Search Results
Kaity Webber oral history interview: transcript
Date
Archival Collection
Description
Oral history interview with Kaity Webber conducted by Barbara Tabach on November 16, 2017 for the Remembering 1 October Oral History Project. Kaity Webber describes moving to Las Vegas, Nevada and earning her degree in psychology from the University of Nevada, Las Vegas. Webber discusses the excitement she had going to the Route 91 Harvest festival with a friend on the weekend of the October 1, 2017 Las Vegas shooting. She talks about her experiences from that night, including how she found shelter in the Thomas & Mack Center with countless others, as well as her process of healing from the traumatic event.
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Photographs of Frontier signs, Las Vegas (Nev.), 2002
Date
Archival Collection
Description
Site name: Frontier Hotel and Casino
Site address: 3120 S Las Vegas Blvd
Sign owner: Phil Ruffin
Sign details: The New Frontier Hotel and Casino sits south of the Stardust, on the east side of Las Vegas Blvd The Frontier main pylon still remains at the south end of the property, a short distance from the southeast, near the porte-cochere. A rear port e cochere also resides on the east side of the building . Like so many other properties the Frontier is composed of a low-rise building accompanied by, another higher rise structure, and a tower of rooms. A parking lot sits on the north end of the property, denoted by a small, double-sided pole sign. Two porte-cocheres adorn on the southeast and west sides of the property, as well as the famous pylon outside the eastern porte- cochere.
Sign condition: Structure 4 Surface 4 Lighting 4
Sign form: Pylon; Porte-cochère; Fascia
Sign-specific description: A parking lot sits on the north end of the property, denoted by a small, double-sided pole sign. It is a simple rectangular cabinet, with a small steel circular cabinet on the top east edge of the sign, and a triangle on the west edge of the height, pointing west. The two are connected by a long horizontal section, which runs along the top of the cabinet. The circle, arrow, and connecting pieces are lined with incandescent bulbs. The surface if the Frontier is reserved, not holding too many exterior references to a western theme, besides the actual script of the logo, and wood paneling of the overhangs, little else is there to support the theme. Just south of the parking lot and on the west side of the strip, the Frontier is separated from the sidewalk with a large section of green lawn, and a guard of tall palm trees against the east face of the building. Tall windows occupy most of the wall separated by columns of brick. The structure continues south and juts east to create an entrance, with a text logo above the door with brass edges and a wood panel facade. The three sided entrance is two tiered flat font design, with the lower half being taller, fit with a backlit message board. The top half is shorter in height, and plays home to the polished channel letters spelling "Frontier," and filled with incandescent bulbs. The surface of the top half of the facade is a rusted brown color, referencing panels of exposed wooden construction. The bottom edge of the entire face of the sign is a protruding brass geometric edge, as well as being the device that separates the two parts of the sign. The top edge of the top section is brass treatment also, but is crafted into different forms along its path. Directly in the center of the front face, there is an arch curving over a set of vents. The two sides are treated with an pointed triangular shape. The porte-cochere is located just south, if you follow the property, pointed toward the southeast extending off of the building. The northeast and southwest sides of the porte- cochere are lined on the top and the bottom with the same protruding, square molding, rising into a long, low rising arch, peaking in the center of the sign. The center portions of the sides are the same rusted brown tone seen on the entrance mentioned earlier. Suggestions of the paneling are evident at the edges. The "Old west" font, polished channel letters spell out "Frontier" on the rust facade. Each is filled with incandescent bulbs, and outlined in neon. Most impressive about the covered area is the space occupied by the ceiling. The underside of the port-cochere is separated by four large, deep, recessed rectangles with mirrored walls. The walls slope into another smaller recessed rectangle rising straight up only a sort distance before stopping. Standing directly underneath the section, it is seen as a smaller rectangle located within a larger one. Both rectangles are lined on all edges by polished gold raceways, and incandescent bulbs. The open space is occupied by multi armed, ornate brass chandelier. Each arm is adorned with faux gas lanterns. The arms are curved in a quite extreme fashion, making the piece appear more as an organic shape, or a creature such as an octopus. The centers are adorned with decorative silver spheres. Over the doors to the casino a large backlit message center panel, curves with the radius of the face of the building. The brown and polished metal edges of the sign combined with the incorporation of the architecture of the building, gives it a reserved, streamlined look. South of here the building grows in height and becomes a series of tall windows that create the wall. Following the property around to the building's west side, another porte-cochere can be seen. An eight-sided post serves as a valet station. The facade of the roof is treated as the entrance on the east side of the building. Protruding square brass edges form borders for polished channel letters filled with incandescent bulbs. Text is contained within