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

Date

2002
2017-08-15

Description

Photos show Mirage signs during the daytime. 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: Mirage (Las Vegas, Nev.)
Site address: 3400 S Las Vegas Blvd
Sign owner: MGM Mirage
Sign details: The main attraction of the property is its spectacular exploding volcano placed among an astounding array of lagoons, waterfalls and palm trees. One of the themed hotel casinos, the architectural form takes precedence over an abundance of flashing lights and neon. Two pylon signs reside on the front of the property along Las Vegas Blvd, another on the west side of the property, two arched banner entrances are placed among them, lettering atop the towers, and various text placed among the vast stretch of landscaping are the only visible large elements of signage.
Sign condition: Structure 5 Surface 5 Lighting 5 The structure and lighting on the signs are in excellent repair, with no apparent major physical damage. The surfaces of the pylons and assorted log text, are a bit dirty, but no more than any other establishment, considering the punishment each must undergo due to the elements as well as the live volcano.
Sign form: Pylon; Fascia; Porte-cochère
Sign-specific description: Just north of Caesars Palace a giant pylon sign faces north/south, on the east side of the strip. Two giant square posts support a giant backlit advertisement panel, and an adorning entablature containing the channel letters spelling "Mirage." Between the two giant legs two cabinets are present to fill the space. Just below the main backlit panel an LED screen resides just above another back lit panel. The two giant legs have a series of polished metallic panels running vertically up the sides, creating a recessed channel. The sections are separated with slight overhangs. The bottom smaller panel cabinet is an advertisement for "Danny Gans" and the main panel advertises for the "Seigfried and Roy" magic show. A small banner rests between the main entablature, and the panel, reading "Magicians of the Century." The black channel letters in the main pediment spells "The Mirage," and are filled with incandescent bulbs. The lush foliage and walkways continue north where a covered awning faced with a carved wood and brass bullnose, allows pedestrians to take a moving walkway up to the resort. The landscaping continues north where it meets a driveway denoted by a low arched banner supported by a pair of square columns on either end. "The Mirage" is spelled in polished gold channel letters, with white interiors and filled with incandescent bulbs. The banner itself is sculpted into two sweeping solid shapes on the tops and bottoms, with a series of folded ribbon like scroll shapes. The center section is crafted as to allow light to pass through the negative spaces created by the rows of positive scroll shapes. The banners face east. On the faces of each of the flanking posts, two images of jumping dolphins are sculpted and finished in the same fashion. Past the gateway the thick beds of foliage and palm trees can be seen headed back along the drives. Continuing north a multi tiered lagoon rushes circulating water on and over waterfalls, while yet more green shrubbery and palm trees encrust islands and images of eroded rocks and geological formations. The beautiful imagery continues north, twisting and turning in and behind itself to create a fantastic spectacle for a passerby to be lured in and be fascinated. Approximately in the middle of the length of the expanse, the famous functioning volcano rests quietly amongst smaller rocks and waterfalls. Just past the volcano the lagoon opens up into a wide flat area of water where bronze dolphins are positioned to look as if they are jumping out of the water. Still the rich foliage dominates the landscape, until another arched gateway interrupts the expanse to allow traffic. The foliage, and lagoon landscaping, picks up again, cozily grasping the base of a smaller pylon of similar design as the first. The two reflective paneled legs rise up to connect with a horizontal piece of the same design. A large backlit cabinet advertising for Danny Gans occupies approximately three-quarters of the space between the legs. An entablature of the same design as the main pylon, yet smaller, crowns the top of the sign. The trademark font spells "The Mirage" in black channel letters and filled with incandescent bulbs. Just past the small double sided pylon, a small of recess of rocks plays home to the end marker of the Mirage. A bust of Siegfried and Roy with a tiger is ambiently lit, provided photo opportunities for tourists. An interesting function has been added to the bust. In the flower bed behind and on the sides of the object, faux boulders are places with glowing crystals protruding from the surface. The tower of rooms for the Mirage is the popular three winged "Y" configuration converging onto a center structure. On each face of each wing, giant black channel letters spell "The Mirage" in their trademark text. Each is filled with incandescent bulbs.
Sign - type of display: Neon; Incandescent; Backlit
Sign - media: Steel; Plastic
Sign animation: Oscillating
Notes: The incandescent bulbs located within text logos on the pylon sign, and upon the tower oscillate to appear as shimmering. The effect is one of the more common animations particularly among the larger, corporate casinos.
Sign environment: The placement of the Mirage right on the curve of the Strip makes the pylons visible from a good distance from either direction. The environment displayed by the mirage is that of paradise. When walking past, and up to the property, it hard not to stop and stare at the amazing foliage and spread of waterfalls, and rocks.
Sign manufacturer: Ad-Art
Sign designer: Pylons: Charles Barnard with touches from Wynn's design group Atlandia Design Group. Dolphin Archways: Barnard and Jack Dubois as well as hotel architect, Joel Bergman
Sign - date of installation: 1989
Sign - date of redesign/move: The main pylon has since been updated with a new Siegfried and Roy Back lit Mural, a new LED screen, and another back lit plastic screen featuring Danny Gans. An internally lit banner reads horizontally across the top of the giant Siegfried and Roy Mural which reads Magicians of the Century.
Sign - thematic influences: The theme is tropical island paradise. Complete with active volcano, the front spectacle of rushing waterfalls, chirping bird noises, and leaping bronze dolphins, serves as the backdrop for the simple, slim design of the property's pylon structure. The pylons were designed to reach harmony with the structure of the tower itself, rather than the island theme. The dolphins over the entrance arches however represent the tropical island theme, as well as speaking about the dolphin habitat inside.
Sign - artistic significance: The main pylon was the first of its kind to feature a full color illuminated photographic pictoral. Designed by Rosco, it was billed as the largest of its type in the world. The resort's themed spectacular was also the first of it's kind in regards to its extravagance and unique functionality. Approximate 125,000 people visited the property on its opening day. The resort fits well into the theme of design of the large, corporate property, after all it was one of the pioneers of such a movement in Las Vegas. The Mirage also set the standards for the now frequently seen element of the attraction spectacle, and the standard of quality on the Las Vegas Strip
Surveyor: Joshua Cannaday
Survey - date completed: 2002
Sign keywords: Oscillating; Pylon; Fascia; Porte-cochère; Neon; Incandescent; Backlit; Steel; Plastic

