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Bob Fisher oral history interview

Identifier

OH-02221

Abstract

Oral history interview with Robert Fisher conducted by Barbara Tabach on January 08, 2015 for the Southern Nevada Jewish Heritage Project. In this interview, Fisher discusses his childhood in Minnesota, and the large role Judaism played in his upbringing. He speaks at length about his involvement with United Synagogue of Conservative Judaism over the years, including as regional director of the United Synagogue Youth Far West Region, which took him from Minnesota to California. He talks about his time in Los Angeles, California, and later, about his life in Las Vegas, Nevada, including his broadcasting career as well as involvement with Midbar Kodesh Temple.

Archival Collection

An Interview with Judith Lee Johnson Jones

Identifier

OH-00972

Abstract

Oral history interview with Judith Lee Johnson Jones conducted by Claytee D. White on February 22, 2007 for the Boyer Early Las Vegas Oral History Project. Johnson Jones discusses winning a contest that allowed her to be a showgirl at the Sands Hotel and Casino when she was seventeen, receiving a college degree in Houston, Texas, and performing in the Elvis movie “Viva Las Vegas.” She also talks about her twenty-nine-year career in education.

Archival Collection

Ethel S. Hatch oral history interview

Identifier

OH-00806

Abstract

Oral history interview with Ethel S. Hatch conducted by P. Kohlman on November 24, 1975 for the Ralph Roske Oral History Project on Early Las Vegas. This interview covers the history of Las Vegas from 1939 to 1975. Mrs. Hatch also talks about ranching in Nevada, Rex Bell, development on the Strip, the first hotels, and early local shopping culture. The interview concludes with discussion surrounding tree-lined streets, the Helldorado Club, and Fremont Street.

Archival Collection

John W. Crabbe oral history interview

Identifier

OH-00292

Abstract

Oral history interview with John W. Crabbe conducted by Patricia van Betten on January 19, 2004 for the Blue Diamond Oral History Project. In the interview, Crabbe discusses moving to Blue Diamond Village in southern Nevada as a child in the 1950s. Crabbe talks about attending Rancho High School in Las Vegas, Nevada and the long bus commute he took daily to school. Crabbe then recalls his experiences horseback riding in Bonnie Springs, Nevada and his employment at Howard Hughes' airline, Hughes Air West. Lastly, Crabbe discusses the civic activities available growing up in the Blue Diamond Village.

Archival Collection

Susan and Holly Carratelli oral history interviews

Identifier

OH-00344

Abstract

Oral history interviews with Susan and Holly Carratelli conducted by Dennis McBride on June 24 and 26, 1999 for the Las Vegas Gay Archives Oral History Project. In the interviews, Susan and Holly recall first meeting during the planning for the 1994 National Coming Out Day event in Las Vegas, Nevada. They discuss what they value in a relationship, their past relationship experiences, and their involvement with the Gay and Lesbian Community Center and Metropolitan Community Church. Other subjects they cover include their marriage, anecdotes about living together, having children, their daily routine, and conflicting inter-community perceptions between gay men and women in Las Vegas.

Archival Collection

David Donovan Collection on Hydrology and Geology

Identifier

MS-00813

Abstract

The David Donovan Collection on Hydrology and Geology (1911-2011) is comprised of the research collected by former Las Vegas Valley Water District employee, David Donovan, about groundwater, hydrology, minerals, and geology in Nevada, as well as the surrounding areas of California, Arizona, and Utah. Included are reports, professional papers, maps, and books.

Archival Collection

Jinetta Daniels oral history interview

Identifier

OH-02209

Abstract

Oral history interview with Jinetta Daniels conducted by Rani Dunn on November 30, 2014 for the African Americans in Las Vegas: a Collaborative Oral History Project. In this interview, Daniels talks about her upbringing in Mississippi and traveling to Las Vegas, Nevada by bus in 1962. She continues discussing her work as a maid at the Dunes Hotel, her membership in the Victory Baptist Church, and comments on various church and community leaders in the Westside. She also mentions her concerns about the closure of F Street in 2008 and her hopes for the revitalization of the Westside community.

Archival Collection

John S. Park Roundtable Discussion #4: Community Change/Gentrification

Identifier

OH-02911

Abstract

Roundtable discussion with Michael Baker, Angela Kallus, Billy Logan, Jacqueline Maloy, Todd Jones, JoNell Thomas, Sarah Haggerty, Gregory S. Brown, and Dayvid Figler conducted by Claytee D. White on January 22, 2011 for the Voices of the Historic John S. Park Neighborhood Oral History Project. In this roundtable discussion, participants talk about their decision to move into the John S. Park neighborhood. The group describes the houses in the area during the early 2000s, changes in the house designs, and crimes in the area. Lastly, the participants talk about the gentrification of the area.

