Photos show Tropicana signs at night. 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: Tropicana Hotel and Casino (Las Vegas, Nev.)
Site address: 3801 S Las Vegas Blvd
Sign owner: Aztar
Sign details: The southeast corner of Las Vegas Blvd and Tropicana Boulevard belongs to the Tropicana Hotel Casino. The Tropicana is composed of two high-rise towers, the low-rise wings of rooms, and the casino itself. One tower faces southwest/northeast, while the other tower, further east on the property faces southeast/northwest. The expanse of the corner, near the street is an open concrete pedestrian plaza, with rising planters, a large functioning waterfall, also surrounded by foliage, and various vendors. The porte-cochere connects the plaza to the hotel, with the connecting bridge to the Excalibur, residing on top.
Sign condition: Structure 5 Surface 5 Lighting 5
Sign form: Pylon; Fascia
Sign-specific description: On the north and south faces of the porte-cochere roof line, on a pediment between the sloping blue roof and a row of brass fixtures, large channel letters in the faceted Tropicana font, horizontally spell "Tropicana." The exteriors are painted black wit a blue reflective finishing the interiors. They are filled with blue neon. The ceiling of the porte-cochere holds two distinct features to its credit. The north half is adorned with a glass domed hole through the roof. The interior thickness and recessed lip are covered in a polished metallic surface. Seashells adorn the edge where the lip meets the ceiling as well as on the face of the ledge as well. Teal, red and gold organic lines are floating across the surface in paint. The south half of the porte-cochere is covered with six recessed rectangular areas. Within the giant coffering a field of polished metal squares form a tiled field bordered with incandescent bulbs. In each of the corner intersections a sculpted glass cover, hold a single incandescent bulbs. Each field holds forty or so of these bulbs and their coverings. Two identical pylons flank the courtyard. One of them is on the south side of Tropicana avenue facing east /west, while the other faces north/south on the east side of the street. The pylon is essentially a giant double-sided rectangle with a top section that angles back into space on either side to meet at a peak. The result is a small roof like peak at the top of the sign supporting text on its face. The text however is standing up horizontally at a 90-degree angle. Besides the text logo at the top, the sign possesses an internally lit message cabinet on the bottom of the face, a small LED message center, and another backlit cabinet with a color advertisement for Follies Berger. The message center at the bottom is white plastic with vinyl lettering. The small message center is flanked by three steel poles, the height of the sign and finished to look like bamboo. The horizontal line created by the top edge of the sign is also lined with this false bamboo. The channel lettering at the top are polished metallic, shallow channel letters, which extend in depth all the way back to the face of the roof like form. The faces are filled with incandescent bulbs and bordered in neon. The sides of the sign are treated with a vertical bull nose like shape which runs vertically up the width of the sign. It is pointed wit ha triangular shape on both ends. The shape begins flush with the triangular peak of the signs profile and ends with its point approximately halfway down the height of the bottom message center. The bull nose is faceted with three faces. At the triangular tips, the three faces appear to make the space retain a jewel like shape. The middle face is laden with incandescent bulbs. The rest of the width of the sign is also finished in polished gold metal. The remaining open space on the faces of the cabinet, as well as exposed pieces of the cabinet, are painted a teal color. A border on incandescent bulbs runs around the entire face of the signage. The only signage present on the towers , is the on the first tower, closest to the corner. Running vertically down the west side of the southwest face of the tower, giant metallic channel letters spell "Tropicana" and are lined on the interiors with a double row of neon. Along the western end of the tower, three, double rows of incandescent bulbs run the entire height of the building. These animate, chasing each other down, simulating a waterfall.
Sign - type of display: Neon; Incandescent; Backlit; LED
Sign - media: Steel; Plastic
Sign - non-neon treatments: Graphics; Paint
Sign animation: Chasing, oscillating
Notes: Pylons: The incandescent bulbs inside the channel letters for the logo oscillate, as well as on the vertical width of the pylon. The raceways around the backlit screen chase each other, but it is a double row of incandescent bulbs that chase in opposite directions to each other. Building: The giant raceways of incandescent bulbs on the northwest corner of the Tropicana's front tower, chase each other from top to bottom, representing a waterfall.
Sign environment: The Tropicana belongs to one of the four major properties which comprise the intersection of Tropicana Ave. and Las Vegas Blvd The corner is occupied by a plaza and pedestrian element that is also seen in the other neighbors in the intersection as well. The towers loom over the plaza, as is accented by kiosks for patron promotions, and other services such as refreshments. The property is a good example of a property which has adapted over the years to fit and compete with the rapid evolution of Las Vegas.
Sign manufacturer: Original fascia design ( letters on building are what remain after remodel) by Heath and Company. Pylons: by YESCO
Sign designer: Original prismatic design was submitted by AD-Art's Jack DuBois ,but produced by Raul Rodriguez for heath and Company.
Sign - date of installation: 1978
Sign - date of redesign/move: The original facade was remodeled, which altered the exterior of the porte- cochere, but the letters remain.
Sign - thematic influences: The theme surrounding the Tropicana is that of the island paradise. References to the theming, that are evident on the exterior, are the shape and style of the text utilized in the various signage as well as those shapes being carried over into the designs other architectural elements. The blue incandescent bulbs that chase each other down the face of the building obviously reference a waterfall. Juxtaposed to the aesthetic, actual water elements have been incorporated into the front facade also. The angular design of the text is reminiscent of prism like faceted fonts is reminiscent many aspects dealing with Las Vegas, but fit more into the theme of the property than Vegas. The prismatic design is also incorporated into the design of the actual pylon also. The edges of the vertical length of the pylon are faceted and the triangular end seen on the fonts can be found elsewhere on the pylon. Not only is this shape evident with the pylon but on the fascia of the neighboring facade. The peaked rooflines of the village like facade also mirror this shape, being accented by the incandescent bulbs that line the edges. The text are reminiscent of something tropical, the shape somehow represents something rustic and wooden, even a tiki-like flavor.
Surveyor: Joshua Cannaday
Survey - date completed: 2002
Sign keywords: Chasing; Oscillating; Pylon; Fascia; Neon; Incandescent; Backlit; Steel; Plastic; Graphics; Paint; LED