the southwest, southeast, and western panels. Frontier is spelled in the properties font on both the southeast, and western sides. The southwest side reads "Parking" in the company's font, but is flanked by "self" and "valet," in smaller plain white channel letters filled with neon. The western and southeastern sides are crafted with the top edge of the pediments being an arch flanked by two triangle shaped rooflines. Elements also seen elsewhere over the other entrances. Looking up, facing this porte-cochere, the tower of rooms looms high overhead. Signage is located on all four sides of the tower. The northeast and southwest sides of the tower hold giant channel letters that spell "Frontier" with the interior being a reflective orange material. The facade is a giant replication of the two sides of the southeast and western sides of the multisided porte-cochere below. A giant polished metal framework, with a rounded arch flanked by two A frame roof lines, as well as the rust colored background hold the letters. The text is filled with incandescent bulbs. Along the northwest and southeast sides of the tower "Frontier" is spelled vertically down the face of the building in the distinctive channel letters. They too are filled with incandescent bulbs and finished orange on the inside. The famed main pylon sign for the frontier still stands in good repair, as reminder of Las Vegas past. It is located in the south side of the Frontier property facing north south. The two-sided sign is essentially pair of close set steel legs joined by an arch at the top to create one continuous shape. The steel is treated in a pastel pink coloring lined on both edges with a double row of incandescent bulbs. The inner portion of the arch contains three elements. The small cabinet at the top holds the image of the Frontier "F" logo. The edge of this cabinet is painted yellow, with a white internally lit face below that a long cabinet runs the length of the remaining space to the ground. The interior of the cabinet has been cut away to form a pattern of repeated circular holes down the length of the cabinet. This portion has been painted a teal color, with the edges lined with incandescent bulbs. In the space inside of the circles a continuous string of star shapes, reminiscent of the Stardust star emblems, are crafted in yellow painted steel and laden with small incandescent bulbs. The shape is interrupted twice with the main marquee logo for the establishment as well as well as a large internally lit message center. Both portions are not solid, double faced cabinets, but four single faced cabinets. The design is also seen in the Westward HO pylon. The bottom section message center can divided into essentially six parts: four individually denoted sections for vinyl lettering, and two steel panels with an animated neon silhouette of a cowboy riding a mechanical bull. The bottom half of the cabinet is one portion of the collection of section, with a thin, one letter width portion running the length of the cabinet, separating the sign into two halves. The top half is another section flanked by the two steel panels containing the bull rider. The middle portion contains crafted red vinyl logo the "Gilley's" establishment. A thin, one letter space cabinet, emerges out of the top of the sign, running a bit shorter than the length of the cabinet. The panel with the rider is actually three separate images, crafted with gold neon stacked on top of another in different positions to allow the three-stage animation process of the rider to be realized. Fashioned out of red neon text is written in the same text as the Frontier wall logo's above and below the rider. The word "Ride" sits above and the phrase "The Bull" is below the rider. He entire width edge of both the North and South sides are encrusted with yellow incandescent bulbs. While the bottom half of the pylon is dominated by the message center, a bit further up on the structure is the main marquee logo. The green steel cabinet is a rectangular with added elements of shape and design. The ends of the plane are slightly curved back into space, with the actual surface of the shape rising into a small pointed crest in the center. Across the surface of the cabinet the word "Frontier" is spelled in the "Western Font" in channel letters. The letters are outlined in neon and filled with incandescent bulbs. The surface of the cabinet is striped horizontally with tubes of red neon.
Sign - type of display: Neon; Incandescent; Backlit
Sign - media: Steel; Plastic
Sign - non-neon treatments: Graphics; Paint
Sign animation: Chasing, flashing, oscillating
Notes: The incandescent bulbs inside the text reading "Paris" on the balloon oscillate rapidly.
Sign environment: Sitting north of the Fashion Show Mall and, south of the Stardust, the Frontier seems to create its own environment upon an expansive property. The expansive sidewalks, healthy landscaping, and clean, reserved faced, make the Frontier more akin to the larger corporate establishments such as the Mirage, or Monte Carlo. It is quite the dominant presence on the west side of the street, for the east side is the vacant lot where the Desert Inn used to reside. The Frontier stands clean and strong amongst the chaos of the Fashion Show construction, and the empty lot across the street.
Sign manufacturer: Ad-art (Pylon), Sign Systems, Inc (facade and porte-cochere)
Sign designer: Bill Clarke (Pylon) Brian K. Leming (facade and porte-cochere)
Sign - date of installation: pylon: 1967 porte-cochere and facade 1981
Sign - date of redesign/move: The face of the Frontier was remodeled in an effort to keep up with the larger corporate casinos in 1998, but retained the main pylon, tower signage, porte-cochere signage and various entrance signs.
