Search Results
Laura Sussman oral history interview: transcript
Date
2018-03-15
Archival Collection
Description
Oral history interview with Laura Sussman conducted by Barbara Tabach and Claytee D. White on March 15, 2018 for the Remembering 1 October Oral History Project. In this interview, Laura Sussman, co-owner of Kraft-Sussman Funeral & Cremation Services, discusses the funeral home's role during the aftermath of the October 1, 2017 Las Vegas, Nevada mass shooting. She talks about the collaborated efforts of the funeral home and the coroner's office to care for the deceased, giving some details on the role of a coroner and the specific cases the funeral home was in charge of. Along with the victims, she discusses the potential cremation they were asked to do of the shooter. Throughout the interview, Sussman emphasizes the funeral home's goal of providing support to the families of the deceased.
Text
Carlos Gomez (Latin Chamber of Commerce) oral history interview conducted by Elia Del Carmen Solano-Patricio: transcript
Date
2023-01-27
Archival Collection
Description
From the Lincy Institute "Perspectives from the COVID-19 Pandemic" Oral History Project (MS-01178) -- Business interviews file.
Text
University of Nevada, Las Vegas (UNLV) College of Business and Economics Diploma Ceremony program
Date
1995-05-13
Archival Collection
Description
Commencement program from University of Nevada, Las Vegas Commencement Programs and Graduation Lists (UA-00115).
Text
Photographs of Caesars Palace signs, Las Vegas (Nev.), 2002
Date
2002
Archival Collection
Description
Photos show Caesars signs during the day and the porte-cochere 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: Caesars Palace (Las Vegas, Nev.)
Site address: 3200 S Las Vegas Blvd
Sign owner: Park Place Entertainment
Sign details: Caesars Palace is located between the Flamingo Rd. on the western side of Las Vegas Blvd Caesars has grown over the years since it's opening, but remains the true to its classic form. Signage for the resort is limited compared to some but consists of significant pieces of signage such as two large pylon signs, a rotating sign for Planet Hollywood, building signage consisting of logo text, as well as a porte-cochere. The property itself is an over abundance of classic design form after another, mixed among modern amenities like an Omnimax theatre. Caesars Palace is a permanent icon in Las Vegas Imagery and folklore.
Sign condition: Structure 4 Surface 4 Lighting 4
Sign form: Pylon; Fascia; Porte-cochère
Sign-specific description: The YESCO pylon is located at the northern side of the property and is constructed of black painted steel and centers around a base of four columns aligned in a row. The sign faces north/south. The four columns rise out of the ground about six feet in the air before a long horizontal, gold bordered, rounded end cabinet, that reads and points to free covered parking. The text is graphically applied and internally lit. The cabinet is lit from the backside with neon, creating a halo behind the sign. The columns continue upward until they are met with the triangular cabinet, pointing east, with the two faces, being occupied a color LED message center. The interior edge of the face of the sign is bordered with green neon. Above the visible top edge of the wedge shaped message boards, the Caesar's Palace logo if illuminated in red neon upon a rectangular section created out of two entablatures, stacked on top of each other. The top entablature reads "Caesars" in red letters and "Palace" in the second row The two are capped with pediment lined on the interior edge with gold neon and a back-lit Caesar's logo. The exterior of the cabinet is polished aluminum, with metal channel letters. The original pylon built much earlier, utilized six-column shafts capped with golden statuary, secured to a large concrete base. When facing the columns, facing north, or south, the majority of the view of the vertical pieces is taken up by the giant internally lit message center, with removable lettering. The outer edge is crafted the same as the face of the other pylon, but it is bordered in pink neon. The four center columns supports an entablature supporting the logo text, and above that a pediment rounds out the classic architectural combination. The top half of the pediment is larger and supports the text "Caesars," while the lower, narrower section reads "Palace". The entire pediment is striped horizontally with bands of aqua neon that creates a field for the text. The text is in the stylized roman text, in channel letters, and lined with red neon. One of the most attractive pieces of signage is the Caesars porte-cochere. The famous fountains lead up to the main entrance, which is shadowed by the massive porte-cochere, which is one of the few remaining on the strip that displays such grandeur. The Porte-cohere is a hulking collection of levels, stacked upon on another, but grow in size as each level steps upward. The rest looks as if a massive set of plaster steps were turned upside down and placed over the entrance. The edge of each level is lined with brass treatments that are repeated vertical poles of polished brass, greeting a repeated striping pattern. From behind this treatment and pushed further back beyond the human eye, a rose colored glow is produced by intense lighting fades into a soft halo as it dies out toward the edges. The mass and girth of the structure is helped out visually by the angles chosen to in its design. The entire construction seems to sag under it's own weight, for each level is slightly cupped into a concave shape. Each levels edges are concave as well, producing a illusion of movement in space. To the right of the porte-cochere there is still the aqua tinted light pouring out of the latticework, that fills the arcade of arches. On the main tower directly behind the porte-cochere, the red neon logo is present as well as elsewhere on the building as well. Facing east this particular set of letters looms high over head. The section of the building is a vertically elongated temple front, stretching the height of the building. Four pilasters run the vertical length of the building, holding black spans of tinted windows in between. They each are topped with golden Corinthian capitals, which hold up the classic entablature and pediment. "Caesars Palace" is spelled across the entablature in channel letters and filled with red neon. In the pediment above a golden crest of Julius Caesar's profile flanked by two encompassing olive branches. The crest is ambiently lit with white light. The tower just behind the main building also supports text on its east face as well. As the narrow edge of the tower, the vertical plane rises upward but is flat and smooth until it reaches the top section. It is essentially a giant entablature created out of the temple fronts on either side that wrap around to meet on the width. On this flat plane, "Caesars Palace" is spelled in the classic lettering and neon treatment seen on the building letters just below that. The building itself is ambiently lit but the profile of Caesar above the text is not a brightly lit as the other. On the south side of the parking garage, on the western edge of the property, the channel letter logo reads in red neon as well.