Yorgo Kagafas is a self-described "urban guy." He became an Urban Planner for the City of Las Vegas in 1999. A farm boy from Ohio, he was educated at The Ohio State University, served in the US Navy and earned a M.A. in Environmental Planning from Arizona State University. He came to Las Vegas with a successful grassroots experience from living in a historic Phoenix neighborhood. His unique background complemented his new job which was to implement the Neighborhood Planning Process, a proactive system for Las Vegas communities to express their neighborhood desires prior to a developer coming in with their own agenda. In this interview he explains the criteria that must be met in this process. By coincidence, Yorgo moved into the John S. Park Neighborhood. He was attracted to its central location, intact residential neighborhood, and homes with character at affordable prices. While walking his dog one day, he met neighborhood leader, Bob Bellis, and became aware of neighborhood activism that could use his expertise. Yorgo points out that the good-old-boy mentality that still existed in Las Vegas was a potential obstacle. However he, Bob, and others were able to rally the homeowners and became a textbook example of how the Neighborhood Planning Process should work. He helped them identify their main issues: 1) Mary Dutton Park rehabilitation; 2) code enforcement of property maintenance; 3) attaining historic designation; 4) halting commercial encroachment. That was the first battle, according to Yorgo. With that done, they could next devise and implement a plan, which he describes. The process officially began March 14 2000. In June 2001, the Las Vegas City Council approved the final document.

In this interview, Stuart Mason discusses his family's construction business, Taylor Construction Co., and his involvement with building various Las Vegas Strip hotels including Caesars Palace and the Riviera, and remodeling the Flamingo. He talks about working within a "social contract" with the various unions, and other aspects of construction.

Stuart Mason was born in Columbus, Ohio, and moved with his family to Miami, Florida, when he was two years old. He received his bachelor's degree in business administration from the University of Miami in 1958. Shortly after graduation, he married his wife, Flora, and started working for Taylor International, the family business. He came to Las Vegas in 1964 to start work on Caesars Palace as the assistant project manager and eventually took over the management of the business. Mason has contributed greatly to the city of Las Vegas over the years through his contributions in the development and construction of the Las Vegas Strip and his commitment to the community. He and Flora started the Nevada Chapter of the Juvenile Diabetes Research Foundation in 1970. In addition, they made donations to the UNLV University Libraries to benefit the Undergraduate Peer Research Coaches program, which helps undergraduate students obtain their college degrees. In addition to his work on Caesars Palace, Mason worked on the original and new MGMs, The Rivera, The International, the Stratosphere, and the Desert Inn, along with remodeling work at the Flamingo. Other company projects can be found in Miami, Jamaica, Aruba, the Grand Bahamas, Melbourne and Puerto Rico. His two sons took over the family business in 1997, the same year that Mason started as the Vice President of Development for the Venetian Hotel Casino.

Judy Smith was a teenager when her family relocated from Barstow, CA to Las Vegas in 1958. It was a wide open setting, an ideal location for riding her horse. It was also an era of growth as the city became a gambling destination and the Strip became dotted with early casinos and hotels. Judy attended Las Vegas High School, worked for the Las Vegas Sun and earned a scholarship to UNR. By 1967, she was married and moving back to Vegas with her young family. They chose the John S. Park Neighborhood as the place to call home. For Judy living in John S. Park is about a "sense of place" and "a sense of timelessness." She describer the evolution of the neighborhood and the greater Las Vegas community from the pioneers to the contemporary leaders. In 2006, Judy's home was gutted by a fire. Her life was saved by an observant neighbor. She could have relocated at the time, but chose not to move from the area that she has called home for over 40 years.

JoNell Thomas grew up in a large Utah family, went to Utah State and law school at University of Utah. She moved to Nevada in 1992; first as with the Nevada Supreme Court and then as a staff attorney with a Las Vegas firm, and currently is an attorney with the Clark County Special Public Defender's office. She and her husband, Billy Logan and their twin daughters have lived in the John S. Park Neighborhood since 2001. Their residence was constructed in 1956 on a large corner lot with lots of trees and a fifty-year-old swimming pool. JoNell offers her observations on a variety of JSP events: Stratosphere's failed rollercoaster across the Strip idea; the proposed high-rise complexes; the Monorail lack of convenience to locals; effects of dropping home prices and downturn of economy; the homeless population and closing of Circle Park. She helped create the early online community called the Downtown Neighbors website which provided information regarding , part activist, part pra