Sign - thematic influences: The obvious theme of the hotel is a Western, cowboy/pioneer themed establishment. The facade of the structure was at one time engulfed in the theme, but has slowly over time changed to compete and fit in with the ever-changing Las Vegas strip. Vestiges of the Western theme are present in the remaining elements of the porte-cochere, side entrances, the tower fascia and roofline, as well as all the text, including the main pylon. Other establishments that carry the much popular theme throughout Las Vegas history, include the Westward Ho, The Golden Nugget, The Bonanza, Hotel Apache, the Boulder Club, and the Pioneer Club.
Sign - artistic significance: In 1967, the Frontier sign was considered the tallest sign on the Strip. The 24 x 84 foot signature panel proved to be one of the largest at the time as well. Charles Barnard's scale model displayed at the Montreal Expo and his design of the seventeen-foot tall logo cabinet, were instrumental in Ad-Art landing the contract for the establishment. (Barnard) The cabinet and center scalloping used to incorporate animatronics, turning in concert.
Surveyor: Joshua Cannaday
Survey - date completed: 2002
Sign keywords: Chasing; Flashing; Oscillating; Pylon; Porte-cochère; Fascia; Neon; Incandescent; Backlit; Steel; Plastic; Graphics; Paint
Mixed Content
Transcript of interview with Mike and Sallie Gordon by Adriane Massa, March 2, 1977
Date
Archival Collection
Description
Mike Gordon speaks about their liquor stores and lists his occupation as a bartender. Among the civic organizations that he participated in were: Young Democrats, Eagles Lodge, Lions Club, past president of Temple Beth Sholom and B'nai B'rith Lodge. Together Mike and Sallie recall the growth and changes of the valley they have witnessed between the early 1930s and mid-1970s. Among his anecdotes is one about the carrying of payroll checks to Boulder Dam to avoid "interference" (robberies).
Mike and Sallie were among the very first people of Jewish ancestry to make their way to Las Vegas. They arrived January 26, 1932 to join relatives of Sallie?s who had moved to Las Vegas when the Boulder Dam construction began. They had married in 1930 in Pittsburgh, Pennsylvania. Soon they were involved members of a small but growing group of Jewish pioneers and helped found Temple Beth Sholom, the community?s first synagogue. Mike speaks about their liquor stores and lists his occupation as a bartender. Among the civic organizations that he participated in were: Young Democrats, Eagles Lodge, Lions Club, past president of Temple Beth Sholom and B?nai B?rith Lodge. Together Mike and Sallie recall the growth and changes of the valley they have witnessed between the early 1930s and mid-1970s. Among his anecdotes is one about the carrying of payroll checks to Boulder Dam to avoid ?interference? (robberies).
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Audio clip from interview with Henry and Anita Schuster by Claytee White, March 1, 2011
Date
Archival Collection
Description
Part of an interview with Henry and Anita Schuster on March-April 2011. In this clip, the Schuster's discuss childhood, family, and life during the rise of Nazi power.
Sound
Tiza Stewart real estate documents
Date
Archival Collection
Description
Tiza Stewart real estate documents
Text
Photographs of Barbary Coast signs, Las Vegas (Nev.), 2002
Date
Archival Collection
Description
Daytime and nighttime views of the Barbary Coast signs on The Strip. Information about the sign is available in the Southern Nevada Neon Survey Data Sheet.
