Photos show Monte Carlo 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: Monte Carlo Resort and Casino (Las Vegas, Nev.) Site address: 3770 S Las Vegas Blvd Sign owner: Mandalay Resort Group (50%), MGM Mirage (50%)-Mandalay manages the property Sign details: The Monte Carlo is located on the west side of the strip just past the New York New York. The signage on the front of the Monte Carlo is limited, with the dominant honors going to the architectural aspects instead. The front facade is made to represent the classical architecture actually found in Monte Carlo. Giant patina fountains are flanked by sweeping staircases, where giant recessed arches and niches hold an abundant array of diversely positioned statuary. Sign condition: Structure 5 Surface 5 Lighting 5 Sign form: Pylon; Fascia Sign-specific description: Through the main arch behind the fountain, located on the south east corner, an entrance is guarded from above by black channel letters spelling "Monte Carlo" and filled with incandescent bulbs. This entrance faces southeast. The architecture continues with relief entablature upon fluted columns supporting Corinthian caps, and more statuary. Light posts adorn the sweeping walk in front of the property. Throughout the architecture you can see pools and fountains contained between arches and recessed into other area. Another entrance in the same fashion as the southeast entrance sits facing northeast. Another set of channel letters is set above these doors as well. Just north of the last entrance is the pylon for the Monte Carlo. The pylon fits into the category commonly seen at resorts such as The Mirage, or Luxor. Essentially a giant rectangle in its general silhouette, a multi leveled collection of signs are designated into geometrical planes by the use of classical architectural elements. The sign is at the north end of the Monte Carlo property and faces north/south, and is double sided. The bottom half of the structure is occupied by a tall arch, creating a pedestrian element, allowing passage through the sign. The two legs that flank the arch are created utilizing a pair of double columns supporting a series of crowned ledges supporting yet another architectural element of a pilaster. The resultant effect is two rather massive collections of elements creating the outer legs of columns, combined with pilasters, for the recessed borders of the impressive arch. Above the arch the cabinet rises up divided into two planes, one on top of the other, each holding a message cabinet with a pair of the square post as seen on the structure just below. It creates another pilaster from the front with rows of stacked columns on the structures width. The two arrangements are identical in structure and facade. The difference lies in the different types of display each on holds. The top is a back lit color advertisement currently for magician Lance Burton, while the bottom is an LED matrix screen . The top is an entablature crowned with sweeping overhangs, and containing the text Monte Carlo in black channel letters and filled with incandescent bulbs. The signage on the towers of the hotel are the repeated Monte Carlo logos in giant black channel letters, and filled with incandescent bulbs. On each face of each one of the wings Monte Carlo is spelled in it's trademark text, in black channel letters and filled with incandescent bulbs. Sign - type of display: Incandescent; Backlit Sign - media: Steel; Plastic Sign animation: Oscilllating Notes: The incandescent bulbs inside the channel letters oscillate, at the entrances on the building as well. Sign environment: The environment the Monte Carlo creates with its various forms of advertisement abruptly changes in aesthetic contrast to its southern companion and precursor to the northbound traveler. One minute the pedestrian is listening to the nasal audio streaming from the ESPN Zone loudspeakers, to the delicately ornate facade of the Monte Carlo's fountains and highly detailed statuary. Once you cross the drive it is not hard to be attracted the by classical architecture which serves its purpose of bringing in the patron with the limited space utilized for pedestrian passage across the front. I say limited, even though it is one of the more ornate and expansive ones, that is in comparison to its related properties of the Mirage and the Bellagio. The use of architecture makes the utmost use of this great strength of aesthetic by making it interactive for the pedestrian by allowing them to pass up close to the elements while entering the building or traversing the facade. The two giant wings on either end of the property act as arms to pull in people using swooping steps and large fountains. The signage is integrated into this environment, blending in nicely, in similar fashion as the previously mentioned examples. The oscillating incandescent bulbs can be found inside the channel letters, which is the most common animation seen in this type of signage in the other properties as well. Sign - date of installation: 1995 Sign - thematic influences: The Monte Carlo theme is that of an understated European elegance. Surveyor: Joshua Cannaday Survey - date completed: 2002 Sign keywords: Oscillating; Pylon; Fascia; Incandescent; Backlit; Steel; Plastic