Sign - type of display: Neon; Incandescent
Sign - media: Steel; Plastic; Masonry
Sign - non-neon treatments: Paint
Sign animation: Chasing, flashing, oscillating
Notes: The V-shaped red channels on the silver main pylon chase each other downward toward the ground. The main text on the pylon animates as well. The letters light up one at a time with red neon from left to right as the arrows continue to chase downward. The logo/text sign located above the giant replica of the Harley Davidson, animate as well. The incandescent bulbs which fill the text, spelling the name of the establishment, oscillate, steady burn, then shut off, and then restarting the sequence. The letters that spell cafe on the lower portion of the sign animate in concert and with the same sequence as the main text.
Sign environment: Caesars Palace sits in one of the biggest and busiest sections of the strip, and has always been a mainstay. The ambiently lit classic features of architecture seem almost specter like moments, with the blazing red eyes of the Caesars text staring from afar. From the street, the actual structures are set a bit back from the street, seeming rather distant. Construction is currently present around the exterior edges of the property, which rather dampens effect of the theming, but everything shines through. The theme does step out to the street with the statuary, creeping out to pedestrians and the pylon signs. The main signs are street side, pointing toward the casino. Headed south on the west side of the street the two pylon signs lead up to the porte-cochere. Standing underneath the porte-cochere looking out, the fountains provide a picturesque scene to see the other side of the street. The buildings loom high over head. The environment contains elements, which can be seen repeated throughout hotel exteriors. The large water element, the Classic architectural design motif, and the spectacular porte-cochere are still evident in properties built today. Even though Caesars continues to evolve with the current trends, all of these elements were presenting its original design.
Sign manufacturer: Pylon 1: YESCO Pylon 2: Ad Art
Sign - date of installation: 1966, 1998
Sign - date of redesign/move: On-going additions since 1966
Sign - thematic influences: Caesars Palace may be the first themed resort, which has taken its theme to an extreme the likes of which had never been seen before. Ever since it's original inception in 1966, Caesars Palace has sought to give its guest the most of the Ancient Roman theme. Caesars is simply dripping with imagery and architecture that is steeped in the theme of Ancient Rome. No matter where you go there are collections of statuary, domes and columns, false temple fronts create the facades of the towers, and low geometric hedges and cypress trees all add to the theme. Any themed property can draw influence from Caesars Palace, and still stands as one of the highest markers for competitors to be judged by.
Sign - artistic significance: Very important signage that can be seen reflected in many aspects of non-casino culture. Caesars Palace is one of the icons of American popular culture, and the distinctive Romanesque neon is a big reason why.
Surveyor: Joshua Cannaday
Survey - date completed: 2002
Sign keywords: Pylon; Fascia; Porte-cochère; Neon; Incandescent; Steel; Plastic; Masonry; Paint
Site name: Caesars Palace (Las Vegas, Nev.)
Site address: 3200 S Las Vegas Blvd
Sign owner: Park Place Entertainment
Sign details: Caesars Palace is located between the Flamingo Rd. on the western side of Las Vegas Blvd Caesars has grown over the years since it's opening, but remains the true to its classic form. Signage for the resort is limited compared to some but consists of significant pieces of signage such as two large pylon signs, a rotating sign for Planet Hollywood, building signage consisting of logo text, as well as a porte-cochere. The property itself is an over abundance of classic design form after another, mixed among modern amenities like an Omnimax theatre. Caesars Palace is a permanent icon in Las Vegas Imagery and folklore.