Mixed Content

Photographs of Bourbon Street signs, Las Vegas (Nev.), 2002

Date

2002

Description

Nighttime views of the Bourbon Street Hotel and Casino signs. Information about the sign is available in the Southern Nevada Neon Survey Data Sheet.
Site address: 120 E Flamingo Rd
Sign owner: Carma LTD
Sign details: Bourbon Street is located between the Maxim and the Barbary Coast on the north side of Flamingo, stretching to the corner of Audrie and Flamingo. The building contains elements such as brick masonry, stucco and wrought iron grating. It is a smaller property compared to nearby plots such as Bally's or the Flamingo. Extending north a short distance for a structure of rooms and parking, the signage consists of wall signs on the east and west sides of the building, a main sign on the south side of the building, a sidewalk and window canopies, as well as a main pylon.
Sign condition: Structure 3 Surface 3 Lighting 3--notes: The entire facade of the building, as well as canopies are badly faded and in need of attention.
Sign form: Pylon; Fascia; Porte-cochère
Sign-specific description: Headed west on Flamingo the first signage visible of the Bourbon Street is on the east face of the main building. A giant stucco arch, which runs the height of the building, is adorned at the very top with a round canopy. The canopy is divided into striped sections of red and white alternating panels, separated by gold aluminum polished raceways lined with incandescent bulbs. The canopy's underside is laden with incandescent bulbs. White channel letters reside on the surface of the building spelling out " Bourbon Street," with one word above the other. The letters are filled with white neon. Below the word "Street," the words "Hotel Casino," are spelled in channel letters and filled with red neon. Below the collection of channel letters and canopy, the majority of the space is occupied with an internally lit plastic screen with vinyl letters. Two small canopies flank the arch over two windows and also contain incandescent bulb raceways. The top edge of the building is gold polished raceways with incandescent bulbs. Along the south side of the building, long canopies are hung upon the top edge of the wall hanging over backlit plastic screens with vinyl letters. The middle of the building is an archway projected out into space creating an extension of the side of the building. The same canopy design seen on the east side of the building is seen at the top of the structure only larger in size. It is also treated with the same raceway and incandescent bulb design. "Bourbon Street" is spelled in al capital channel letters outlined in red neon and filled with incandescent bulbs. Above and below the text on the wall, white neon is bent into decorative, scrollwork patterns. The very top of the arch is crowned with a single internally lit spherical bulb. Below the text a cabinet with rounded top corners, houses channel letters filled with red neon. It is bordered with a raceway lined with incandescent bulbs. Projecting out on either side of this cabinet, along the face of the building, hanging over the sidewalk, is a canopy with an exoskeleton of raceways lined with incandescent bulbs. On the wall of the building, between the two top and bottom canopies, and on either side of the main entrance two small canopies hang over windows. They are treated the same as the window canopies on the east side of the building. On the west end of the property there is a small porte-cochere, and covered walkway that extends west to the end of the property. At a slightly higher elevation than the facade's canopy, the porte-cochere is a square design with the same external raceways and bulbs, the same can be said for the walkway extending to the edge of the property. The canopies look to be made of steel and painted to match the color scheme of the establishment. The underside of the porte-cochere is comprised of squared mirrored paneling illuminated with incandescent bulbs. On the west side of the building above the porte-cochere the same canopy and arch design can be seen but the text is more