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Vassili Sulich Photographs

Identifier

PH-00353

Abstract

The Vassili Sulich Photographs depict dancer and choreographer Vassili Sulich from 1950 to 2011. The photographs primarily depict Sulich dancing in ballets in France, Croatia, Germany, England, and the United States. The photographs also depict ballets choreographed or directed by Sulich at the Nevada Dance Theatre, which he founded in 1972 in Las Vegas, Nevada.

Archival Collection

Meeting minutes for Consolidated Student Senate University of Nevada, Las Vegas, August 22, 1994

Date

1994-08-22

Description

Includes meeting agenda and minutes, along with additional information about student health fees and health advocate job description. CSUN Session 24 Meeting Minutes and Agendas.

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Transcript of interview with Alan Clancy by Su Kim Chung, by February 12, 2015

Date

2015-02-12

Description

Alan Clancy grew up in Sydney, Australia, the second son of famous ballroom-dancing parents. He recalls that he had incredible energy as a child, and, therefore, his parents enrolled him in the Shirley de Paul Studio to learn gymnastics, tap, ballet, and jazz. He also became a soprano singer. This training did well for him for as he went through high school he won trophies in sports and participated in musical productions. Eventually, because of a neighboring friend, Kay Dickerson, Alan moved to the Rudas Acrobatic Studio where he received further training and eventually contracted with Tibor Rudas to participate in an entertainment group called “The Las Vegas Dancers”. He was only seventeen when the group boarded a ship for Hong Kong in an enterprise which would eventually allow the dancers to entertain around the world for approximately two and a half years. When the group returned, Alan auditioned for the Tommy Leonetti television show and then for Les Girls in Sydney. Eventually Tibor Rudas appeared with a contract for Alan, when he had just turned twenty-one, to fly to Las Vegas to work in the Folies Bergere at the Tropicana Hotel and Casino. When he arrived in Las Vegas, he was surprised at the size of the city and the hotels but was overly impressed by the neon signs, the showrooms with their nude dancers, the costuming, magnificent sets, the choreography, and the dress of the patrons. He remembers his first night performing in the Folies and the amount of stars in the audience, for example, Elvis Presley, Liberace, and Zsa Zsa Gabor. Alan goes on to describe the many people that he met in Las Vegas, working in various shows, and the many friendships made over the years. However, he eventually became interested in opening his own vintage clothing store, Vintage Madness, near the Strip. He talks about his many customers, the stores around him, his creative ways of acquiring items to sell and the success that was made. Unfortunately, during the middle of one night the store burned to the ground which left Alan devastated. Eventually, however, he purchased three buildings on Fourth Street and opened an art gallery, a coffee shop, and a small stage. His mercantile interest allowed him to leave show business and briefly open a store in Laguna Beach, Southern California. It wasn’t long until Barclay Shaw asked him to work in “Splash” at the Riviera Hotel in Vegas and, therefore, he returned to show business. However, Shaw, his friend, died and so did his mother and he lost interest in his stores, renting them out. Consequently, he returned to live in California and began working with Aids patients. Alan returned to Las Vegas for the reunion of the cast of Folies Bergere and noticed the many changes made in Las Vegas from when he first arrived to perform at the Tropicana Hotel.

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Transcript of interview with Bruce Layne by Claytee D. White, June 18, 2004

Date

2004-06-18

Description

Bruce Layne came to Las Vegas in March of 1955 when he was 10 years of age. He attended High school at Bishop Gorman and college at the University of Nevada Las Vegas where he received a B.S. in Economics. In college, he played baseball for three years and was named All Conference Player in 1966. Growing up in Las Vegas, two of his closest long time friends are Governor Bob Miller and Tito Tiberti. Bruce later went on to become the President of Layne & Associates Insurance which was the largest Insurance Agency in Nevada. Bruce tells fabulous stories of his 40-year experience in the Las Vegas community. When he first arrived there were only about 25,000 people living here. Since then, Bruce has been witness to the enormous growth the city has undergone. Throughout the interview, he discusses his book, My Gift, which he wrote after he discovered he had Parkinson's disease in 1999. The book contains valuable advice on life and it has touched the lives of many people who have read it. Today Bruce Layne is relentlessly fighting his battle with Parkinson's disease both for himself and for thousands of others. He continues to have a positive attitude and is supported by his wife, Sherry Layne, and his two sons, Chad and Trevor. VI

