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Photographs of Stardust signs, Las Vegas (Nev.), 2002
Date
Archival Collection
Description
Site name: Stardust Resort and Casino
Site address: 3000 S Las Vegas Blvd
Sign owner: Boyd Gaming
Sign details: This is a large casino property that is clearly a center of attention.
Sign condition: Structure 4 Surface 4 Lighting 4
Sign form: Pylon; Fascia; Porte-cochère
Sign-specific description: Even though the facade of the Stardust has gone through many changes, streamlining itself over the years, yet retains aspects of it's original flavor. The tower faces northwest and southeast and is adorned with horizontal bars of red neon underlining each floor. The top tube only stretches approximately one-quarter of the way across the face, and with each floor, the neon gets increasingly longer. The result is the building being cut across the face at an angle, with one half being illuminated by the red neon and the other by ambiently blue lighting. Large Channel letters spelling "Stardust," are bordered by red neon and filled with incandescent bulbs. The Majority of the external signage is on the low rise structure close to the street, with the tower located to the northwest behind it. The array is comprised of two small pylon message centers, a porte cochere, the main pylon, and assorted entrance signs. On the south side of the building alongside a large parking lot, an entrance sign hangs above a two-sided corner entrance, Wrapping this small corner, polished gold raceways and trim create borders for the accordion surfaced pediment, and shoot up vertically into the sky on the far ends. Blue neon shines from behind the shining trim above the door to illuminate the whit accordion facade. The trim above that is adorned with two tubes of gold neon on the top and the bottom, hidden in recessed channels to cast a gold halo from behind. The two vertical edges are lined with incandescent bulbs. On the south wall of the small corner, channel letters stand on the top edge of the golden molding, reading "Casino." They are black on the exterior, painted white on the interior, and filled with incandescent bulbs, and bordered with red neon. On the Southeast edge of the building another entrance of a bit more design Above a set of doors, and the blue lit accordion facade and golden halo cast metallic trim, a Squared "U" shape made of polished metal raceways, holds a back lit message center housed on a black cabinet. On either side of the vertical legs of the "U" shape, another single raceway rises slightly higher in the air. All the raceways are lined with incandescent bulbs. Above the cabinet, black channel letters, spell "Stardust." They are finished white on the exterior, filled with incandescent bulbs, and outlined in red neon. Moving around to the eastern facade of the building, the facade is a three leveled pediment in the accordion pattern, and separated with the polished trim. The Yellow and blue lighting illuminate this facade also. The pattern is only interrupted by oval shaped back lit cabinets, placed every so often. Eventually you come to the porte. It is no longer finished with mirrors, but still retains the raceways lined with incandescent bulbs. The surface in between is filled with white stucco finish. What is left is a series of 5 hexagonal shapes crafted out of raceways and hung a section ceiling lower than the rest. Geometric patterns radiate from this center piece. North, past the porte cochere a section of building juts out to the east. It contains an entrance on the north and south faces, and two on the east face which are parts wrapping around from the previously mentioned entrances. Over the north and south entrances the "U" shaped polished metallic raceways and external flanking raceways, as seen before on the southeast entrance, play host to a narrow LED message center and channel text spelling stardust. The letters have the same treatment as the previous sign as well, and spell "Stardust" in channel letters. They too are filled with incandescent bulbs and bordered with red neon. Above the text, channel pans are in the shape of four pointed stars as seen on the main pylon, are slightly scattered as if to be showering over the text. They are multi colored, centered with arrays of incandescent bulbs and interior neon contours. The accordion facade and lighting are below the composition. Below the accordion pediment, a polished gold bullnose creates a pediment above the door and wraps around to the east face of the structure. A pointed end polished metallic cabinet is placed in the section of the bullnose over the door, spelling "Casino Entrance" in channel letters and filled with red neon. The surface of the bullnose is laden with incandescent bulbs. The facade wraps around the front with another pointed end