akin to the text on the south side of the building. The channel letters spell the text Bourbon Street in two lines. They are outlined in red neon and filled with incandescent bulbs. The text "Hotel Casino" is represented in channel letters filled with red neon. The only difference is the yellow neon design placed in between the two words. To the left of this sign, along the top edge of the building the canopy design picks up again hovering above a backlit sign message board. On the extreme west end of the property the main pylon sign faces east/west on the northeast corner. The sign basically consists of a large pole with a double-backed cabinet, crowned with the umbrella canopy shape seen throughout the property. The cabinet is of rectangular design with the corners cut out in a circular shape. The majority of the sign is occupied by the red neon bordered channel letters, which read "Bourbon Street". These are also filled with incandescent bulbs. The text "Hotel Casino" is spelled in channel letters and outlined on the interior with red neon. The left and right sides of the word "Street" are occupied with a channel scrollwork design lined with yellow neon. A channel pattern also separates the words "Hotel" and "Casino" This patterns appears to be like a flier de lie with its mirror image attached to it from the bottom. It too is filled with yellow neon. The face of the cabinet is lined with a raceway containing incandescent bulbs. The umbrella canopy occupies the top of the sign. It is fully realized in the round, with the exterior skeleton of the raceways with incandescent bulbs. The underside is also mirrored with incandescent bulbs spread across the surface. At the very top of the umbrella shape a streetlight puts the finishing touches on the sign. A small sign worth mentioning sits north of the main pylon at the edge of a small parking lot for the facility. It is a small back-lit cabinet denoting hotel registration and parking. The rectangular cabinet sits upon a small pole with a rounded section incorporated into its design. On the plastic portion of this rounded extension the words "Bourbon Street" are graphically painted along with the image of the red and white canopy.
Sign - type of display: Neon; Incandescent; Backlit
Sign - media: Steel; Fiberglass; Glass
Sign - non-neon treatments: Paint
Sign animation: Oscillating, chasing
Notes: All the incandescent bulbs on the raceways that are visible, chase each from other top to bottom. The incandescent bulbs, which line the raceways on the umbrella shape on the main pylon, chase each other downward as well as around the border of the face of the sign. The underside of the umbrella is also encrusted with incandescent bulbs, which oscillate. The text on the pylon sign all light up simultaneously in an oscillating pattern, they then steady burn, then shut off. The main logo marquee seen on the south face of the building contains the same animation seen on the pylon sign as well. The small vertical raceways underneath the porte cochere also animate by chasing downward.
Sign environment: Headed west toward the strip on Flamingo, the defunct Maxim is almost invisible at night, while the first active property is the Bourbon Street. The main pylon resides directly across Audrie from the Battista's pylon, making a flanking neon gateway to northern bound travelers on Audrie.
Sign manufacturer: YESCO
Sign - date of installation: 1984-05
Sign - thematic influences: The theme of the Bourbon Street is evident in its name being influenced by the Mardi Gras party atmosphere of New Orleans. The new Orleans theme itself is reminiscent of turn of the century America. The canopies and brass railing are reminiscent of properties such as the Westward Ho, with its umbrellas, brass treatments and raceways as well. The pylon is reminiscent of a close neighbor in the Barbary Coast, with similar style 19th century block text, and color palette.
Surveyor: Joshua Cannaday
Survey - date completed: 2002
Sign keywords: Oscillating; Chasing; Pylon; Fascia; Porte-cochère; Neon; Incandescent; Backlit; Steel; Fiberglass; Glass; Paint