Site address: 3595 Las Vegas Blvd
Sign owner: Coast Casinos
Sign details: Just West of the Maxim, on a strip of property adjacent to the Flamingo, the Barbary Coast appeared in 1977 dressed in Burgundy and gold with full wrap mansard canopies and simulated Tiffany glass fascias. YESCO's Brian Lemming drew from 19th century woodblock alphabet styles to create the new distinctive logo style. It has since earned the nickname Barbary Coast Block. Lemming's bull nose design paired two opposing drum elements, which tapered near midpoint and were ringed with traceries of traveling lamps alternating with decorative panels outlined in red neon. Other signage includes a pylon sign on Flamingo Rd., textual wall an logo signs, as well as LED display screens. The screens are located near walkways, which extend north/south across Flamingo road, and east/west across Las Vegas Blvd
Sign condition: Structure 5 Surface 5 Lighting 5
Sign form: Pylon; Fascia
Sign-specific description: Upon the south elevation of the building, eight foot tall channel letters spell the "Barbary Coast" logo. South of the main logo, two square poles support the Barbary Coast pylon, which is on the north side of Flamingo, facing east/west. The two legs play Atlas to a double backed, internally lit, message cabinet, with vinyl lettering. The two legs protrude through the top of the sign for a short distance before the main logo cabinet begins. It is about half the size in height of the internally lit message center and containing more elements of design. "Barbary Coast" is spelled in white channel letters and filled with incandescent bulbs, in the Barbary Coast text. The edges of the letters are actually narrow channels that house tubes of gold neon. The neon and the channels actually create the designed curves of the fonts. The centers of the top and bottom edges of the cabinet, are crafted into protrusions in the rectangular shape. They are placed cleverly shallow into the surface to almost seem as if they are resting on the width of the cabinet instead of being part of it. Being completely treated in a gold paint on its width edge, which are parallel to the straight portion of the cabinet edge width, helps with the illusion of the sections being separate entities. Orange and burgundy scroll works are graphically placed into the faces of these protrusions in the panel to finish them off. Headed west at the beginning of the actual property, the first vestiges of signage hangs above the parking garage. A triangular back lit cabinet is finished in polished gold aluminum with a raceway acting as an element, on the edge pointing north, then transforms into a raceway arrow pointed toward the entrance of the garage. The famed overhang creates an arch over the garage entrance, which is recessed all the way back to the main wall of the structure. Mirrors create the surface of the wall at the back of the tunnel vault, of the recessed arch. Upon the mirrored surface a channel logo for the "Drai's" nightclub, hangs quite high above the pedestrian's head. The logo is bordered with green neon and filled with incandescent bulbs. The entire sign is a shallow channel letter design allowing enough room for the depth of the bulb. Another arch and tunnel, with a mirrored wall, is located just west of the first arch. It plays host to a brass colored chandelier with spherical lamps. At ground level underneath the middle section of the famed structure where the main logo text resides, we have an entrance to the casino with a cabinet denoting that over the door. The cabinet is a mirrored face with a gold aluminum polished raceways with incandescent bulbs. The text spelling "Hotel Casino Entrance" is in gold polished channel letters and filled incandescent bulbs. Underneath the canopy, the faux Tiffany glass is separated on its edges by gold polished raceways with incandescent bulbs. Past the main entrance another tunnel arch is formed just past the "B" in Barbary main logo and plays host to a different entrance. It too has a brass chandelier and a mirrored cabinet of the same design as the afore mentioned entrance. The only difference is the text. It spells " Casino Entrance." The rest of the treatments for this sign are identical to the first entrance. On the northeast corner underneath the bull nose, a giant brass chandelier hangs in the center, supported with a multisided, mirrored column. The corner of the building is also an entrance. The west side of the building boasts two wall signs. The south side of the building plays host to the main logo text for the Barbary Coast facility, upon the fascias architecture. The middle of the sign is a long low rise arch. Giant channel letters spell Barbary Coast, above the row of faux stained glass squares, and stand independently away from the wall. They are filled with incandescent bulbs and bordered with neon. The interiors are painted red and the exteriors are treated in gold. Rows of red, vertical, neon tubes line the face of the facade behind the standing channel letters. Continuing around the corner upon the west face of the building the facade continues for a short stretch north after the corner rotunda. The wall of the building itself is where another Barbary Coast text logo resides It's large, and occupies a good portion of the area of the wall. The letters are designed in the same fashion as the letters on the pylon, painted white on the interior and treated gold on the exterior. Above and below the text, two cabinets crafted into scrollwork, similar to those seen on the pylon yet are not attached to the text. The cabinets are slightly recessed providing room for a border of gold neon. Below that and above an LED screen another logo for Drai's, as seen on the south elevation, hangs on the wall. A pair of LED screens flank the NW corner, on the west and south faces of the building. The LED screen on the south wall is at the end of an elevated walkway, that crosses Flamingo. The West wall LED is appropriation to the elevated walkway crossing Las Vegas Blvd, on the west side of the building as well. Another Drai's logo sign shares the west wall also. Along the fascia awning that wraps around the building graphics adorn the rounded panels, which simulate the Tiffany glass. Vertical raceways separate these panels. Neon borders each one of these panels as well as polished raceways along the top and bottom. Incandescent bulbs line all the raceways, as well as the outer edges of the underside. On the North wall of the building, just around the corner from the signage on the west face of the building, another Barbary coast logo wall sign is located on the top portion of the building. It is accompanied by an internally lit, plastic, message board, with vinyl lettering. The two pieces together sit in a slightly recessed niche, so that the board and the text are flush with the rest of the building. The letters are painted yellow on the inside, possess incandescent yellow incandescent bulbs on the interior. The letters are also treated with the same gold finish seen throughout the establishment.