cabinet reading entrance in the same fashion as the previously mentioned text. A small section of foliage and shrubbery line the west face of this extension of the casino before the same arrangements of sign are seen repeated on the north face. Passing the entrance the property opens up into a courtyard with an arrangement of low rising concrete cylindrical fountains created a multi-leveled garden of spurting water and plants. Just past the courtyard another entrance is found created out of the northeast corner of the building. Like the other entrances, elements such as the blue lit accordion face, double rows of vertical metallic raceways, properly treated channel letters, are present. The gold raceways wrap the corner with backlit cabinets on the east and north faces. The channel letters read "Stardust" on the east face and "Casino" on the northern face. The ceiling that the overhang creates is finished in polished metallic material and laden with incandescent bulbs. Just outside the last entrance the first of two low rise message pylons. The one located on the north end of the property is larger and more spectacular. The large triangular cabinet's faces are backlit, slightly concave message boards. The tops of each o these cabinets in adorned with a smaller, purple steel cabinet, approximately eighteen inches tall, and running the length of the cabinet. "Stardust is spelled across the length of the cabinet in channel letters, and filed with rose neon. The cabinet is laden with incandescent bulbs, creating a canvass for the letters to reside. The three edges, which is the gap where the three signs meet and the bottom of the cabinet are covered in incandescent bulbs. The surfaces are treated with polished metal. The pole which the cabinet sits is a white, two sided, support with two peaks growing out horizontally about two-thirds up the height. The shape, along with a Stardust style star channel pan in its center, is a representation of the repeated image associated with the logo of the property. The edge of the post is treated with a border of purple paint and lined with purple incandescent bulbs. Just inside the border stripe a channel recesses forming another border for a tube of purple neon. The star pan channel in the center is bordered in teal neon and filled with incandescent bulbs. A top the entire cabinet is an array of stardust stars of various colors, bordered in neon, and or filled incandescent bulbs. The array is assorted again to appear as if they are being showered, tapering to one single star at the top. The entire cabinet rotates slowly from right to left. The cousin to this sign is at the extreme south end of the property, set before an entrance give a larger double backed cabinet sits off center on a square post. The white plastic face is housed in a white steel cabinet with rounded edges. The top or the sign is comprised of the same purple cabinet and channel letters seen in tops of the concave message boards of the rotating relative at the north end. The width of the cabinet is strewn with incandescent bulbs, continuing underneath as well. The post is painted two tones.
Sign - type of display: Neon; Incandescent; Backlit
Sign - media: Steel
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: To the south of the Stardust is the Westward Ho, and to the North is Circus Circus. It stands with these two as well as the Frontier as vestiges of an older era of Las Vegas resorts. The Riviera also resides across the street. Vast shoots of concrete, spread out in front of the hotel, creating a continual plaza which runs from north to south. It contains lush flowers and fountains that toss water to each other is shooting arcs. In the daytime, the white of the remodeled facade is almost blinding against the concrete.
Sign manufacturer: Ad-Art (pylon); Sign Systems, Inc (porte cochere)
Sign designer: Paul Miller (pylon) Brian K. Leming ( porte cochere and facade)
Sign - date of installation: 1968
Sign - date of redesign/move: The original Electra-Jag style letters were replaced in 1991 by a sleeker Helvetica type face, as well as the letters for Enter the Night being changed to read "The Wayne Newton Theatre" in 1999. Also in this year, the facade was changed to a reserved white finish. The accordion shape is still present but no longer tri colored. The move was presumably made in an attempt to compete and fit in with its bigger corporate competitors.
Sign - thematic influences: The Stardust's theme revolves around an outer space/science-fiction theme, which was exceptionally popular during the era which it was created. When the original design, no longer present, was created in 1958, the Russian space project of Sputnik was just realized.
Sign - artistic significance: This is one of the most widely-admired and imitated signs on all the Strip.