Mixed Content

Transcript of interview with Danny Lee by Claytee White and Stefani Evans, May 23, 2016

Date

2016-05-23

Description

Folks who graduated Boulder City High School in 1953 and who began kindergarten there might remember being in kindergarten class with Clark D. "Danny" Lee. They would be excused for not remembering the towheaded Lee; after all, he was in Boulder City only for the first half of the year. They also would be excused for not remembering Lee because he never stayed in school once he arrived. Danny was the child whose mother faithfully brought him to class every day. And every day, as soon as his mother dropped him off, he took off and beat his mother home. Danny Lee was born in his grandparents’ house in North Las Vegas, grew up on 10 Bonneville Street, and (except for his first semester of kindergarten in Boulder City) attended Fifth Street Elementary School and Las Vegas High School, where he graduated in 1953 with Rex Bell. In 1960 he married fellow Las Vegas High grad and former Rhythmette, Dorothy Damron; they have raised four children. Here, Lee talks about the difficulties his father had finding work and supporting a family during the Great Depression-of living with relatives and moving from place to place in the small travel trailer as his father found work. He describes a hardscrabble Las Vegas, where he and other kids in in multiethnic groups found temporary work helping drovers in the stockyards or filling blocks of ice in the icehouse. He recalls working for Superior Tire during high school and for the Union Pacific Railroad in a variety of jobs after graduation and the U.S. Army-including a stint as a Union Pacific tour director. v Lee’s early kindergarten career seems an unlikely academic indicator for a man who would spend most of his adult life volunteering for and lobbying on behalf of Clark County public libraries and who the American Library Association would select as the 1990 Library Trustee of the Year. Ironically, Lee was asked to serve on the Clark County Library District board of directors to get rid of a troublesome library director. Instead, he became one of the director’s staunchest advocates. It is appropriate that Danny and his wife, Dorothy, are pictured here surrounded by library books. The native Las Vegan built a lifetime career as a State Farm Insurance salesman, but in this interview he focuses on his public library advocacy, his time as trustee for the Clark County Library District; the formation of the Las Vegas-Clark County Library District; the ambitious building program funded by $80 million in voter-approved statewide bonds; and the political wrangling in Carson City necessary to achieve these ends. Lee’s oral history complements that of his wife, Dorothy Lee, and of Charles Hunsberger, who was the “troublesome” library director at the time Lee was trustee. Lee made his living as an insurance salesman. Lee’s ability to sell a product-whether it be insurance or an $80 million bond issue-is the attribute that made Danny Lee so valuable as a trustee to the Las Vegas-Clark County Library District and consequently, to all Clark County residents who value public library services. However, his passion, and dedication, and unbowed determination earned him the Library Trustee of the Year award. As Lee closes the interview, he locks eyes with Dorothy and muses, "Let me tell you what I'm most proud of in all . . . I've been married to this lady for fifty six years now. . . . I've lived a very blessed life. Being born in my grandmother's house and having lived in little travel trailers, it's just good. It's worked. We're living like we've always wanted to live right now."