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Yvanna Cancela oral history interview: transcript

Date

2020-02-27

Description

Oral history interview with Yvanna Cancela conducted by Monserrath Hernández and Barbara Tabach on February 27, 2020 for the Latinx Voices of Southern Nevada Oral History Project. Yvanna Cancela, Nevada State Senator, discusses her personal history growing up in Miami, Florida and her studies at Northwestern University. She talks of working for Senator Harry Reid's campaign in Las Vegas, which led to her organizing efforts for the Culinary Workers Union Local 226. Yvanna recalls being appointed to the Nevada State Senate in 2016 as the first female state senate majority. In addition to fulfilling her duties as the Co-Majority Whip, she worked on the Joe Biden campaign and is the Executive Director of the Citizenship Project. After this interview was conducted, Yvanna received her Juris Doctorate from the William S. Boyd School of Law at the University of Nevada, Las Vegas. Subjects discussed include: Miami, Florida; Nevada State Senate; The Citizenship Project.

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Dr. Alvaro Vergara-Mery oral history interview: transcript

Date

2020-10-28

Description

Oral history interview with Dr. Alvaro Vergara-Mery conducted by Barbara Tabach on October 28, 2020 for the Latinx Voices of Southern Nevada Oral History Project. Alvaro discusses his personal history and his upbringing in both Chile and the United Kingdom before immigrating to the United States; due to political unrest in Chile, he moved to the U.K. where his mother was born before attending university in the United States. Alvaro talks about his work as a medical interpreter for University Medical Center (UMC) as well as his college teaching experience at University of Nevada Las Vegas and California State Berkley.

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JMA Architecture Studio Records

Identifier

MS-00783

Abstract

The JMA Architecture Studio Records are comprised of architectural records (1953-2002) created by the American architect Jack Miller and/or his architectural firm, known as both Jack Miller & Associates, Architects, & Engineers, Inc and JMA Architects, Inc. This collection includes 30.25 linear feet of materials documenting work on over 250 projects. The collection focuses on Las Vegas and Reno, Nevada. The materials feature photographs of the firm’s projects and hand-drawn architectural drawings, ranging from pencil and ink on tracing paper preliminary sketches to ink on Mylar (TM) construction documents. The drawings also contain work from a number of consultants, engineers, and other architects who collaborated on the development of the various projects. The collection includes architectural drawings for hotels, casinos, integrated casino resorts, office towers, multi-family residential developments, and custom single-family homes.

Archival Collection

Meeting minutes for Consolidated Student Senate, University of Nevada, Las Vegas, September 11, 2001

Date

2001-09-11

Description

Includes meeting agenda, along with additional information about resolutions, bylaws, and Homecomming. Meeting itself was canceled dued to the tragic events of September 11, 2001. CSUN Session 31 (Part 2) Meeting Minutes and Agendas.