Archival Collection

Photographs of Boardwalk Holiday Inn signs, Las Vegas (Nev.), 2002

Date

2002

Description

Daytime and nighttime views of the Boardwalk Holiday Inn signs on the Strip. Information about the sign is available in the Southern Nevada Neon Survey Data Sheet.
Site address: 3750 S Las Vegas Blvd
Sign owner: MGM Mirage
Sign details: The Boardwalk Holiday Inn is one of the most distinctive front faces which incorporate an extreme amount of signage condensed into a replica version of an eastern sea board. Since it is designed to be reminiscent of a boardwalk, the pedestrian element is a wooden planked walkway lined with shops and establishments. The area is separated from the traffic by landscaping and concrete elements. All the shop fronts designs, some false and others functioning, are all linked into the casino. The structure is encrusted with raceways and incandescent bulbs, as well as a ridiculous amount of internally lit signage that advertising everything from hotel promotions, to prices of drinks. Headed from the south, headed north, the parking garage can be seen, set back from the street slightly west, adorned with signage on it's face. The casino begins at full throttle aesthetically, with raceways lining almost every edge, contrasting tones of paint, murals, advertisements, neon and incandescence all come together. Above the first main entrance of the property, is a vibrantly lit, gold clad entrance canopy. Above that a non-functioning skeletal mass of a roller coaster comprises the majority of the southern end of the property. Neon letters are located on the vertical plane created by the rise of the tracks. The carnival style treatments of raceways and propaganda run north until the path is interrupted by the vertical pylon sign which is integrated into the architecture of the Boardwalks facade. The tracks continue above the property, all along the length interrupted by the main pylon and addressed with replica's of Ferris wheels with actual mannequins, dressed and riding inside of them. Just pas the main pylon the facade is transformed into a giant three dimensional clowns head smiling joyfully. The facade continues a short distance past the clown's head, and rounds off just as it began.
Sign condition: Structure 4 Surface 4 Lighting 4
Sign form: Pylon; Fascia
Sign-specific description: Upon the eastern face of the parking garage signage is created upon the top edge of the outside wall. The top edge of the wall is fashioned into a sculpted entablature of signage, complete with rising crests and swooping scrolls, which match the fashion of decoration for the facade as well. On each side of the surface possess a pair of internally lit signage. One is square, and the next is rectangular, brandished with black text. The center portion of the sign is closed in with a pair of half columns which rise out of the surface of the entablature to flank the main text. These half columns are laced with an outline of an orange and yellow neon tubing. The Text is spelled in two different lines of channel letters lined with red neon on the interiors. The First line reads "Boardwalk Casino" the second line reads "Free Parking." The two lines span the length of the space provided and are separated by a sculpted dividing line. The tower just to the north of the parking garage is suited with channel letters that spell "Boardwalk' and are filled with red neon. Roller coaster: The sign which resides over the first entrance is similar that of the paring garage, for it is placed in a raceway bordered fascia. The large channel letters are placed in the center and spell " Casino." The first and last letter are the smallest in size, and gradually climb up toward the middle. They are filled with incandescent bulbs and outlined with a border of red neon. Pylon: The rest of the facade is necessary for the theme to really work, but the tallest and brightest piece is the main pylon sign. The pylon sign is essentially a triangular shape which rises straight up into the air. If a unilateral triangle, then one point is facing east with the two sides meeting at this eastern most point, being designated for the main signage. Three visible posts support the sign, glowing with the reflectivity of the gold polished underside which is striped with rows of incandescent bulbs, running perpendicular to the entrance. Three bands of pink neon wrap the two visible sides, just above the pedestrians head. Just above that there is a narrow LED message center which scrolls text, which also wraps the two sides. The majority of the sign occupies the space between this small border and the main marquee. This rectangular portion each one of the pylons sides can be broken down into four horizontal sections. The bottom two comprise the bottom 1/3 of the sign, and are internally lit advertisements ninety-nine cent offers and the Surf buffet. The middle section, being the tallest, contains a large LED message center, flanked on both sides by multi colored neon tubes crafted into the shapes of stars. The stars vary in size and spread up the small wings of the reader board with surprising fluidity. Compared to the rest of this section, the top remainder is rather plain. A plain surface is accented with a pair of words spelled in channel letters. The word hotel