Search Results
Sandra Gray oral history interview: transcript
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Archival Collection
Description
Oral history interview with Sandra Gray conducted by Elsa Lopez and Barbara Tabach on December 13, 2019 for the Latinx Voices of Southern Nevada Oral History Project. In this interview, Dr. Gray discusses her family history, and describes how her parents are immigrants from Durango, Mexico and moved from East Los Angeles, California to East Las Vegas, Nevada in 1991. After getting her bachelor's degree in psychology from the University of Nevada, Las Vegas (UNLV) she started a behavioral health agency that provided rehabilitative mental health services to children primarily in the foster care system. She went on to earn a master's degree in mental health counseling, a master's in psychology, and a doctoral degree in clinical psychology. She is the founder of Empower LV, which strives for equitable access to sports and tutoring. Dr. Sandra Gray is also the owner and operator of Innovation Behavioral Health Solutions, LLC.
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Harmon Family Papers
Identifier
Abstract
The Harmon Family Papers consist of the political and personal correspondence of Las Vegas, Nevada pioneer Harley A. Harmon from 1910 to 1934, and his son, Harley E. Harmon, from 1950 to 1966. The collection also includes correspondence, personal papers, and photographs of Harley L. Harmon from approximately 1950 to 1999. Also included are family scrapbooks with wedding announcements, photographs, birthday cards, newspaper clippings, and other ephemera.
Archival Collection
Flora and Stuart Mason Photographs and Event Programs
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Abstract
Collection is comprised of photographs of Las Vegas, Nevada community leaders Flora and Stuart Mason and three event programs from Temple Beth Sholom (Las Vegas, Nevada). Materials date from approximately 1965 to 2010.
Archival Collection
Sands Hotel Public Relations Records
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Abstract
The Sands Hotel Public Relations Records document the history of the Las Vegas casino and hotel from 1952 to 1977. It is comprised primarily of photographs, mostly 8x10 black-and-white prints, color prints, and transparencies. Most were produced by the Las Vegas News Bureau. Also included are newspaper clippings, brochures, press releases, and inter-office memos relating to the advertising and promotion department. Materials also include reels of 16mm film of the Sands opening, various shows and events including Frank Sinatra and Dean Martin's "Summit Meeting" performances with the Rat Pack, and footage from various television productions filmed at the Sands.
Archival Collection
Gene Hertzog Professional Papers
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Abstract
The Gene Hertzog Professional Papers (approximately 1930-2015) are comprised of photographs, slides, transparencies, publications, video cassettes, correspondence, and digital files spanning Gene Hertzog's working years with the United States Army, the Bureau of Reclamation, and as a freelance photographer and videographer based in Southern Nevada, New Mexico, and Washington state. The collection documents the complicated infrastructure required to supply water to the Las Vegas Valley and includes still and moving images of the Springs Preserve, Lake Mead National Recreation Area, the Colorado River, and the Columbia Basin. The majority of the collection comes from Hertzog's time as a regional photographer for the Bureau of Reclamation and offers a unique glimpse into the Bureau's work in Southern Nevada, the southwest, and the Pacific Northwest from the 1950s to the mid-1990s.
Archival Collection
Jean Ford Papers
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Abstract
The Jean Ford Papers (1958-1996) include political documents, campaign materials for Jean Ford's political campaigns, and materials pertaining to campaign issues such as health services, general improvement districts, and parks and recreation. There is extensive material on Red Rock National Conservation Area, Lake Mead National Recreation Area, and the National Issues Forum. Women's issues cover the years 1964-1981 and contain information relating to the League of Women Voters, Equal Rights Amendment (ERA), and International Women's Year (IWY), as well as Anti-ERA and Anti-IWY materials.
Archival Collection
Jamey Stillings Artist Statement: "Changing Perspectives: The Evolution of Ivanpah Solar," 2015
Date
Archival Collection
Description
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Photographs of Imperial Palace signs, Las Vegas (Nev.), 2002
Date
Archival Collection
Description
Nighttime views of the Imperial Palace Hotel and Casino signs on the Strip. Information about the sign is available in the Southern Nevada Neon Survey Data Sheet.
Site address: 3535 S Las Vegas Blvd
Sign owner: Ralph Engelstad
Sign details: Shadowing Oshea's, the Imperial palace looms high above the street. The tower for the hotel is located just east of the strip, but one of the main entrances is the unique porte-cochere and facade on the east side of the strip. The main tower resides east, seen behind the Harrah's Carnival Court. Signage includes Giant channel letters on the tower, five cabinets of the Imperial Palace logo initials placed along the towers, internally lit sculpted cabinets on the front tower, as well as the an LED screen, and a vastly lit porte- cochere, along with cabinets.
Sign condition: Structure 4 Surface 3 Lighting 4 The structure of the Imperial Palace's main tower signs seem to be intact, while the front towers signage and porte cochere are in great repair. The surfaces of the main tower are rather dull and pale during the day, but the light color aids in the luminescence at night. The lighting is in excellent repair.