Surveyor: Joshua Cannaday
Survey - date completed: 2002
Sign keywords: Chasing; Flashing; Oscillating; Pylon; Fascia; Porte-cochère; Neon; Incandescent; Backlit; Steel; Paint; Graphics
Mixed Content
Interview with Linda (Mack) Smith, June 30, 2004
Date
Archival Collection
Description
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Transcript of interview with Gerald Gordon by Barbara Tabach, November 02, 2016
Date
Archival Collection
Description
In 1961, at the age of thirteen, Gerald ?Jerry? Gordon became a bar mitzvah. This typical coming of age celebration was unusual in that he had simultaneously studied in both his home state of California and his adopted home of Las Vegas, where he spent summers with his grandparents. 1961 is also the same year that the Gordons made Las Vegas their permanent home. Jerry graduated from Las Vegas High School, attended University of Nevada, Las Vegas and earned his law degree from University of California, Los Angeles. His gregarious and trustworthy personality led him to career building steps in the legal community of Las Vegas that included illustrious names such as Louis Wiener, Jr., David Goldwater, Neil Galatz, and many others. His personal law specialty became bankruptcy, especially dealings with hotel/casinos. As a member of the Jewish community, Jerry?s energy and expertise to organize was instrumental in the construction of Congregation Ner Tamid, the reform synagogue, at its site on Valle Verde and I-215. It was a multi-year process and includes a vast array of stories?a cash donation from Moe Dalitz, finalization of receiving of a donation land from the Greenspun family during the High Holy Days, and the ongoing challenges of a building campaign during a recession. In addition, he explains that CNT included two unique negotiations: 1) a cell tower and 2) a solar field on the synagogue?s property. Jerry and his wife Yvonne met while attending UNLV. Yvonne taught math at various levels in the Clark County School District. They raised their two children, Sara and Jeffrey, in Las Vegas, and forged an important role together in Congregation Ner Tamid. In April 2017, they were among those honored for their work with the synagogue.
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Richard W. Bunker Interview, July 18, 2017, July 21, 2017, and September 28. 2017: transcript
Date
Archival Collection
Description
Fourth-generation Nevadan, Las Vegas native, and great grandson of Mormon pioneer Edward Bunker, Richard W. Bunker knows Southern Nevada as few others do. For example, when Richard Bunker speaks of water, he talks about his father's family leaving their home after the completion of Hoover Dam because their little town of St. Thomas was submerged in the rising waters of Lake Mead; he recalls swimming at the Old Ranch pool, the Springs, and the Mermaid pool; he shares stories of hiring Pat Mulroy, mentoring her, and encouraging her to apply to lead the Las Vegas Valley Water District; he mentions the Dunes and its two fresh-water wells, the Sanitation District and wastewater treatment. Few others have actively shaped Southern Nevada as Richard Bunker has through his lengthy career as a lobbyist (1973–2000); assistant manager for City of Las Vegas (1973–77); Clark County Manager (1977–79); member and Chair of the Nevada Gaming Control Board (1980–1982); executive director (1988-1990) and
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Transcript of interview with Joel Bergman by Stefani Evans and Claytee D. White, August 03, 2016
Date
Archival Collection
Description
Born in 1936, architect Joel Bergman spent his childhood in Venice, California, the son of Edythe Klein and Harry Bergman, a baker who later turned to dealing in scrap metal. The award-winning designer of such Las Vegas projects as the International Hotel, the MGM Grand Hotel (later Bally's), additions to the Riviera Hotel and the Golden Nugget downtown, the Mirage, Treasure Island, Paris Casino Resort, Caesars Palace, Trump International Hotel and Tower, the Signature at MGM Grand, Rhumbar, Gilley's at Treasure Island, and the Tropicana Hotel and Casino first arrived in Las Vegas in 1968 to work on the International Hotel. In this interview, Bergman discusses his architectural career, which began with his graduation in architecture from the University of Southern California; he also discusses his work with Martin Stern, his sixteen years with Steve Wynn, and the formation of his own architectural firm, Bergman Walls and Associates. Throughout, he pays tribute to the three mentors who had the greatest influence on his work—USC architecture professor Carleton Winslow, architect Berton Severson, and client Steve Wynn—and the ways they visualized people moving through space. He acknowledges other professionals whose work he admired and talks about his wives Marlene Federman, Terrie Colston, Maria Nicolini, and Valentina Bogdanova as well as his children and stepchildren. Joel David Bergman passed away August 24, 2016, three weeks after he gave this interview.