is spelled on the left and filled red neon. They are separated by a small, circular, channel filled with green neon. The word on the right is spelled in the same lettering except it is filled with green neon. The space above that is occupied by the main logo for the establishment. A black field supports large white channel letters that are filled with white neon. Then black field is closed in on all sides by scrollwork shapes created out of incandescence and neon. The white and yellow luminescence, takes the form of a double arched section resembling an "E" or a sideways "M" or "W." The top sweeps upward creating an arched top. A top the main array of signage there are three smoke stacks arranged in a triangular formation, with one at the very front of the edge of the sign and two flanking them in the distance. When looking at the sign directly at the face, it appears as if there are a pair for either side. Spanning the distance between the two smoke stacks is an LED reader board lined on both the top and bottom edge with blue neon. An arch of raceways lined with incandescent bulbs loops over the reader board. A large pylon is designated for the Surf Buffet as well. On the northern end of the property a tall pylon sign faces north/south, and stands lined with red neon. The vertical post supports three internally lit cabinets. The post itself, if viewed directly from the top, would be in an "X" or cross formation. Vertical bars of red neon run up the length of the pole, creating a striping effect. The three cabinets are arranged sitting one on top the other, with a small space in between each. The group all differ in size to an extent, with the two lower cabinets being similar sized, horizontal rectangles, and the top cabinet being the largest. They all have raceways lining the exterior faces with chasing incandescent bulbs. The faces are brightly illuminated colored plastic, with the main cabinet being an advertisement for the Surf Buffet. The others advertise for similar amenities.
Sign - type of display: Neon; Incandescent; Backlit
Sign - media: Steel; Plastic; Fiberglass
Sign - non-neon treatments: Graphics; Paint
Sign animation: Chasing, flashing, oscillating
Sign environment: The environment created by the Boardwalk is an effective use of the theme on the pedestrian to create the environment. The Boardwalk is located next to a CVS Pharmacy to the south, which was erected during the course of the survey. When the pedestrian walks upon the Boardwalk, it is busy and noisy, and very attraction getting. When passing into the front side of the property, a pedestrian is assaulted with sounds and noises that are difficult not to pay attention to. This feeling created by the conglomerate of signage and utter blazing advertisement, is almost like a roller coaster. Person comes out the other side noticeably aware of the silence and darkness contrasted to the presence of the property.
Sign - thematic influences: The theme surrounding the Holiday Inn Boardwalk is that of a seaside boardwalk. Most preferably it is modeled to be representative of the eastern seaboard Coney Island. The facade therefore is most logically themed after the environment experienced on such property, amusement rides, and boisterous circus type lighting loom overhead, while wooden planks exist under the foot of the pedestrian. The walk is lined with coin-operated gadgets and games, while store fronts are found spaced between glowing advertisements. A faux Ferris wheel and roller coaster create an overhead arena of stylized representation that can best be suited as one of the more unique on the strip. It is not often that you see mock people lined up inside of a non- functioning Ferris wheel. Oddly enough, this phenomenon can be linked to couple of still existing Las Vegas Strip properties. When Caesars Palace completed its initial main pylon sign, actual life sized replicas of Centurions and Romans were placed at the base of the statue. They were painted to appear as life like as well. This is one example. The next is the living embodiment of this representation of figures, and their role as evolved on the strip as well. Madame Tussaud's wax museum can be said to be the incarnation of the use and fascination with such a medium. While the exteriors of such properties have shifted toward classic statuary, the life like figure has assumed the role of art form, as an elevated attraction in today's strip community. The noisy facade finds a place for three dimensional sculptural elements, such as the clowns face, which further adds to the "Coney Island" "Atlantic City" theming. Event though, the theme, and very nature of the construction of the Boardwalks facade are dictated by its name, it set early precedence for this interactive miniature city facade as present in many of the major player among the strip. e.g. The Paris, NY NY, Bellagio, Aladdin, etc.
Surveyor: Joshua Cannaday
Survey - date completed: 2002
Sign keywords: Chasing; Flashing; Oscillating; Pylon; Fascia; Neon; Incandescent; Backlit; Steel; Plastic; Fiberglass; Graphics; Paint

Mixed Content

Meeting minutes for Consolidated Student Senate, University of Nevada, Las Vegas, May 20, 1980

Date

1980-05-20

Description

Includes meeting agenda and minutes. CSUN Session 10 Meeting Minutes and Agendas.

Text