Sign - type of display: Neon; Incandescent; LCD; LED
Sign - media: Plastic
Sign - non-neon treatments: Graphics; Paint
Sign animation: Flashing, chasing, oscillating
Notes: All incandescent bulbs on the polished, gold raceways, chase each other down their entire lengths. The bulbs inside the polished channel letters oscillate as well. The incandescent bulbs in the Drai's sign also oscillate. The pylon sign: The background of vertical red neon bars chase each other from the outer ends, until the entire background is illuminated, then the incandescent bulbs inside the letters chase down and fill the letters, which then oscillate. The text then steady burns, chases downward, then leaves the letters dark in it's path. Once the letters are dark then the neon background curtains open chasing from the center to either end. Once the neon goes dark, then the empty text chases downward again, oscillating, then chasing from top to bottom leaving the letters dark in it's path. The text on the west side of the building lights up one letter at a time, then oscillates, and then steady burns. The letters then oscillate again, shut of for a split second. Then each individual word lights up one at a time. "Barbary" then "Coast," "Barbary" then "Coast" again. On the last sequence of the individual words lighting up they stay lit, and turn off one letter at a time. The main marquee: Each letter of the main marquee illuminate one letter at a time, then oscillate. While they are oscillating then, the vertical red neon bars chase from either end of the sign illuminating each bar in it's path. Right before it reaches the center, the letters shut off briefly then lights up "Barbary" then "Coast," then they both oscillate. They shut off briefly lighting up one word at a time again, oscillating once more. This pattern runs one more time while the red background chases from the center to the ends leaving the rest dark in it's path. The letters remain dark until the red bars regenerate, by chasing outward from two different spots, meeting in the center and extending to the ends. By the time the background is regenerated then the text begins to light up again, rapidly from left to right as if saying "Barbary Coast." It does this a total of three times. All the while the background is opening and closing from the two spots a total of three times. Once the background regenerates one more time, then the letters flash off then on, then alternates with the background. Letters, then background, letters, then background, then off. The two are not lit at the same time during this exchange, but take turns lighting up.
Sign environment: The Barbary Coast sits in the unique intersection of Flamingo Rd. and Las Vegas Blvd, once the main four corners of the Strip. The majority of the surface of the building is located on Flamingo road, just off the strip, headed east. Walking underneath the covered awing on the south side of the building, the constantly pulsating incandescent bulbs and various sounds of the casino bombard a pedestrian, enveloping one until you meet the end of the establishment at either end. The large drummed corner, makes the rest of the adjacent facade hard to miss. Directly south, across Flamingo the Bally's multimedia pylon behemoth resides, and the vibrant Flamingo, sits snugly next to the Barbary Coast's north side. The two establishments of Flamingo and Bally's are considered akin, due to such close proximity. Once you exit the Barbary Coast, utilizing the portals on the west side, headed north, you are almost automatically standing in a small courtyard, in the grasp of the attractive, bright, pink and orange plumage of the Flamingo Hilton. The pedestrian traffic flows from one establishment to the next with ease.
Sign manufacturer: YESCO
Sign designer: Brian K. Leming (bull nose and wrap around fascia)
Sign - date of installation: 1977
Sign - date of redesign/move: LED screens were added to the west and south faces of the building
Sign - thematic influences: A good phrase to describe the thematic influence would be that of a turn of the century ambiance. With it's logo style derived from 19th century woodblock prints, canopies covered in faux Tiffany glass, ornate brass tracings, and distinctive mansards, the decor is reminiscent of a bustling turn of the century gala or festival.
Sign - artistic significance: The full wrap fascia design by Leming, is reminiscent of older Fremont street properties such as the Golden Nugget, and Binion's Horse Shoe. The pedestrian passes underneath the pulsating signage, next to the entrances to the facility. It is a significant design maximizing the space with its design.
Surveyor: Joshua Cannaday
Survey - date completed: 2002
Sign keywords: Chasing; Oscillating; Flashing; Pylon; Fascia; Neon; Incandescent; LED; LCD; Plastic; Paint; Graphics
Mixed Content
Photographs of Flamingo signs, Las Vegas (Nev.), 2002
Date
Archival Collection
Description
Site name: Flamingo Hotel and Casino (Las Vegas, Nev.)
Site address: 3555 S Las Vegas Blvd
Sign owner: Park Place Entertainment
Sign details: The majority of the Flamingo hotel and casino's neon signage encompasses the stretch of property that faces the strip. Even though the original porte-cochere and pylon sign are no longer in use, or in the original position, they are still evident and very much present. The original pylon has been moved around the corner onto Flamingo, actually closer to the Barbary coast than the Flamingo. The famous sculpted bull-nose design is repeated several times throughout the property and the design is repeated in visual reference on the towers of the hotel.. The Flamingo was one of the first hotels to push its entrance out to the street.