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Floyd Jenne interview, April 4, 1976: transcript
Date
Archival Collection
Description
From the Ralph Roske Oral History Project on Early Las Vegas; OH-00944. On April 4, 1976, Gordon Brusso interviewed Floyd L. Jenne (born 1915). The interview discussed Boulder City McGill, as well as Nevada history.
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Transcript of interview with J.W. Campbell by Raymond Haft, February 19, 1979
Date
Description
On February 19, 1979, Raymond Haft interviewed his friend, J. W. Campbell (born June 13, 1918 in Pioche, Nevada). This interview covers the history of Nevada, including Mr. Campbell’s personal history and the growth of Nevada, overall. Mr. Campbell discusses the Stewart Ranch, the Mormon Fort, swimming pools in Las Vegas, and the above ground atomic tests. He also recalls the crash of Carole Lombard’s plane and the building of the Basic Magnesium Plant in Henderson. Mr. Campbell calls Las Vegas a “One industry town,” stating that gambling (and tourism) are the main and major factors in Las Vegas, Nevada.
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Photograph of The Griffin sign, Las Vegas (Nev.), June 28, 2017
Date
Archival Collection
Description
Site address: 511 Fremont St
Sign owner: Aaron Chepenik and Jonathan Hensleigh
Sign details: Opened in February of 2007 as a medieval British pub/ tavern style bar. This location brought on a wave of revitalization of the East Fremont District especially since many new bars/restaurants started to open in this area after this bar did.
Sign condition: 5- still looks relatively new
Sign form: Blade and overlay neon on building
Sign-specific description: Placed above the entrance their brick building the letters The Griffin Cocktails is painted with white block letters outlined with black paint is painted on the building itself. These letters have skeletal neon surrounding the letters. The Griffin letters are yellow tubes and do illuminate green at night, the word cocktails lights up white. To the left of the entrance but still on the building is a green painted griffin drinking a painted white martini ( also all outlined with black paint) The neon tubing outlining the griffin is a yellow tubing but glows green at night ( possibly argon inserted to make it glow green). The Blade is placed a little left of the entrance and hangs off of the building by two blue steel beams, but in between the beams is a beautiful swirl design. At the top of the Blade there is a green griffin sipping a martini (same design as the one painted on the building). At the base of the griffin is white THE letters painted with skeletal neon. Then below is the blue portion of the blade spelling out GRIFFIN in a Britannic looking font in white channeled letters which do illuminate white at night. This part of the blade is outlined in neon ,possibly argon, since it does illuminate blue at night. On the side of the blade ( if you're looking from the road) there are about 14 red curved neon tubes lining the sign.
Sign - type of display: Neon
Sign - media: Steel and Brick Wall
Sign - non-neon treatments: Using the brick wall as a portion of the sign is a design not seen often in Vegas.
Sign animation: Oscillation of red neon tubes on the side of the sign.
Sign environment: Located in the Fremont East District in between Las Vegas Blvd. and 6th St. This location has The Vault to the East of it and The Smashed Pig Gastropub to the west. It is across the street from the Park and Evil Pie. In the middle of the street right in front of the Griffin Bar is the Martini Glass sign.
Sign manufacturer: YESCO
Sign designer: Owners Aaron Chepenik and Jonathan Hensleigh-Aaron stated that the blade portion of the sign was inspired by the old Boulder Club Blade sign
Sign - date of installation: Slightly before they opened so late 2006/early 2007
Sign - thematic influences: Griffin shows that it has a medieval and kind of fantasy kind of feel since its interior does have that cool medieval tavern vibe to it, especially with their fireplaces. Using their brick wall as a part of the sign is a cool innovative way to use their space and stay true to their theme.
Sign - artistic significance: Medieval theme. The blade is a prominent theme in the 50s/60s, though their blade sign was inspired by the Boulder Club (opened 1931-1960) blade.