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

Date

2002
2017-08-15

Description

Photos show Luxor 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: Luxor (Las Vegas, Nev.)
Site address: 3900 S Las Vegas Blvd
Sign owner: Mandalay Resort Group
Sign details: The giant black, glass, pyramid rises out of the desert as certainly one of the most unique structures. The pyramid is also accompanied by a monolithic, heavily geometric structure, finished in the same black, panels of windows. Just to the north. The front of the property is dominated by an array or Egyptian architectural landmarks such as an giant obelisk, the Sphinx, various statues of Egyptian gods and pharaohs line the multi tiered expanse of concrete and stucco. The property is pedestrian interactive, being able to pass underneath the giant obelisk, and through and beneath the giant Sphinx. The feel produced by area is appropriate for the desert environment.
Sign condition: Structure 5 Surface 5 Lighting 5
Sign form: Pylon; Fascia; Porte-cochère
Sign-specific description: On the expanse of concrete in front of Las Vegas Blvd, just north of the obelisk, a double-sided pylon sign joins the ancient composition. The pylon actually is more akin to the pylons seen at properties such as the Monte Carlo or the Mirage. It is located in the northern portion of the property on the west side of the strip-facing northwest along Las Vegas Blvd Two square posts support a two-sided square cabinet which houses a back lit advertisement and a set of crafted letters spelling the name of the establishment. Occupying the upper portion of the space between the legs another internally lit, two sided, cabinet, atop a small pair of internally lit sculpted cabinets. From a distance the cabinets look like thumbs holding up the cabinet. The shapes are graphically treated on the surfaces to look like colorful recreations of a hieroglyphic bird, the wings being the elongated portion of the cabinet. The only art attached to the cabinet is the portion designated for the head of the creature. Three sets of sculpted cornices, create borders for the different planes. The bases of the legs are treated with the ledging, the section separating the top cabinet, from the rest of the sign, and finally another set around the top crowning edge of the sign. Both sides of the top edge have a sculpted element in the very center. A flat circle, presumably a representation of the sun, flanked by two snakes are set on a pair of large wings spreading to either side. This element is ambiently lit from underneath. The text, which spells "Luxor," is composed of polished gold channel letters, with closed faces with graphic treatments in blue upon the faces. The faces are painted to appear if the letters are faceted into three dimensions. They are lit from behind with whit neon creating a halo effect around the letters. The surface of the actual structure is finished to appear as if it is constructed of limestone, utilizing false joints and seams. The south end of the property close to the street is the four-sided obelisk. The text on the obelisk is the same word treated in the same fashion, structurally and aesthetically, as the pylon sign. The only difference is that it reads vertically from top to bottom. Statuary adorn the base of the obelisk in a repeating pattern as well as it being covered in hieroglyphic patterns. A tunnel allows for the pedestrian to pass underneath the obelisk. The porte cochere is located underneath the body of the Sphinx, another use of the architecture to incorporate the pedestrian element. If you head east through the sphinx, a tunnel opens up into a small courtyard where a shuttle bus may be caught. The ceiling of the porte cochere is adorned with a circular chandelier, composed of metal representations of leafy branches radiating around a rounded center. The ends of the arms hold length-wise half cylinder lamps. The ceiling above is painted blue. The most spectacular element of the Luxor is its super powerful light in the place of the capstone at the very peak. The beam is one of the most powerful lights in the world, and can be seen from high above into the earth's atmosphere as well. The edges of the pyramid are also raceways, which can be seen in action in the dark. An animation of bulbs makes it appear as if a single bulb of light streams up the base to the very peak. The animation runs at an interval of every couple of seconds. On the very south edge of the property, actually on the southeast corner, is a sculpted, small pylon which houses a color led screen.
Sign - type of display: Neon
Sign - media: Steel; Masonry
Sign - non-neon treatments: Plaster
Sign animation: Chasing
Sign environment: Standing next to the Mandalay Bay on the west side of the southern end of Las Vegas Blvd, the Luxor's front exterior is a sprawling mass of smooth vertical planes turning into eloquent statue and stucco walls. They are interlaced with drives and signage complete with a platform at the base of the Sphinx, which is just east of where the valet and porte cochere are grounded in the base of the beasts belly. From the edge of a Platform a tram station is located and also a view of the signage can be seen as well. The Luxor's environment is a very pedestrian one as well. Being in an isolated part of the strip, the noise clutter brought about by the surging traffic is considerably better than the heart of the strip.
Sign designer: Veldon Simpson
Sign - thematic influences: The theme of the Luxor is obviously that of ancient Egypt. The Ancient Egyptian imagery is placed among the same images but represented in the shiny black glass, giving a touch of future meets the past. The image seen are some of the most commonly seen images when talking about the Ancient Egyptian culture. The Sphinx stands guard at the base of the giant black pyramid, one sign is attached to an obelisk. Various statuary adorn the entire plaza. The environment created with the motif obviously fits into the desert like dust, but still retains the surreal nature associated with the themed hotel. The aesthetics appear to be fantastic, but are a bit odd due to the arrangements and limitations on space. It does however fir into an interesting sub category of resort that is themed around a culture. Yes it is themed around a city, but the culture shines through with more dominance. Another example of this is the Imperial Palace. It is not necessarily themed after a particular city, but the architecture and imagery suggests the Asian culture.
Surveyor: Joshua Cannaday
Survey - date completed: 2002
Sign keywords: Chasing; Pylon; Fascia; Porte-cochère; Neon; Steel; Masonry; Plaster

Mixed Content

"Black History: Lost Stolen or Strayed -- Twenty Years Later": article draft by Roosevelt Fitzgerald

Date

1988 (year approximate)

Description

From the Roosevelt Fitzgerald Professional Papers (MS-01082) -- Drafts for the Las Vegas Sentinel Voice file. On Black reality not significantly improved 20 years later.

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