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Steve Jones and Bart Jones interview, Novermber 7, 2016: transcript

Date

2016-11-07

Description

Brothers Steve and Bart Jones live and breathe Las Vegas history. Their grandparents, Burley and Arlie Jones, arrived in Las Vegas in the nineteen-teens; their father, Herb Jones; his sister, Florence Lee Jones Cahlan, and their uncle, Cliff Jones, helped form the legal, journalistic, and water policy framework that sustains Southern Nevada today. The Jones brothers build on that foundation through their custom home-building company, Merlin Construction. In this interview, they talk about living and growing up in Las Vegas, of attending John S. Park Elementary School, of hunting in the desert, of their family's commitment to cultural and racial diversity, and of accompanying their grandfather to his business at the Ranch Market in the Westside. They share their early work experiences lifeguarding and later, dealing, at local casinos as well as second-hand memories of the Kefauver trials through the tales told by their father and uncle. Steve describes mentor Audie Coker; he explains

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Elissa Miller interview, March 3, 1980: transcript

Date

1980-03-03

Description

On March 3, 1980, Frank Fusco interviewed Elissa Miller (born October 29th, 1935 in San Francisco, California) at the University of Nevada, Las Vegas. In this interview, Mrs. Miller talks about her life in Virginia City and Reno, Nevada. She discusses the growth in Reno and the problems that came from that. She also speaks about living life in Virginia City, a much smaller town in Nevada. She talks about the people who live and work there, as well as some of the things the town is known for, such as the International Camel and Ostrich Races that are held annually.

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Transcript of interview with Tom Wright by Claytee White, February 14, 2005

Date

2005-12-14

Archival Collection

Description

Dr. Tom Wright was born and grew up in Illinois. His father finished his PhD in Chicago and then taught at Illinois College in Jacksonville. His mother suffered from arthritis and was told to seek a warmer climate, so John Wright packed up his family and moved to Las Vegas. Tom was 14, ready for high school, and his two brothers were elementary school age. Tom attended Las Vegas High School, which was close to the Crestwood community where the family had purchased their first home. He remembers that UNLV had no buildings when his dad first started teaching there. Instead, he conducted class in high school classrooms and church Sunday school rooms. Dr. Wright started off at a community college as a Geology Major, but a class with Bud Poland convinced him that history was his passion. He transferred to Pomona to continue his bachelor's degree. He spent his junior year in Peru on a study-abroad program, and that experience made him a Latin Americanist. The information he gath

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Transcript of interview with Judy Jetter by Lisa Gioia-Acres, September 10, 2008