The old stamp mill, location unknown. A stamp mill (or stamp battery or stamping mill) is a type of mill machine that crushes material by pounding rather than grinding, either for further processing or for extraction of metallic ores. Breaking material down is a type of unit operation. A stamp mill consists of a set of heavy steel (iron-shod wood in some cases) stamps, loosely held vertically in a frame, in which the stamps can slide up and down. They are lifted by cams on a horizontal rotating shaft. On modern mills, the cam is arranged to lift the stamp from the side, so that it causes the stamp to rotate. This evens the wear on the shoe at the foot of the stamp. As the cam moves from under the stamp, the stamp falls onto the ore below, crushing the rock, and the lifting process is repeated at the next pass of the cam. Each one frame and stamp set is sometimes called a "battery" or, confusingly, a "stamp" and mills are sometimes categorized by how many stamps they have, i.e. a "10 stamp mill" has 10 sets. They usually are arranged linearly, but when a mill is enlarged, a new line of them may be constructed rather than extending the line. Abandoned mill sites (as documented by industrial archaeologists) will usually have linear rows of foundation sets as their most prominent visible feature as the overall apparatus can exceed 20 feet in height, requiring large foundations. Stamps are usually arranged in sets of five. Some ore processing applications used large quantities of water so some stamp mills are located near natural or artificial bodies of water. For example, the Redridge Steel Dam was built to supply stamp mills with process water.
Oral history interview with Ashley Nitz conducted by Claytee D. White on February 6, 2018 for the Remembering 1 October Oral History Project. In this interview, Ashley Nitz discusses her experiences attending the 2017 Route 91 Harvest music festival in Las Vegas, Nevada with a friend. She talks about making the weekend of the event a "staycation", where she stayed with her friend at the Trump Hotel. Nitz goes into detail on the Route 91 Harvest festival venue and the events of that Sunday night when the shooting began. She speaks of the lockdown in the Tropicana Hotel and the support given there to all of the survivors, such as water and medical aid, as well as her journey home once the lockdown was lifted. The interview ends with a discussion on life after the shooting.
In this roundtable discussion video, members of Temple Beth Sholom discuss the history of the long-established congregation. Interviewees are Sandy Mallin, Oscar Goodman, Jared Shafer, Joel Goot, Arne Rosencrantz, Jerry Blut, Jackie Boiman, Gene Greenberg, and Flora Mason, with Shelley Berkley joining in later in the interview. Most of the interviewees have been involved in the leadership of the congregation. They discuss relationships with various rabbis over the years, and successful fundraising efforts to build the original synagogue. Other early leaders in the congregation were Edythe Katz-Yarchever, the Goot family, Stuart Mason, Herb Kaufman and Leo Wilner. Until the 1980s, Temple Beth Sholom was the only synagogue in Las Vegas, but after a dispute over the burial of a non-Jew, a new synagogue formed (Shareii Tefilla), and at nearly the same time, Temple Beth Sholom began investigating a move from their site on Oakey Boulevard. Most have nostalgia for the former location, but discuss the changes in the neighborhood that necessitated the move to Summerlin. Then they discuss the other initiatives that were borne out of Temple Beth Sholom, such as bond drives for Israel, B'nai B'rith, and the Kolod Center. They share other memories, and discuss the leadership and Sandy Mallin becoming the first female president of the temple. They credit Mallin with keeping the temple going through lean years, and helping to recruit Rabbi Felipe Goodman. The group goes on to mention other influential members of the Jewish community including Jack Entratter and Lloyd Katz, who helped integrate Las Vegas.
Collection is comprised of correspondence, speeches, essays, meeting minutes, photographs, research materials, publications, press clippings, awards, and event programs (1941-2011) that document the life of Henry Schuster, and his work with his wife Anita. Materials are mainly related to the Holocaust and to Holocaust memory and survivor organizations (especially the Holocaust Survivor's Group of Southern Nevada, which the couple founded, and L’Œuvre de Secours aux Enfants). Genealogical information is also included, as well as records of Henry Schuster’s time in the U.S. Army and his studies at the Manhattan Technical Institute.
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.