Oral history interview with Angela Castro conducted by Stefani Evans, Cecilia Winchell, Kristel Peralta, Vanessa Concepcion, and Ayrton Yamaguchi on November 05, 2020 for the Reflections: The Las Vegas Asian American and Pacific Islander Oral History Project. Castro begins the interview by talking about her early life, childhood, what Guam was like, and the history of her parents and grandparents. She describes the difference in public and private education in Guam and compares it to the United States. She explains the reason why she moved to Las Vegas, Nevada in 1998 and attended the University of Nevada, Las Vegas for public relations. Castro then talks about the differences between older and newer generations, the political atmosphere in Guam, and the differences between the United States and Guam in politics. She also talks about the discrimination she has experienced throughout her life and diversity in the workplace. Lastly, she describes her culture and traditions during holidays, the struggles with an absence of culture within her family, and her personal religious beliefs.
Oral history interview with Erica Mosca conducted by Cecilia Winchell, Stefani Evans, and Jerwin Tiu on February 3, 2023 for the Reflections: the Las Vegas Asian American and Pacific Islander Oral History Project. In this interview, Mosca reflects on her life journey from a low-income Asian American to a current serving Nevada State Assemblywoman. She recalls that most of her childhood was in Palm Springs, California where she enjoyed a diverse community of students within her education system. It was not until she moved to Navato, California where she first experienced the economic and resource gap between economically diverse areas. Mosca went on to be involved in a college readiness program and received a scholarship to Boston University. After college, Mosca went on to work for Teach for America where she was stationed on the east side of Las Vegas at Goldfarb Elementary School where she grew a passion for leadership. She eventually returned to school and graduated from Harvard University, returning to Las Vegas to start her nonprofit "Leaders in Training." Mosca hopes to inspire change in her communities by enacting legislation and initiatives targeted towards the communities she was and continutes to be a part of.
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.
The Jean Ford Photograph Collection (1964-1977) contains black-and-white photographic prints, contact sheets, and transparencies of Nevada politician and activist Jean Ford. The collection includes photographs of Jean Ford with the Nevada State Park Commission and various Nevadan politicians; Ford lecturing and campaigning; and of the 1977 National Women's Conference in Houston, Texas.
The Dorothy Dorothy papers (approximately 1913-1986) document the life of singer, songwriter, columnist, pilot, and farmer, Dorothy Dorothy. Materials contain genealogy records, correspondence, business and organizational records, local history, sheet music, artifacts, and two boxes of photographic prints. Also included are materials relating to her active involvement with animal rights campaigns.
The collection is comprised of records of the San Pedro, Los Angeles & Salt Lake Railroad Company (1901-1976). The construction of this railroad led to the founding of Las Vegas, Nevada and the creation of the Empire Construction Company and Las Vegas Land and Water Company. The records document the company's operations and include correspondence and contracts relating to lots in the Las Vegas townsite, payments and accounts, invoices and other audit materials from 1905 to 1923. The collection also includes the records of the railroad agent at Arden Station, located ten miles south of the Las Vegas Station, which contain correspondence, ledgers, freight and way bills, shipping orders, and telegrams.
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
The Nevada Desert Experience Records (1951-2009) are comprised of files from the anti-nuclear organization, the Nevada Desert Experience (NDE), as well as its predecessor, the Sagebrush Alliance, and those of earlier unincorporated protests at the Nevada Test Site (NTS). Materials include board of directors meeting minutes, financial records, scrapbooks, personnel records, event speeches, correspondence, newspaper clippings, cartoons and other artwork, newsletters, brochures, fliers, research files on nuclear issues and other anti-nuclear organizations, and congressional testimony. The records also contain audiovisual materials, photographic prints and slides, screenplays, manuscripts, and newspapers related to the NDE's media efforts.