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Patricia Vazquez interview, November 14, 2018, June 14, 2019: transcript

Date

2018-11-14
2019-06-14

Description

Session 1: Interviewed by Marcela Rodriguez-Campo. Barbara Tabach also participates in the questioning. Session 2: Interviewed by Rodrigo Vazquez. Monserrath Hernandez also participates in the questioning. Patricia Vazquez was born and raised in Las Vegas, NV and shares her experiences growing up in the Valley as a Queer Latina. At a young age, she remembers traveling back and forth between Mexico and the U.S. to visit family. When she started school she shares how her home language, Spanish, became her family's "secret language" as she began to learn English. During elementary school Patricia was tracked into the special education program, and remove from the mainstream classroom. She would find her love for learning in books and libraries as she taught herself how to read in English. Despite being tracked into less advanced courses, Patricia would end up taking AP/ Honors courses in high school after forging her favorite teachers signature, which changed her educational trajectory. After coming out to her family, Patricia went nearly a decade distanced from her mother and continued her college education at Arizona State University. There, she would complete a bachelors in painting and a masters in comparative literature. Her work with the Chicano Studies program at ASU helped her develop her Chicana identity and begin her involvement in social activism. In Las Vegas, she worked to fight for marriage equality and LGBTQ rights with the American Civil Liberties Union , and later with the Progressive Leadership Alliance of Nevada. She also conducted several lectures for the Latino Youth Leadership Conference on sexuality, gender, and homophobia for over a decade. She has served as an English Professor at the College of Southern Nevada for the last 20 years and is an avid hiker, traveler, and painter.

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James L. Hogan interview, March 11, 1978: transcript

Date

1978-03-11

Description

On March 11, 1978, collector Patty L. Baratti interviewed James Hogan (born April 6th, 1909 in Winton Place, Ohio) at his home in Las Vegas, Nevada. In this interview, Hogan talks about his time working with the telephone company in Arizona and moving to Las Vegas, Nevada. He discusses his time working on grazing rights and cattle ranching in Nevada and how planning went to ensure that farms were able to have land to graze their animals. He speaks about dealing with farmers, corporations, and the government and the frustrations he had to deal with before there were set laws about grazing. He also discusses the change from mainly family farms in Nevada to corporations owning much of the farmland.

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Photographs of Greek Isles signs, Las Vegas (Nev.), 2002

Date

2002

Description

Daytime and nighttime views of the Greek Isles Hotel and Casino signs. Information about the sign is available in the Southern Nevada Neon Survey Data Sheet.
Site address: 305 Convention Center Dr
Sign owner: Mark IV Realty
Sign details: The property which is at the eastern end of Convention Center Dr., is one tower at the east end of the property, and is attached to a low-rise structure which reaches westward along the east side of Convention Center drive. Various signs adorn the facade of the Greek Isles including a small pylon sign, a porte- cochere and two wall/logo signs. The stucco surface of the front of the building is painted with images of rustic Mediterranean cottages, as well as the rising or setting sun image seen on the pylon as well.
Sign condition: Structure 5 Surface 5 Lighting 5 Notes: The signage for the Greek Isles is essentially brand new, with exception to the porte-cochere. The Porte cochere was left over from the previous establishment with a bit of standard upkeep.
Sign form: Pylon; Fascia; Porte-cochère
Sign-specific description: At the east end of Convention center Blvd The Greek Isles casino resides at the old site of establishments such as The Paddlewheel, and The Debbie Reynolds Hotel Casino. The signage consists a pylon sign, a porte- cochere and two wall signs. Located on the south side of the street, the signage is located in relatively small span of space along the north face of the establishment. At the western most end of the property, a section of the low rise structure radiuses outward creating a giant white, convex stucco canvass. A golden sunset has been painted on the entire surface of this rounded wall. A bright white round section represents it with the color blending from an intense yellow into a burnt orange on the top edge of the building. At the top of the wall along the surface, "Greek Isles is spelled in shallow blue channel letters, with each letter set upon a white cabinet which mimics the shape of the font. Incandescent bulbs fill each channel letter, surrounded by a border of blue neon. The text is very angular, also mimicking ancient Greek text and the text utilized in Caesar's Palace. Just below the text on the surface of the wall. A wall sign in the shape of a rectangle with scrolls on the either sides. The resultant effect is a two-dimension representation of an Ionic top of a column. The outer edge of the sign including the spiraling scrolls on either side is created with a narrow blue channel. Tubes of blue neon line the interior of this channel. The open rectangular space left in the banner of the sign reads "Hotel &Casino," in red channel letters, lined with red neon on the interiors. Further east on the surface of the building, the white stucco is treated with a mural of broken tile overhangs and open shutters. Column, and corbels are other elements represented in the mural of a Greek village. Another sign is located on the wall between the western most sign and the central Porte cochere. This sign is two parts. Pair of concrete columns support a cabinet, crafted in the same fashion as the secondary portion of the previously mentioned sign. The details of the scroll are created by gold raceways lined with incandescent bulbs. Painted in red , all capital, letters, the text "Restaurant &Lounge Show," lies horizontally across the white surface. Neon is crafted over the tops of the letters. Sitting on top of the cabinet is another set of channel letters. The shallow blue letters are filled with incandescent bulbs. The shadowing cabinet, behind the letters is painted gold. Blue neon borders each one of the letters. On either side of the text, three slightly arched rods angle out of the body of the faux scrolled cabinet. The rods are lined on the surface with one single tube of blue neon. A pair of gold, polished, doors lie underneath the sign between the columns. The main entrance of the building is underneath the porte-cochere, continuing east along the property. The surface of the awning is illuminated with lengthy backlit cabinets, lined on the top and the bottom with gold raceways lined with incandescent bulbs. Blue tubes of neon line the top and the bottom edges of the surface of the cabinet. The underside of the awning is divided in clear plastic covered recessed cubes, forming a grid over the surface. The interiors of the cubes are mirrored, and sloped to a point in the negative shape of a pyramid. The centers are adorned with incandescent bulbs. The borders that periodically broken up with polished, reflective panels of a bronze hue. The property continues east still, until a north/south drive separates the building from the pylon sign for the establishment. A pair of white painted steel poles are capped with a white cabinet, sculpted itself to add elements to the poles themselves. The left and right bottom edges of the cabinet are crafted to look lime the scrolled column capital, represented in the two logo wall signs on the east surface. The scrolls are created with blue paint, n the white surface, as well as the address painted in the center. The combination of the sculpted cabinet and supporting poles create a solid base for a giant black cabinet which housed a color LED message center. Atop the cabinet, another horizontal cabinet sits wider in length than the LED cabinet. The cabinet is crafted like the two wall signs as well, with bulbous radius ends, adorned on the surface and edges with the channel raceways creating the scroll shape. This channel is lined with blue neon. All capital, red channel letters, filled with red neon, reads "Hotel & Casino." A top this cabinet another sculpted cabinet hold the main logo text of the sign. The sign is crafted as a half circle, creating a cabinet with the entire outer edge being a single radius. The surface of the sign is painted in the same fashion the sunset mural on the east end of the building. The sign starts as a dark orange at the bottom and fades to a yellow at the top. The edge of the radius is interrupted by the main text. "Greek Isles" is spelled in the same fashion as all the other signs. The mimicking backing cabinets for the letters are painted white as well. The outer edge is also lined with gold polished raceways , and incandescent bulbs. The width of the sign from the LED cabinet on up is painted black
Sign - type of display: Neon; Incandescent
Sign - media: Steel
Sign - non-neon treatments: Graphics; Paint
Sign animation: none
Sign environment: The Greek Isles is on the unique street line of Convention Center drive. To the east there is a nightclub, a chain motel, The Las Vegas Hilton, and the transplanted Riviera pylon. To the west, on that side of the street, is a bank complex and the Casino Royal. Across the street the vast expanse of the Hilton Convention Centers parking lot, makes the Greek Isles seem much larger for it's relatively small set of signage.
Sign manufacturer: YESCO
Sign - date of installation: 2000
Sign - date of redesign/move: The Greek Isles signage is the same since its initial installation, but replaces other vestiges of the previous properties, most recently the Debbie Reynolds Hotel and Casino.
Sign - thematic influences: The theme of the property is quite evident in its name as well as in its facade. The exterior is made to appear with elements of a rustic Greek village utilizing a white stucco finish treated with mural designs of wooden shutters and other village amenities. On western end of the property, the large round, surface of the wall is treated with graphic paint representative to a rising or setting sun. This element also adds to the apparent ambiance of the serene village. The text for the property is crafted in the generalized angular style of the ancient Greek text, not that much dissimilar to the Caesar's Palace logo text. In fact they are almost identical in fashion.
Surveyor: Joshua Cannaday
Survey - date completed: 2002
Sign keywords: Pylon; Fascia; Porte-cochère; Neon; Incandescent; Steel; Graphics; Paint