Sign condition: Structure 5 Surface 5 Lighting 5
Sign form: Pylon; Fascia; Porte-cochère
Sign-specific description: The Flamingo's vast array of signage of various types and styles make the hotel one of the more unique facades. Headed north just past the corner entrance to the Barbary Coast, only a two-lane drive separates the two properties. Across the drive, the original top of the old porte-cochere creates the first of the several three-dimensional, sculpted, corner sign you see. The well known swollen base and flexing body of this trademark crowning figure spread out in a bouquet of pink and orange steel feathers. Neon runs horizontally in a repeated pattern up the lengths of the feathers, with the outlying edge portions painted white and filled with incandescent bulbs, turning into single row raceways at the waving ends of the very tips. This corner serves as a pedestrian entrance now, and one of the main causeways between the Barbary Coast and Flamingo. The fattened plumage is set up high a top the corner of the building pointing to the southwest. The broad corner is dominated by the expansive sculpture. Standing atop of the plumage a channel letter logo sign faces outward spelling "Flamingo" in the Flamingo cursive text. The text is appropriated in a radius pattern, supported by a steel support structure making the logo seem as if it is floating above the sculpture. The sign is filled with incandescent bulbs. Two tubes of blue neon wrap the bull nose molding just below the three-dimensional structure, creating a space for the facade of the faceted pediment. Wrapping the face of the corner is a large entablature of patterned squares forming a grid like terrain with incandescent bulbs in the center of each square. Each square is faceted into pyramid shapes with bulbs at the center of each. Just above the pedestrian's head and below the faceted entablature, a raceway sandwiched by two tubes of pink neon creates a bottom line of the composition. The configuration continues to the right of the entrance into a smaller representation of the same effect. To the right of the old porte-cochere entrance, a small wall sign for "mega-jackpot world" is displayed with pink and Purple channel letters filled with neon on the section of wall which faces to the west. The sign is also incorporated into the famed pink and orange flame style, with the plumage emulated in channel pans on either side of the text. They are complete with horizontal neon bars and sections lined with incandescent bulbs as well. The section of wall that the sign sits upon is in the style of the faceted entablature spoken of previously. The two tubes of blue neon are above the pediment and sign and the bottom is also rounded out with the pink neon. Continuing east down the south face of the building, a continuous glass entablature is first seen, at the same height as the blue neon capped molding. The entablature is a glass wall lined with glass faced, two, dimensional figures of flamingos and shrubbery. Details such as wings, and other features are denoted by pink colored glass. Standing several inches off of the wall, the flamingos are lit from behind with red and pink neon creating halos, which reflect off of the glass behind them. The top edge of the pediment is lined with teal neon, while the bottom is blue. The top edge of the building, above the pediment and along other edges of the face, is a rolling design of hills lined pink neon. This element continues down the south wall of the building until it reaches the current porte- cochere. This structure is a circular drive covered with a circular roof. The east and west edges of the structure play host to large channel letter logo for the Flamingo. The pink steel structure spells "Flamingo" in their continuous cursive fashion, and filled with incandescent bulbs. The ceiling of the porte-cochere is an ornate pattern of raceways lined with incandescent bulbs. The pattern is reminiscent of a flower and it's radiating petals. The mirrored pediment continues past the porte-cochere on the wall of the building. Down the west face of the building, being the front of the facility along the strip, past the original porte-cochere, the glass pediment continues until it stops at a small wing of the building denoting another entrance. The entrance slightly radiuses out from the flat plane of the building, and is crowned by another three dimensional swollen bouquet of steel plumage spreading generously over the entrance, stretching it's waving fingers a good degree out on either side. It is constructed with the same color scheme and array of placement for incandescent lighting and neon. While not quite as bulbous as the southwest corner entrance, it breadth is the quality that beckons to the entrance. On the entablature below, the Flamingo logo is spelled in channel letters, and filled with pink neon. Teal neon lines the top of this pediment as well as blue along the bottom. The glass pediment continues on the wall north of the entrance until the face of the building goes from a stucco finish into a section of the elevation created by a wall of glass window panels. This section of the front is anchored in the center by as giant Doric column crowned by a third set of three dimensional sculpted array of pink and orange plumage. Like the two previously mentioned elements of this nature, the swollen base and stretching feathers take on a waving effect. This element is smaller in width than the previous two, but it's feathers or fingers curl forward in the center providing a support for a triangular cabinet section, with the two visible faces pointed northwest and southwest. The