Sign form: Fascia; Porte-cochère
Sign-specific description: The structure is themed after an Asian palace, complete with multi tiered swooping tiled Asian style roof lines, and wooden square beams placed to be representative of rice paper doors and windows, and symbols of dragons. Between two gaping square entrances of the front tower, sliding doors almost cower below a giant color LED message center, flanked by two back-lit , color, flex-front, two-dimensional dragons. The dragons stand upright pawing at each side of the central cabinet. The entire array sits on the lowest swooping Asian design roof level in blue tiles. As the building rises upwards, the center section repeats in multi tiered, blue roof lines, finally crowning with a fourth one, peaked at the top. The bottoms of each ones of these rooflines is bordered on the bottom with blue tubes of neon. The two main drives into to covered porte cochere, head east then turn inward, forming a squared U shape. Obviously one door is for entrance and one an exit. The ceiling is comprised of polished aluminum square panels, each one with four large, spherical, incandescent bulbs. The effect is an engaging field of animated bulbs, interrupted only by the presence of five large circular cabinets, which hang facing the floor. One hangs just into the entrance and exit, and one in the center of the north/south connecting sections of the two flanking tunnels, and two more set in the corners. The two just into the mouth, and in the corner of the tunnels, are polished aluminum themselves, with internally lit plastic fronts. These fronts are blue and white, pained graphically with an Asian geometric design, which fills the entire surface. The one cabinet is treated in the same exterior finish, but the design is created out of blue neon. Above the doors to the casino, in this cove, polished channel letters with blue plastic fronts, and borders created with narrow channels, are lined with incandescent bulbs. The tower set back into the property is adorned by a set of two story tall, white channel letters, facing west just below a long blue tiled roof, spell "Imperial Palace" and are filled with blue neon. Letters can be seen on the East face of the tower as well. On the same level of the southern end of the tower, a square, blue, channel edged cabinet, holds the channel letter initials "I" and "P." Another cabinet faces north on the north side of the tower. The channels and initials are lined with blue neon. The same arrangement can be found on the east side of the tower as well. The I and P can also be seen on the north and south end of the tower, but without the border. All of the rooflines on the tower are lined with blue neon as well. Both towers are ambiently lit with blue spotlights, casting a blue hue all over the property. At the very top of the front tower, a spike rises into the air, and is adorned with rings of blue neon.
Sign - type of display: Neon; Incandescent; Backlit
Sign - media: Steel; Plastic
Sign - non-neon treatments: Graphics
Sign animation: Oscillating
Notes: The incandescent bulbs covering the ceiling of the porte cochere, oscillate vibrantly, creating a shimmering cave of light.
Sign environment: The Imperial Palace is placed in an unusual position, with the front tower pushed right up to the street, with cars and taxis zipping in and out of the large square entrances. Just to the north is the Harrah's Carnival Court, which pushes right up to the edge of the north face of the front tower. Just to the south O Shea's sits in the great blue shadow of the Imperial palace.
Sign - date of installation: The hotel opened as the Imperial Palace in 1979. The front tower was built in 1981. The hotel was finished in three phases 1981, 1982, and 1987-1989.
Sign - thematic influences: The Imperial Palace is themed after an Asian palace, signifying the theme through several structural elements seen on the exterior. The stylized roofline, and actual shape of the roof are the representative of the classic eastern palace design seen throughout most Asian cultures in their history. The text on the main towers is stylized and representative of western text written to resemble the graceful brush stroke of Asian characters. Another obvious aspect is the backlit Asian dragons on either side of the giant LED screen on the front of the tower containing the porte-cochere. The Imperial Palace is a themed hotel, revolving around a culture, like that seen in Paris or the Bellagio. The significance of the signage relies in its Porte cochere. Related to the Riviera's parking garage due to the fact that it is located inside of one of the buildings, hidden away from plain sight. The stunning array of incandescent bulbs, lining the ceiling, and reflecting off of the high use of reflective panels. The use of the reflective metals is evidence of the leftover trend massive trend used in the 1970's due to an energy shortage. It itself, is a one of a kind porte-cochere and, is one of the most vibrant still in existence.
Surveyor: Joshua Cannaday
Survey - date completed: 2002
Sign keywords: Oscillating; Fascia; Porte-cochère; Neon; Incandescent; Backlit; Steel; Plastic; Graphics
Mixed Content
Photographs of Luxor signs, Las Vegas (Nev.), 2002
Date
Archival Collection
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
Photographs of Treasure Island signs, Las Vegas (Nev.), 2002
Date
Archival Collection
Description
Site name: Treasure Island Hotel and Casino (Las Vegas, Nev.)
