Sign animation: Chasing, flashing, oscillating Notes: The text fascia sign just to the north of the giant glass display illuminates with a background of neon tubing which chases from right to left. The pattern of colors running across are a sequence banks of red, pink purple and blue vertical neon tubing, chase each other creating a pulsating movement of the individual banks of these colors. While they are animating, the channel letters, which spell "Riviera," are dark and proceed to light up one letter at a time. Once all lit they remain lit, until the background stops with all the bars illuminated. Once all the bars are lit, the interiors of the letters turn off one at a time starting on the far right. The giant mirrored section of the building, advertising for the Splash stage show. The sequence can be best described from its dramatic powering up. The entire sign comes alive with a rapid upward chasing pattern covering the surface of the tower. Once alive, small white bulbs grow out of the end of the space on the top and bottom of the end of the "Splash" text. Once all the previous elements are illuminated, the letters in the Splash logo shut off, illuminate one letter at a time in red neon, then the white neon figure of the seal balancing a ball on the end of it's nose, lights up. The neon bordered circular raceway, then animates with the bulbs in the center chasing each other in a clock-wise sequence. Once lit the vast array of white bulbs grown out of the end of the text begin to gently oscillate, as well as the sparse assortment of floating and attached incandescent bulbs on the wall of the tower. Once the bulbs animate for a few seconds, the entire wall chases downward, becoming black as night, except for the Slash logo text. Underneath the entire front side of the western face of the Riviera, the incandescent bulbs which cover the entire surface oscillate in a wildly, while the ringed entablature on the wall animates quietly in comparison. The multi-colored rings of neon tubing chase each other from left to right, chasing the distance then repeating. The sequence then changes direction and chase from left to right. Creating the tops and bottoms of the entablature are raceways lined with incandescent bulbs that chase each other from left to right. On the surface of the west wall incandescent bulbs chase each other along the raceways which run horizontally around the internally lit cabinets. The small vertical raceways which run inside the clear plastic boxes chase each other from top to bottom, but all the raceways are offset to each other by a few seconds. At the North end of the property the signage for the Riviera's, "Nickeltown" gambling attraction, dominates the corner. He animation on the large exploding sculptural fountain lights up the entire corner. The three rocketing pieces of steel are wrapped in repeating bands of their corresponding colors of blue, purple and yellow. All three simultaneously chase from bottom to top, until completely lit. Then they begin to animate in a chasing pattern from bottom to top. After a few moments of chasing, they chase from beginnig to top once more, leaving al the tubes dark in its path. Along the circular entablature, which runs the circumference of the top mass of the fountain, incandescent bulbs chase each other from right to left, but only on the side which faces the casino. The wall, which faces north, contains the multicolored banks of vertical neon bars that animate in a specific pattern. They chase each other from right to left, then only the purple neon tubing illuminates, they chase again, then only the blue neon tubing illuminates. They chase once again, and then only the gold bars illuminate. The bars chase yet one more time, then all of the tubing illuminates, thus ending the sequence. The main entrance to nickel town is adorned with neon text and images, but only the stars higher up on the wall itself animate. The incandescent bulbs elevated above the surface of the mirrored wall, animate in a soft oscillating pattern, adding the twinkling effect. The larger five pointed stars are animated on the interior by a center of oscillating incandescent bulbs, while concentric neon shapes echo outward in the yellow, purple and blue colors seen on the adjacent wall facing north. The smaller snow-flake esque star shapes are alive with oscillating incandescent bulbs. Looking upward along the north face of the closest tower, the giant vertical, Riviera channel letters animate one character at a time, oscillate then shuts off.
The Mollie Gregory Collection of Oral Histories contains audio interviews and brief transcripts that focus on welfare, family, and women's issues in Nevada from 1970 to 1974. Gregory interviewed Nevada residents including Maya Miller, Ruby Duncan, and Mary Wesley, who described their lives during the anti-poverty and women's rights campaigns in the early 1970s. The collection documents views on welfare; the Equal Rights Amendment; race, discrimination, and civil rights; and political campaigns.
The Margot Mink Colbert Papers (approximately 1959-2018) are comprised of materials that represent Colbert's career as a professional dancer, choreographer, and instructor. The materials span Colbert's career as a dancer in New York City at The Juilliard School, instructor at the University of Wisconsin-Madison, and instructor at the University of Nevada, Las Vegas. The materials in this collection also document Colbert's teaching career as well as her professional studio Ballet Mink. The materials include press and promotional materials about performances choreographed by Colbert within the United States as well as other countries including Russia and Denmark. The collection also include recordings of Colbert's choreographed performances.
The Penelope Ruchman Collection of Las Vegas, Nevada Casino Professionals Oral Histories includes interviews conducted by Ruchman from approximately 1999 to 2001 of casino industry workers who worked in Las Vegas, Nevada. The majority of interviews were conducted by Ruchman in their office at Gambler's Book Shop (GBS), but some where conducted in interviewee's homes and offices, or over the phone. The collection represents Ruchman's efforts to interview and document a generation of early casino industry workers that were quickly aging. The project was intended to be compiled as a definitive history of Las Vegas and American gambling, entitled "After the Gold Rush." The project was permanently postponed in the fall of 2001 when Ruchman left GBS to work for Park Place Entertainment as a corporate business and operations analyst, and later as casino operations director for Caesars Palace. Not all interviews have digital transcripts available.
The UNLV Libraries Collection of MGM Mirage Corporation Promotional Materials and Reports includes promotional materials, newspaper and magazine clippings, financial reports, annual reports, diversity reports, press releases, and press kits for the MGM Mirage Corporation in Las Vegas, Nevada, dating from 1973 to 2007.
The League of Women Voters of Las Vegas Valley, Nevada (LWVLVV) Records (1957-2021) contain meeting minutes, financial reports, correspondence, audiovisual material, photographs, and newsletters. Also included are materials on political issues, school integration, and environmental pollution issues in Southern Nevada.
The International Food Service Executive Association (IFSEA) Records contain the organizational records from the IFSEA dating from 1916 to 2010. Included are meeting programs and minutes, menus, conference reports and proceedings, financial reports, newsletters, award certificates, scrapbooks, and stewards and caterers records focusing on the hospitality and food service industry. Materials are from both national and regional branches of the organization and include records from the United States military, with whom IFSEA has partnered with since the 1960s. Club artifacts and trophies are also contained in the collection.