Mixed Content

Transcript of interview with Christopher Phipps by Dennis McBride, November 6, 1998

Date

1998-11-06

Description

Christopher Phipps, attorney in Las Vegas discusses his life. Hailing from Honolulu, Hawaii, and his adventure that led him to Las Vegas, Nevada.

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Transcript of interview with Brian Cram by Stefani Evans and Claytee White, October 28, 2016

Date

2016-10-28

Archival Collection

Description

Throughout his career, former Clark County School District Superintendent (1989–2000) Brian Cram took his father's words to heart. He heard them repeatedly over the years as he watched and later, helped, his father clean classrooms at Robert E. Lake Elementary School: this place—the classroom—this is the most important place. Cram was born in Caliente, where his father worked on the railroad. In 1939, when Cram was a toddler, the family moved to Las Vegas and his father found work first as a sanitation engineer at a hospital, and then at CCSD as a custodian. The elder Cram, who spent his formative years in the Great Depression, prided himself on doing "good, honorable work" as a custodian, because the work—the classroom—mattered. Even so, he wanted more for his son. Cram largely ignored his father's advice during his four years at Las Vegas High School, where he ran with The Trimmers car club, wore a duck tail and a leather jacket, and copped an attitude. Cram's swagger, though, d

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Ricardo Torres-Cortez interview, May 7, 2019: transcript

Date

2019-05-07

Description

Interviewed by Barbara Tabach. Monserrath Hernández and Maribel Estrada Calderón also participate in the questioning. Born in Mexico, came to live in Las Vegas in 1985. Graduate of UNLV in Journalism and a reporter of Public Safety for the Las Vegas Sun. Ricardo covered the 1 October shooting, the killing of two police officers and other traumatic news of the community.

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Transcript of interview with Carl Ciliax by Gary Wood, March 8, 1980

Date

1980-03-08

Description

On March 8, 1980, Gary Wood interviewed Carl Ciliax (born 1941 in Las Vegas, Nevada) about his experiences living in Nevada. Ciliax first describes his family history, his early interests in wildlife, and his background and education in artwork. Ciliax then discusses his early experiences in hunting and his eventual interest in conservationism and preservation, including his involvement with organizations that sought the protection of desert bighorn sheep and the protection of wildlife in general. The two talk more about wildlife, the early development of Las Vegas, and the effects of the atomic testing. The interview concludes with Ciliax’s recollection of recreational activities and some of his thoughts on conservationism.

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