Sign condition: Structure 4 Surface 4 Lighting 4
Sign form: Pylon; Fascia; Porte-cochère
Sign-specific description: The YESCO pylon is located at the northern side of the property and is constructed of black painted steel and centers around a base of four columns aligned in a row. The sign faces north/south. The four columns rise out of the ground about six feet in the air before a long horizontal, gold bordered, rounded end cabinet, that reads and points to free covered parking. The text is graphically applied and internally lit. The cabinet is lit from the backside with neon, creating a halo behind the sign. The columns continue upward until they are met with the triangular cabinet, pointing east, with the two faces, being occupied a color LED message center. The interior edge of the face of the sign is bordered with green neon. Above the visible top edge of the wedge shaped message boards, the Caesar's Palace logo if illuminated in red neon upon a rectangular section created out of two entablatures, stacked on top of each other. The top entablature reads "Caesars" in red letters and "Palace" in the second row The two are capped with pediment lined on the interior edge with gold neon and a back-lit Caesar's logo. The exterior of the cabinet is polished aluminum, with metal channel letters. The original pylon built much earlier, utilized six-column shafts capped with golden statuary, secured to a large concrete base. When facing the columns, facing north, or south, the majority of the view of the vertical pieces is taken up by the giant internally lit message center, with removable lettering. The outer edge is crafted the same as the face of the other pylon, but it is bordered in pink neon. The four center columns supports an entablature supporting the logo text, and above that a pediment rounds out the classic architectural combination. The top half of the pediment is larger and supports the text "Caesars," while the lower, narrower section reads "Palace". The entire pediment is striped horizontally with bands of aqua neon that creates a field for the text. The text is in the stylized roman text, in channel letters, and lined with red neon. One of the most attractive pieces of signage is the Caesars porte-cochere. The famous fountains lead up to the main entrance, which is shadowed by the massive porte-cochere, which is one of the few remaining on the strip that displays such grandeur. The Porte-cohere is a hulking collection of levels, stacked upon on another, but grow in size as each level steps upward. The rest looks as if a massive set of plaster steps were turned upside down and placed over the entrance. The edge of each level is lined with brass treatments that are repeated vertical poles of polished brass, greeting a repeated striping pattern. From behind this treatment and pushed further back beyond the human eye, a rose colored glow is produced by intense lighting fades into a soft halo as it dies out toward the edges. The mass and girth of the structure is helped out visually by the angles chosen to in its design. The entire construction seems to sag under it's own weight, for each level is slightly cupped into a concave shape. Each levels edges are concave as well, producing a illusion of movement in space. To the right of the porte-cochere there is still the aqua tinted light pouring out of the latticework, that fills the arcade of arches. On the main tower directly behind the porte-cochere, the red neon logo is present as well as elsewhere on the building as well. Facing east this particular set of letters looms high over head. The section of the building is a vertically elongated temple front, stretching the height of the building. Four pilasters run the vertical length of the building, holding black spans of tinted windows in between. They each are topped with golden Corinthian capitals, which hold up the classic entablature and pediment. "Caesars Palace" is spelled across the entablature in channel letters and filled with red neon. In the pediment above a golden crest of Julius Caesar's profile flanked by two encompassing olive branches. The crest is ambiently lit with white light. The tower just behind the main building also supports text on its east face as well. As the narrow edge of the tower, the vertical plane rises upward but is flat and smooth until it reaches the top section. It is essentially a giant entablature created out of the temple fronts on either side that wrap around to meet on the width. On this flat plane, "Caesars Palace" is spelled in the classic lettering and neon treatment seen on the building letters just below that. The building itself is ambiently lit but the profile of Caesar above the text is not a brightly lit as the other. On the south side of the parking garage, on the western edge of the property, the channel letter logo reads in red neon as well.
Sign - type of display: Neon; Incandescent
Sign - media: Steel; Plastic; Masonry
Sign - non-neon treatments: Paint
Sign animation: Chasing, flashing, oscillating
Notes: The V-shaped red channels on the silver main pylon chase each other downward toward the ground. The main text on the pylon animates as well. The letters light up one at a time with red neon from left to right as the arrows continue to chase downward. The logo/text sign located above the giant replica of the Harley Davidson, animate as well. The incandescent bulbs which fill the text, spelling the name of the establishment, oscillate, steady burn, then shut off, and then restarting the sequence. The letters that spell cafe on the lower portion of the sign animate in concert and with the same sequence as the main text.