feathers continue in a smaller portion on top of the cabinet, appearing as if they rise thorough the cabinet.. The appearance of this set of plumage takes on different appearances for two reasons. The first being it's position upon the top of a column making appear as a torch. The plumage takes on the effect of being flames instead of feathers. The second being the severity of the curve of the center leaf or flame. From the side, coupled with the outer wings, it takes on the persona of a perched bird. The glass pediment continues past this section, stopping with another rooftop set of plumage on the entrance to the building, facing northwest. Above a backlit plastic advertisement cabinet, the fiery fingers of the sculpted, swollen signage, stand as a solid marker to the end of the property, or entrance to the pedestrian headed south. The glass pediment picks up again along the north face of the building headed east. On the East side of the Flamingo property, two fully three-dimensional sculpted steel structures serve as a gateway to the east side of the porte-cochere. Flanking either side of the drive, two identical bud-like structures stand with the same influence as the swollen elements of the front property. A short, faceted column, supports a three tiered, three layered rosebud shape crafted out of leaves more akin to palm fronds. Sagging leaves, pointed toward the ground, create the section between bud shape and the supporting column. They are folded down, representing the action of the leaves being opened. Neon runs in short horizontal bars along the outer surface leaves and all flat planes excluding the topsides of the relaxed leaves. These two markers also take on the persona an organic structure as a sapling palm tree, or rosebud, as well as the image of a burning torch. Building signage: Upon the western tower Flamingo is spelled in channel letters designed with the Flamingo text, and filled with pink neon. Upon the eastern face of the south tower, the half plumage of neon, flaming upward, reside underneath the Flamingo text logo. The same sign is repeated on the north edge of the west tower. Pylon: The original pylon sign now located on the north side of Las Vegas Blvd, in close proximity to the hotel, but actually between the Bourbon Street and the Barbary Coast. The vertical pylon is a double-sided pylon that faces east west. It has slightly modified over the years. The internally lit message center has been scaled down to fit its new environment. The pylon rises up in a square pole design, with neon running vertically up the center, approximately fifteen feet above the pedestrian's head, before being interrupted by the message cabinet. The cabinet has a white plastic face with removable letters. Gold polished raceways line the face of each of the sign, and incandescent bulbs line the raceways. The sides of the cabinet slope inward, round at the corners at the top, reaching toward the center that rises at a peak. The neon continues upward past the highest peak of the cabinet, and continues up to fan outward, created a giant frond of vermilion and red. The giant fan shape at the top supports channel letters, that spell "Flamingo' in white channel letters that are outlined in blue neon and filled with incandescent bulbs. The top fan shape is actually comprised of seven different levels, appearing to be stacked on top of one another. The center, oblong shaped panel, is the highest, with three sections on each side, fanned out, stepping back into space. The furthest wings on the edge are scrambled with bent and undulating tubes of pink neon. The center two are red, and the center holds the pink members. The waving tubes, which lose form and pattern as they spread toward the edges, resemble veins of a leaf, or the elements, which make up the feather. The sides of the pylon, including the internally lit cabinet, are treated with a pink paint.
Sign - type of display: Neon; Incandescent
Sign - media: Steel; Glass
Sign - non-neon treatments: Paint
Sign animation: Chasing, flashing, oscillating
Notes: The incandescent bulbs inside the text reading "Paris" on the balloon oscillate rapidly.
Sign environment: The Flamingo is in between the Barbary Coast and O'Shea's on the east side of the street. The establishment itself dominates the stretch of property, separating the pedestrian from the sidewalk with various shrubbery and palm, a phenomenon seen often on the strip. Exiting the Barbay Coast, headed north, the passerby is seamlessly brought into the Flamingo, bombarded by the vibrant pink and orange plumage, and continuous atmosphere. O'Shea's lies on the north end of the Flamingo, adding a bookend type effect along with the Barbary Coast. Even though the Barbary Coast is a vibrant and active property, most of it's action lies on the south side of the building, thus the Flamingo signage is the most dominating within its length along the Strip.
Sign manufacturer: Original Pylon: Ad-Art, Facade: Heath & Co
Sign designer: Original : Raul Rodriguez. Original Pylon: Bill Clarke
Sign - date of installation: Original Pylon: 1968 Original Porte Cochere 1976
Sign - date of redesign/move: When Park Place Entertainment separated the Flamingo name from Hilton, all of the text signs which read Hilton were removed. The original pylon sign was moved from the west side, or street side of the property, and moved East down Flamingo Rd., Between the Barbary Coast and the Bourbon Street during remodeling done in the Eighties. The pylon has been modified several times over the years, but has evolved into a slimmer, less flamboyant version, including a simplified internally lit message center.
