details: The Blue Note is located a short distance east, down Harmon Ave., on the north side of the street, facing south. It is part of the Aladdin Hotel Casino. A vacant lot resides on the corner, and is the only thing that separates the Blue Note from the Strip. Signage for the property includes two logo wall signs on the west wall of the building, a vertical blade sign and an entrance sign over the main port to the establishment.
Sign condition: Structure 5 Surface 5 Lighting 5
Sign form: Fascia
Sign-specific description: Just east off of Las Vegas Blvd, down Harmon Ave, lies the entrance to the "Blue Note: Jazz Capital of the World." The Blue Note is actually part of the Aladdin property, residing in the eastern most wing of the building, on the south side of Harmon. The majority of the signage hangs on the front of the building, which faces south toward Harmon Ave., with additional signage on the west face of the structure that extends from the Aladdin property. A vacant lot on the north east corner separates the Blue Note from the rest of the strip. The structure of the building and the design of the signage are juxtaposed with the building still being finished in a Persian Palace theme. While the signs are reminiscent of roaring twenties style font and theatre front design. Several different types of signs adorn the Blue Note. Two wall /logo signs hang on the west side of the building, while a sculpted entrance marquee, a hanging logo sign, and a vertical blade sign hung on the south side of the building. The west wall logo sign is composed of blue channel letters spelling the text " Blue Note," separated by a circular cabinet with a tube of neon bent to emulate the shape of a musical note placed in the middle. Five steel bars just out from either side of the cabinet. Below the text, a white steel cabinet with rounded ends, support a thin set of blue channel letters reading, "Jazz capital of the world." Further to the right a set of pink channel letters rest upon the upper portion of the corner of the structure. The letters are filled with pink neon. Along the South face of the building the first sign, hung in close proximity to the southwest corner, a vertical blade sign sits on a radius base of shaped molding jutting out of the wall. The actual body of the sign is a double backed cabinet finished in polished aluminum, with blue pin striping along the edges as well as along the rounded edge of the top. Near the top of the sign, the same rounded cabinet seen on the west wall of the structure, is integrated into the blade facing east/west. The cabinet is thicker in width to compensate for the width of the actual sign. The edges of the steel structure are painted in the same blue tone. The afore mentioned blue neon tubing fashioned into the shape of the note resides in this cabinet also. Along the east/west sides of the sign the text "The Blue Note," runs vertically from top to bottom, in blue channel letters only interrupted by the circular cabinet. The panel, which the text resides is painted white. Along the edge of the blade, which faces south, the text "Blue Note" is spelled vertically in blue channel letters. Sitting along the edge of the base, which the sign sits on, thin red channel letters stand almost independently, wrapping around the radius of the base. Starting on the west side of the sign and finishing on the east side, the text reads "Club & Cafe." These letters are filled with tubes of red neon. The letters are attached to a backing radius band of metal appearing to be gold. Further down the face of the building the main entrance to the building plays host to an overhead marquee/logo sign incorporating sculptural elements as well. Directly in the center of the composition, a long horizontal cabinet plays host to the red channel letters filed with red neon, reading, "World's Finest Jazz Club." Sitting on the top edge of the cabinet the same configuration of the Blue Note logo sign along with the circular cabinet, rests in front a sculpted piece of black steel. This piece of black painted steel is cut to appear as if it is the open top to a piano. Along the interior edge of the lid tubes of blue neon form a blue border. Between the piano top and the Blue Note logo, a horizontal steel grate serves as a divider as well as support for the blue channel letters. This entire section sits on a long horizontal ledge composed of a long polished steel section with a long LED message center just below that. Slightly recessed below the message center another width of overhang constructed of steel is painted to appear as if it is made of piano keys. Along the wall, just above the door, the pink channel letters read "Insomnia" with pink neon on the interior.
Sign - type of display: Neon
Sign - media: Steel; Fiberglass
Sign - non-neon treatments: Paint
Sign environment: Situated just east off the strip, down Harmon Avenue, the Blue Note is the only attraction in its immediate area. Even though it is part of the Aladdin complex, the closest property is the Harley Davidson Cafe on the south east corner of Harmon and Las Vegas Blvd At night, the property loses its Arabian Nights architecture emitting a sultry glow of neon. It is hard to miss, if a pedestrian peers down the street while traveling north or south, on the east side of the strip. During the day, the architecture helps to blend in the property to appear as it is, part of the Aladdin.