Date

2008-09-10

Description

Judy Jetter, a devout jazz music enthusiast, was born in a Chicago suburb in 1939. At the age of three, Judy began taking acting as well as tap and ballet classes. While raised by her mother until age 15 Judy was forced to study opera even though jazz music was her passion. Her first introduction to jazz came while listening to, legendary jazz great, Woody Herman on the radio. Judy developed an instant appreciation and love for jazz music. While working as a commercial actress during her childhood - Super Circus and Peter Pan peanut butter - Judy experienced live performances by the Stan Kenton Orchestra and was completely amazed. After graduation Judy was married and gave birth to her son. She worked for a movie studio in Chicago doing various jobs such as cleaning the stage, typing scripts, model work, and even playing the role of housewife. Later Judy went to college and earned a degree in psychology, which led to a job as a therapist. However, after remarrying to Bill Jetter, Judy switched careers and soon became an exercise instructor at the YMCA. There she cultivated her passion for working with people who suffered from disabilities. In particular, Judy developed a water regiment specifically designed for people with disabilities. Judy would go on to share her experiences in this field in two subsequent book publications. Unfortunately Judy's husband passed away with cancer. However, Judy found refuge and support from a group of jazz enthusiasts. Alongside her cadre, Judy began really studying how to listen to music. She moved to Las Vegas in 1992 and can often be found at different jazz venues throughout the city. She enjoys the local jazz scene in Las Vegas and making her weekly rounds to take-in Big Band and jazz singers such as Jobell and Terri James, as well as going to see Bruce Harper playing at Bugsy's, and the talented Gus Mancuso performing at the Bootlegger. Judy believes that music, like everything else, has evolved and will continue to mature; however, jazz musicians such as Louis Armstrong still remain as the foremost contributors in the long history of jazz music. Her hope is that music and the arts will continue to be offered through education to allow the next generation another "dimension to not only their education but their soul."

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Transcript of interview with Linda Lintner by Claytee White, February 12, 2013

Date

2013-02-12

Description

The daughter of a soldier, Linda Lintner and her mother traveled from North Carolina to Overton, Nevada to stay with Linda's grandparents when she was only six weeks old. After her father joined the family, they moved to Las Vegas where both her mother and her father started working at the Post Office. Linda attended local elementary and middle schools in the valley, and in due time, Rancho High School. In this interview, Linda shares not only her memories of growing up in Las Vegas but also fascinating stories about the almost decade long round the world sailing journey that she and her second husband began in 1986. In the course of the decade, Linda became a qualified diver, and expert sailor, and developed a lasting appreciation for the world, its oceans - and the skills you learn when you live on a boat with one other person for so very long. Since their return, Linda has been keeping busy, volunteering many hours with local veterans homes and the church - we are fortunate that she was able to spend time with our interviewer, too, to share her memories of growing up in Las Vegas.

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Transcript of interview with Tony Scodwell by Lisa Gioia-Acres, September 29, 2008

Date

2008-09-29

Description

Tony was born the only son of the only son in Beloit, Wisconsin. Following his parents divorce when he was 12, he and his father went to live with his grandparents who, he admits, spoiled him. While neither of his parents played a musical instrument, Tony’s grandmother was a professional organist. In addition, Tony had an uncle who was a professional saxophone player and who was an inspiration to him. Tony’s dad was very supportive of his decision to learn trumpet and rented Tony an instrument, took him to his lessens, and sat with him while he practiced. Tony was firm in his convictions by the 9th grade that he was going to be a musician. Following high school, Tony was awarded a full scholarship to the Berklee School of Music in Boston which was a very prestigious music school. Tony repeatedly left school to go on the road which the school fully expected of their students. The last time he left the school he never went back. Tony states he got his degree on the road with experience from playing in bands like Stan Kenton, Tommy Dorsey, and with his idol Harry James. Tony took his career abroad when he took up residence in Cologne, Germany to play with a band there. Tony came to Las Vegas to play in a band with Buddy Rich which turned out to be of a shorter duration than he expected. Tony then played in Las Vegas and Reno for a time before going back on the road after realizing he preferred playing jazz on the road as opposed to playing in show bands. After eight years on the road, Tony returned to Las Vegas, got married, and settled down. Aptitude tests proved accurate when they showed Tony had a talent for things mechanical and metal as Tony went on to manufacture trumpets in addition to playing them. One can feel the love Tony has for his trumpets as he describes the process of creating them. After playing trumpet for almost 30 years, Tony decided it was time to concentrate on his photography for a while. Tony does not consider himself retired, but rather he likes to play, take pictures, and, of course, he practices the trumpet every day.

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