Sign - thematic influences: The theme surrounding the resort is the theme of the pink flamingo bird, and its tropical environment. The blazing pink tone ( Vermillion ) of the neon is seen extensively throughout the property, as well as the repeated image of the pink bird. The white plaster facade and sculpted edges of the exterior's roof line are reminiscent of sun drenched villas, while staying well within the realm the surrounding environment. Elements such as the mirrored entablatures lined with illuminated pink Flamingos
Surveyor: Joshua Cannaday
Survey - date completed: 2002
Sign keywords: Chasing; Flashing; Oscillating; Pylon; Fascia; Porte-cochère; Neon; Incandescent; Steel; Glass; Paint
Mixed Content
Transcript of interview with Gail S. McQuary by Joanne L. Goodwin, April 14, 1997, May 25, 1997, & May 28, 1997
Date
Archival Collection
Description
Interviewed by Joanne L. Goodwin. Gail Spaulding (Jaros) was born on October 16, 1937, in Cicero, Illinois. a suburb of Chicago. Both of her parents were in show business. Gail began tap and ballet lessons when she was five years old. She signed as a dancer with Moro-Landis Productions in 1956, and she worked for that company at the Sahara Hotel and Casino in Las Vegas, the Riverside Hotel and Casino in Reno, and the Beverly Hills Country Club in Covington, Kentucky. Gail was promoted to line captain and did choreography at the Beverly Hills Country Club. She stopped dancing shortly before her daughter was born and worked as a cocktail waitress at the Riverside Hotel and Casino and at the Mapes Hotel in Reno. In 1964 she moved back to Las Vegas, trained in real estate, became general sales manager and corporate broker for Realty Executives in Las Vegas and later worked as an associate with Dyson and Dyson Real Estate in Indian Wells, California.
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Transcript of interview with Cecile Dotson Crowe by Darin Toldisky, April 27, 1981
Date
Archival Collection
Description
On April 27, 1981, Darin Toldisky interviewed Cecile Dotson Crowe (born October 17th, 1911, in Millville, Utah) at Clark County Library in Las Vegas, Nevada. This interview covers Mrs. Crowe’s account of the building of Hoover (Boulder Dam). Mrs. Crowe discusses the Six Companies, Boulder City, and recalls President Franklin Delano Roosevelt’s visit to Nevada by train to dedicate the dam on the 30th of September, 1937.
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Transcript of interview with Michael J. Signorelli by Claytee D. White, Stefani Evans, August 4, 2016
Date
Archival Collection
Description
Michael Signorelli, long-time Las Vegas resident and builder of many local homes, apartments and hotels, describes his upbringing, career, and stellar reputation as part of the “Building Las Vegas” oral history project. Raised in Rhode Island, the only child of an Italian-American father and a Southern Baptist mother, Michael’s early life was influenced by his father’s disability as a World War Two veteran and his non-English speaking paternal grandparents, who owned and ran a grocery store. Talking of his experiences in helping them run the grocery store he says, "I became a businessman at the age of twelve." His military service during the Vietnam War landed him at Nellis Air Force Base in Las Vegas. Once here, Michael furthered his education at UNLV, obtaining both his MEd and PhD degrees. In Las Vegas Michael began his work in the housing arena working for Sun Home Builders and his non-profit work, helping to raise funds for the newly formed Rape Crisis Center. Signorelli went on to work for Howard Hughes's Summa Corporation, where he successfully fought against a discrimination lawsuit brought by twenty-one female dealers. In 1978 Michael started his own company, Nicro Corporation, and began building homes in the Las Vegas valley with land he acquired on a hand-shake and a verbal contract. He continued his non-profit work, which included coordinating Lady Bird Johnson’s Green Thumb project for Nevada and the Pacific Northwest. In the 1980s Signorelli was recruited by the Fitzgerald Group, where he was involved in non-gaming operations for their many hotels, cattle ranch, and an in vitro clinic. In this interview, Signorelli describes his non-Las Vegas building projects in Mesquite and Laughlin. He built the Mesquite Star hotel and casino by overcoming multiple hurdles around water access and money. Despite twice obtaining a loan for one hundred million dollars, he was never able to successfully complete the Laughlin hotel and casino, due to legal issues from his partner’s family trust. Signorelli also shares his idea for a unique hotel and casino called the Nev Star that involved his successful negotiation of a waiver to Senate Bill 208. Signorelli concludes his interview by talking about his ownership of the world-famous Golden Steer Steak House restaurant, which opened in 1958. Under Signorelli’s ownership the Golden Steer has been featured in national publications and claims many legendary fans such as NACAR driver Mario Andretti, who in 2016 celebrated his seventy-six birthday at the Golden Steer. Signorelli’s love of Las Vegas and its many positive traits come forth as he talks about his daughter and her achievements and suggests Vegas promoters should do a better job about what great schools, medical care, and government we have in Las Vegas.
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