Sign manufacturer: YESCO
Sign - date of installation: 2000
Sign - thematic influences: The building itself is part of the actual Aladdin property, so the faced of the structure is themed in the manner of an ancient Persian city. It is an interesting juxtaposition for the sleek, modern finish and colors of the signage, with the organic facade of domed towers and stone facade. The Blue note signage is themed around the subject of music, specifically Jazz and Blues music. The blue hue of the neon, and the cabinet containing the crafted musical note are all evidence of this. The blade sign is thematically influenced by marquee building signs for theaters and music clubs from the first part of the century, specifically the forties and fifties. Such examples that utilized a similar designed blade sign were properties from the 1930's 40's and 50's such as The Boulder Club, The Pioneer Club, and the Las Vegas Club.
Surveyor: Joshua Cannaday
Survey - date completed: 2002
Sign keywords: Fascia; Neon; Steel; Fiberglass; Paint
Site address: 3663 S Las Vegas Blvd
Sign owner: Blue Note International: Father & Son team of Danny and Steven Bensusan
Sign details: The Blue Note is located a short distance east, down Harmon Ave., on the north side of the street, facing south. It is part of the Aladdin Hotel Casino. A vacant lot resides on the corner, and is the only thing that separates the Blue Note from the Strip. Signage for the property includes two logo wall signs on the west wall of the building, a vertical blade sign and an entrance sign over the main port to the establishment.
Sign condition: Structure 5 Surface 5 Lighting 5
Sign form: Fascia
Sign-specific description: Just east off of Las Vegas Blvd, down Harmon Ave, lies the entrance to the "Blue Note: Jazz Capital of the World." The Blue Note is actually part of the Aladdin property, residing in the eastern most wing of the building, on the south side of Harmon. The majority of the signage hangs on the front of the building, which faces south toward Harmon Ave., with additional signage on the west face of the structure that extends from the Aladdin property. A vacant lot on the north east corner separates the Blue Note from the rest of the strip. The structure of the building and the design of the signage are juxtaposed with the building still being finished in a Persian Palace theme. While the signs are reminiscent of roaring twenties style font and theatre front design. Several different types of signs adorn the Blue Note. Two wall /logo signs hang on the west side of the building, while a sculpted entrance marquee, a hanging logo sign, and a vertical blade sign hung on the south side of the building. The west wall logo sign is composed of blue channel letters spelling the text " Blue Note," separated by a circular cabinet with a tube of neon bent to emulate the shape of a musical note placed in the middle. Five steel bars just out from either side of the cabinet. Below the text, a white steel cabinet with rounded ends, support a thin set of blue channel letters reading, "Jazz capital of the world." Further to the right a set of pink channel letters rest upon the upper portion of the corner of the structure. The letters are filled with pink neon. Along the South face of the building the first sign, hung in close proximity to the southwest corner, a vertical blade sign sits on a radius base of shaped molding jutting out of the wall. The actual body of the sign is a double backed cabinet finished in polished aluminum, with blue pin striping along the edges as well as along the rounded edge of the top. Near the top of the sign, the same rounded cabinet seen on the west wall of the structure, is integrated into the blade facing east/west. The cabinet is thicker in width to compensate for the width of the actual sign. The edges of the steel structure are painted in the same blue tone. The afore mentioned blue neon tubing fashioned into the shape of the note resides in this cabinet also. Along the east/west sides of the sign the text "The Blue Note," runs vertically from top to bottom, in blue channel letters only interrupted by the circular cabinet. The panel, which the text resides is painted white. Along the edge of the blade, which faces south, the text "Blue Note" is spelled vertically in blue channel letters. Sitting along the edge of the base, which the sign sits on, thin red channel letters stand almost independently, wrapping around the radius of the base. Starting on the west side of the sign and finishing on the east side, the text reads "Club & Cafe." These letters are filled with tubes of red neon. The letters are attached to a backing radius band of metal appearing to be gold. Further down the face of the building the main entrance to the building plays host to an overhead marquee/logo sign incorporating sculptural elements as well. Directly in the center of the composition, a long horizontal cabinet plays host to the red channel letters filed with red neon, reading, "World's Finest Jazz Club." Sitting on the top edge of the cabinet the same configuration of the Blue Note logo sign along with the circular cabinet, rests in front a sculpted piece of black steel. This piece of black painted steel is cut to appear as if it is the open top to a piano. Along the interior edge of the lid tubes of blue neon form a blue border. Between the piano top and the Blue Note logo, a horizontal steel grate serves as a divider as well as support for the blue channel letters. This entire section sits on a long horizontal ledge composed of a long polished steel section with a long LED message center just below that. Slightly recessed below the message center another width of overhang constructed of steel is painted to appear as if it is made of piano keys. Along the wall, just above the door, the pink channel letters read "Insomnia" with pink neon on the interior.