Site address: 3300 S Las Vegas Blvd
Sign owner: MGM Mirage
Sign details: Next to the Mirage, this property complements its sister property
Sign condition: Structure 5 Surface 5 Lighting 5 Signage is in good condition
Sign form: Pylon; Fascia; Porte-cochère
Sign-specific description: The Treasure Island Hotel and Casino sits between the Mirage and Spring Mountain road. Fitting right into the themed hotel resort genre that dominates this side of the strip, the Treasure Island provides one of the more unique facades. Just past the bust of Siegfried and Roy, the dense foliage and trees continue on almost fluently between properties. The first elements you see headed north is the giant sculpted pylon for the resort, set beside a sweeping incline drive, leading to the porte-cohere. The pylon is a collection a heavily crafted and sculpted elements, creating a framework for two message cabinets and a marquee banner on either side. At the base, steel poles exit the ground in a "V" shape, into the interior of the area designated for the LCD and backlit cabinets. Steel poles forma grid work between the "V" shape. The message boards are bordered by steel piles made to appear as if they are pieces of bamboo lashed together at the corners, extending past the joints in an irregular fashion. Two base poles and inner grid are finished in the same fashion. Above the message cabinet a three-dimensional sculpted crows nest sits just below a giant skull adorned with a scarf. The tip of the bottom of green finished crows nest just reaches the top of the two cabinets. The fully three dimensional skull is finished in a realistic fashion. Two giant swords cross each other in an X pattern behind the crow's nest and underneath the skull. The resultant effect is the pirate emblem of the "skull and cross bones" or "jolly roger." The hilts of the two swords come to rest on top of the message centers also. A grid work of false bamboo poles can be seen , providing a buffer between the two halves of the sign. Above the head of the pirate an arched steel cabinet ,creates a banner, which reads "Treasure Island" in white channel letters and filled with incandescent bulbs. Decorative scrollwork adorns the top of the banner as well as the two sides of the skull. The Treasure Island tower is also in the popular Y shaped configuration. The 38 story building stands 456 feet tall, with the text hung on the top of the tower in a couple of different fashions. On the face created by the north and southeast wings of the tower, Treasure Island is spelled in giant channel letters, but the two words are in close proximity to each other, resting in the angle created by the joining of the two wings into the center structure. The southwest face created by the west and southeast wings have the text separated. Treasure on the west towers and island on the southeast tower. The northwest side is appropriately displayed only on the north face of the wing, so the southbound traffic on I-15 can read the letters clearly. The Treasure Island also has two additional signs located toward the back of the property. Those would include a small pylon facing east west actually situated in the rear of the property. The pylon is a simple square supported with two square posts. The other resides on Spring Mtn Rd. headed east on the south side of the street. It resides on the corner of the main traffic flow from the parking garage and inner sanctum of roads leading to the porte- cochere.
Sign - type of display: Neon; Incandescent; Backlit
Sign - media: Steel; Plastic
Sign - non-neon treatments: Graphics; Paint
Sign animation: Oscillating
Notes: The only animation present is in the channel letters themselves. The incandescent bulbs on the interiors oscillate wildly
Sign environment: The front spectacular of the pirate show truly creates the theme of the pirate island, and is where most of the pedestrian traffic for the hotel is present. The pylon is just south of the spectacular, towering high overhead. The Treasure Island's environment is abruptly halted by Spring Mtn road but at the same time, it also wraps the corner of the hotel, and continues west. It is the bookend piece to the other major MGM resorts, which reside south of the Treasure Island. Even though it is a smaller child of the bigger properties, it still looms as a giant to its neighbors the Vagabond and Tam O'Shanter
Sign manufacturer: Atlandia Design
Sign - date of installation: 1993
Sign - thematic influences: The theme of the Treasure Island is painfully apparent, from its name to its live pirate show. The signage truly reflects it as well. Treasure Island is definitely in the class of properties, which can be called a themed resort. The main pylon looks to be constructed out pieces of a wrecked ship, with the most commonly seen symbol for a pirate, in the Jolly Roger skull, being the most impactful piece up there. Steel beams are finished to look like wooden masts, and giant ropes, slinging the entire sign together. It utilizes the three dimensional aspects, yet retains the design of a pylon. Unlike its neighbor to the south the mirage, the Treasure islands theme encompasses the main pylon, with the exception of the pylon in the rear of the property. The surroundings, which provide the background for the pylon, as well as the environment for the property, reflect them as well. The landscaping boasts tropical plants emitting false bird noises, which stretch around to the face of the property, where the pirate village and ships reside in cold waters, and faux cliffs. The wooden planks resembling pier docks, provide a tidy border for the arena and spectators. The theme has been seen before in one sense or related from a slight distance. None has actually utilized the name of the novel, and been so garish with the pirate theme, but it can be tied to propertied that are more island, and paradise themed. Such properties include the Mirage, the Tropicana, and the Castaways.
Surveyor: Joshua Cannaday
Survey - date completed: 2002
Sign keywords: Oscillating; Pylon; Fascia; Porte-cochère; Neon; Incandescent; Backlit; Steel; Plastic; Paint; Graphics
Mixed Content