Survey - research locations: Acessors page, outreach to owner Aaron Chepenik
Survey - research notes: Possible use of argon within their yellow painted tubes, similar to the Yucca Motel signs leaves.
Survey - other remarks: The Blade does look very similar to the Boulder Club blade, so its awesome to see modern properties paying homage to the ones that are no longer around.
Surveyor: Emily Fellmer
Survey - date completed: 2017-09-15
Sign keywords: Oscillating; Steel; Neon; Blade; Fascia; Building-front design
Mixed Content
Photographs of Golden Gate Hotel and Casino signs, Las Vegas (Nev.), April 18, 2017
Date
Archival Collection
Description
Site address: 1 Fremont St
Sign owner: Derek and Greg Stevens
Sign details: This location originally held the Hotel Nevada that opened in 1906. This location had the first phone that was installed in Las Vegas in 1907. The building dates back to 1935, but in 1990 Mark and Craig Italo restored the exterior of the building to reflect the original art deco look to the building. This property was named Sal Sagev (Las Vegas spelled backwards) before it changed to the Golden Gate in 1955. This location was made famous with their bargain shrimp cocktail. This location has exhibits near their check-in desk showcasing older casino memorabilia, old slot machines, as well as an old phone.
Sign condition: 5- still shines brightly and paint is holding up very well
Sign form: Blade and semi-decorated shed
Sign-specific description: Their blade sign is on the corner of Main and Fremont on the top of the blade is a spherical yellow light with two neon 3-D diagonal oval shapes beneath it the with the top one blue and the bottom one a fuchsia pink. The main portion of the blade is made up by sideways rusty colored squares spelling out "GOLDEN GATE" in block letters (one letter in each box) each containing flashing incandescent light bulbs. Beneath this is a rusty colored rectangular box that spells out "CASINO" in the interior with white neon letters with the box outlined in sparkling incandescent light bulbs. Underneath the rectangle is a rusty colored circle with white block letters spelling out "HOTEL" in neon, and underneath the words is a red skeletal neon outline of the Golden Gate Bridge. On the corner of the building right underneath the blade is is a rectangle sign with red neon spelling out "CASINO". There are chasing incandescent light bulbs surrounding the first second story of the building with the words "GOLDEN GATE" in channeled white neon letters that are outlined with blue neon and have sparkling incandescent light bulbs at night, and are both on the west and north side of the building. Also there are the words "RESTAURANT" as well as "CASINO" both in flashing incandescent light bulbs on both sides of the building as well. There are also LED lights that illuminate the building's windows at night time.
Sign - type of display: Neon, Incandescent light bulbs and LED
Sign - media: Steel
Sign - non-neon treatments: Incandescent light bulbs on signs and LED lights illuminating the building
Sign animation: Chasing, flashing
Notes: incandescent light bulbs
Sign environment: This location is on the corner of Main and Fremont which is the entrance to the Fremont Street Experience. There is also a concert stage in front of this property. Across the street would have been the Las Vegas Club, the Glitter Gulch and Mermaids; but have been demolished in recent times.
Sign - date of installation: 1964
Sign - date of redesign/move: When the sign was installed in 1964 the bottom circle of the blade stated "HOTEL SAL SAGEV" but now there is the Golden Gate bridge, so it must have switched when the Sal Sagev name was not affiliated with that location anymore.
Sign - artistic significance: This blade looks similar to the old Sal Sagev sign that was up on this building previous to this sign. The blade also was a prominent theme for signs in the 50's and 60's especially down on Fremont.
Survey - research locations: Assessor's Page, Tour outline, Golden Gate website for history http://www.goldengatecasino.com/history/#
Survey - research notes: http://www.goldengatecasino.com/history/# has a good timeline of the history of the casino as well as some good Vegas history notes as well.
Surveyor: Emily Fellmer
Survey - date completed: 2017-09-22
Sign keywords: Neon; Incandescent; Chasing; Flashing; Decorated shed; Steel; Pole sign
Mixed Content