Sign environment: Caesars Palace sits in one of the biggest and busiest sections of the strip, and has always been a mainstay. The ambiently lit classic features of architecture seem almost specter like moments, with the blazing red eyes of the Caesars text staring from afar. From the street, the actual structures are set a bit back from the street, seeming rather distant. Construction is currently present around the exterior edges of the property, which rather dampens effect of the theming, but everything shines through. The theme does step out to the street with the statuary, creeping out to pedestrians and the pylon signs. The main signs are street side, pointing toward the casino. Headed south on the west side of the street the two pylon signs lead up to the porte-cochere. Standing underneath the porte-cochere looking out, the fountains provide a picturesque scene to see the other side of the street. The buildings loom high over head. The environment contains elements, which can be seen repeated throughout hotel exteriors. The large water element, the Classic architectural design motif, and the spectacular porte-cochere are still evident in properties built today. Even though Caesars continues to evolve with the current trends, all of these elements were presenting its original design.
Sign manufacturer: Pylon 1: YESCO Pylon 2: Ad Art
Sign - date of installation: 1966, 1998
Sign - date of redesign/move: On-going additions since 1966
Sign - thematic influences: Caesars Palace may be the first themed resort, which has taken its theme to an extreme the likes of which had never been seen before. Ever since it's original inception in 1966, Caesars Palace has sought to give its guest the most of the Ancient Roman theme. Caesars is simply dripping with imagery and architecture that is steeped in the theme of Ancient Rome. No matter where you go there are collections of statuary, domes and columns, false temple fronts create the facades of the towers, and low geometric hedges and cypress trees all add to the theme. Any themed property can draw influence from Caesars Palace, and still stands as one of the highest markers for competitors to be judged by.
Sign - artistic significance: Very important signage that can be seen reflected in many aspects of non-casino culture. Caesars Palace is one of the icons of American popular culture, and the distinctive Romanesque neon is a big reason why.
Surveyor: Joshua Cannaday
Survey - date completed: 2002
Sign keywords: Pylon; Fascia; Porte-cochère; Neon; Incandescent; Steel; Plastic; Masonry; Paint
Mixed Content
Mabel Hoggard: lesson plans and textbooks
Date
1922 to 1952
Archival Collection
Description
Folder of materials from the Mabel Hoggard Papers (MS-00565) -- Educational work and legacy file. The folder contains a "Teachers' manual for human geography," teaching notes, notes on United States history, assignments, and an exam book with handwritten notes. Many of the documents are handwritten.
Mixed Content
Law School Study for the University of Nevada, Las Vegas from Southwestern-Nevada Law Review
Date
1978
Archival Collection
Description
A loose paper version of "Law School Study for the University of Nevada, Las Vegas" by Willard H. Pedrick and Lorne Seidman, photocopied from the Southwestern-Nevada Law Review, Volume 10, 1978. From the University of Nevada, Las Vegas William S. Boyd School of Law Records (UA-00048).
Text
Amy Bush Herzer oral history interview: transcript
Date
2019-11-14
Archival Collection
Description
Oral history interview with Amy Bush Herzer conducted by Barbara Tabach on November 14, 2019 for the Remembering 1 October Oral History Project. Herzer begins the interview discussing her early life, education, and her current job as the University of Nevada, Las Vegas (UNLV) women's golf coach. She speaks about her family's history with golf, her personal history, and life with her husband, Kendall Herzer. After, she recalls where she was on the day of the October 1 shooting, and how she found out about the event, and recalls her husband reported to the main fire station as an Emergency Manager for the State of Nevada. She recalls keeping track of her athletes' whereabouts and letting their families know. Herzer describes how people reacted when she had brought a therapy dog, Apollo, in for the people donating blood and how the community came together to support each other and share resources as a community.
Text
Brittany Castrejon oral history interview: transcript
Date
2017-11-09
Archival Collection
Description
Oral history interview with Brittany Castrejon conducted by Claytee D. White and Barbara Tabach on November 9, 2017 for the Remembering 1 October Oral History Project. In this interview, Brittany Castrejon details her experiences during the evening of the 2017 mass shooting in Las Vegas, Nevada. She describes the Route 91 Harvest Festival set-up and details the events of that night, which she experienced alongside her 14-year-old cousin and a few friends. Castrejon tells her story of trying to find safety from the chaos during the entire ordeal, eventually finding refuge for the remainder of the night at the Tropicana hotel. She ends the interview by discussing her adjustment to life after the shooting and her post-traumatic stress disorder, as well as what she has learned from the experience.
Text
Bill Willard Papers
Identifier
MS-00435
Abstract
This collection is comprised of the personal papers of noted Las Vegas entertainment writer, producer, and critic Bill Willard, which date from 1887 to 1999. It contains material on his father's theater and political involvements as well as Willard's early childhood and high school years. His time in the United States Army is chronicled by the editorials and correspondence he wrote. His papers trace his continued involvement in writing, entertainment, and art which culminated in his direction of the Arnold Shaw Popular Music Research Center. The collection also includes pictures of his artwork, articles he wrote for various newspapers and magazines, scripts, skits, jokes, awards, over 700 audio cassette recorded interviews done for the "Rap with the Artist" series, and personal memorabilia.
Archival Collection