Sign - type of display: Neon
Sign - media: Steel; Fiberglass
Sign - non-neon treatments: Paint
Sign environment: Situated just east off the strip, down Harmon Avenue, the Blue Note is the only attraction in its immediate area. Even though it is part of the Aladdin complex, the closest property is the Harley Davidson Cafe on the south east corner of Harmon and Las Vegas Blvd At night, the property loses its Arabian Nights architecture emitting a sultry glow of neon. It is hard to miss, if a pedestrian peers down the street while traveling north or south, on the east side of the strip. During the day, the architecture helps to blend in the property to appear as it is, part of the Aladdin.
Sign manufacturer: YESCO
Sign - date of installation: 2000
Sign - thematic influences: The building itself is part of the actual Aladdin property, so the faced of the structure is themed in the manner of an ancient Persian city. It is an interesting juxtaposition for the sleek, modern finish and colors of the signage, with the organic facade of domed towers and stone facade. The Blue note signage is themed around the subject of music, specifically Jazz and Blues music. The blue hue of the neon, and the cabinet containing the crafted musical note are all evidence of this. The blade sign is thematically influenced by marquee building signs for theaters and music clubs from the first part of the century, specifically the forties and fifties. Such examples that utilized a similar designed blade sign were properties from the 1930's 40's and 50's such as The Boulder Club, The Pioneer Club, and the Las Vegas Club.
Surveyor: Joshua Cannaday
Survey - date completed: 2002
Sign keywords: Fascia; Neon; Steel; Fiberglass; Paint
Mixed Content
Biographical essay by Samuel Newman, 2014
Date
2014
Archival Collection
Description
Samuel Newman describes his experience during the Holocaust and being separated from his siblings at different orphanages. He was in Kyrgyzstan from 1943 to 1946, and at an orphanage in Poland until 1951. Newman trained in graphic arts and spent some time in the military in Israel. He came to the United States in 1968.
Text
Audio clip from interview with Glenn Tredwell, March 4, 2016 and April 14, 2016
Date
2016-03-04
2016-04-14
Archival Collection
Description
In this clip, Glenn Tredwell discusses how he came to Las Vegas, Nevada in 1975.
Sound
University of Nevada, Las Vegas (UNLV) 38th commencement program
Date
2001-12-01
Archival Collection
Description
Commencement program from University of Nevada, Las Vegas Commencement Programs and Graduation Lists (UA-00115).
Text
Diane Meireis oral history interview: transcript
Date
2017-11-06
Archival Collection
Description
Oral history interview with Diane Meireis conducted by Claytee D. White on November 06, 2017 for the Remembering 1 October Oral History Project. In this interview, Meireis discusses her experience at the 1 October shooting. She remembers hearing gunfire, the confusion in the crowd, and finding a safe place to hide. Meireis describes the collaboration of strangers, and feeling guilt for not being able to help others as she escaped the venue. Lastly, Meireis discusses her opinions of firearms.
Text
"Thanks": article draft by Roosevelt Fitzgerald
Date
1980 (year approximate) to 1995 (year approximate)
Archival Collection
Description
From the Roosevelt Fitzgerald Professional Papers (MS-01082) -- Drafts for the Las Vegas Sentinel Voice file. On the Thanksgiving holiday.
Text
