Transcript of interviews with Edythe Katz-Yarchever by Claytee White over the course of several sessions in 2000, 2003 and 2005. In the interviews, Katz-Yarchever discusses her life in Las Vegas, owning theaters with her husband, Lloyd Katz, and the strides they made in civil rights. She talks about her service in Civil Defense and the National Guard, and moving to various places, then working in California and meeting her husband, Lloyd. The Katzes became involved in the community in various ways with Operation Independence and Holocaust education. About a decade after Lloyd's death, Edythe married Judge Gilbert Yarchever.
Edythe Katz-Yarvhever was born in Boston, a second generation American whose grandparents left Russia the century before. Edythe completed finishing school at the start of World War II and worked various jobs at home before joining the Civil Defense, and later, the National Guard. She moved to Maryland and got a job as a secretary at Edgewood Arsenal, then transferred to Cushing General Hospital to assist a Marine Corps neurologist, who was also a Jewish refugee. Towards the end of the war, she is transferred to an Army hospital in Hawaii, and thus began the rest of her life on the West Coast. When the war ended, Edythe sailed to California and worked various jobs in Los Angeles: in the secretarial pool at MGM Studios, for a casting agency and for a hotel magazine. Edythe met Lloyd Katz in San Francisco, and the two were married after a short courtship. The couple lived in San Francisco before moving to Las Vegas in 1951, where they took over the management of the Huntridge, Palace and Fremont theaters, then leased by Edythe's parents. The Katzes took a stand to desegregate their theaters, allowing black customers to sit with white patrons. Edythe and Lloyd became active in the city's Civil Rights Movement, including work with Operation Independence and the NAACP. Edythe started organizations like Volunteers for Education and Junior Art League, and directed an interfaith, interracial preschool. Lloyd would frequently open up their theaters to organizations to hold fundraisers, free-of-charge. Edythe was extremely active in the local Jewish community, including opening the city's first Jewish gift shop, serving as sisterhood president at her synagogue and starting the Jewish Reporter. She later founded a library for Holocaust education as well as assisted the school district's development of curriculum and teacher training relating to the Holocaust. Lloyd Katz passed away in 1986, and in 1995, Edythe married Gilbert Yarchever. Edythe and Lloyd's community service work was honored with the naming of their school, the Edythe and Lloyd Katz Elementary School, where Edythe still remains active.
Daytime and evening views of a McDonald's sign on the Strip at 2800 S Las Vegas Blvd. Information about the sign is available in the Southern Nevada Neon Survey Data Sheet. Site address: 2800 S Las Vegas Blvd Sign details: Located just south of the Westward Ho's south parking lot is the third and northern most version of the sign. Unlike its other two relatives, this sign is solely designated to the McDonald's establishment. It is located in a small landscaped area directly east of the front of the restaurant. This section essentially comprises the front of the establishment itself. It stands tall on the west side of the strip facing north south. Sign condition: Structure 5 Surface 4 Lighting 4 It is noted that the structural integrity is intact. Certain elements of lighting are out or not working but still present. The surface appears to be slightly deteriorating at this point. Sign form: Pylon Sign-specific description: The odd member of the three McDonald's pylons is different in almost every aspect, considering the similarity of the first two to each other. The sign construction itself is a more sleek, opting to integrate the entire structure into a much smoother design than the previous design as well. The other two cabinets are impressive indeed, but the placement of the cabinets is less clumsy than the others. The pole itself is thinner, painted brown steel flat post, which rises into the air, recording a small rectangular anomaly in the vertical line, which is used to support a yellow plastic internally lit cabinet. The four-sided shape swells out on each side, but transitions smoothly as the vertical shot continues upward. The brown post T's off to either side actually stretching to the widest point of the sign. It then grows vertically once again to create the sides of the cabinet. The shape that the brown portion creates is now more akin to a "U" shape rather than a "T." The entire surface of the pylon which is designated brown in laced with incandescent bulbs. Inside this U shape the face of the cabinet is designated red, and set higher above the surface plain of the face. The red fluted steel face is adorned with vertical neon bars and white channel letters floating above the surface. The channel letters are filled with bars of white neon. The giant golden arches break up the top edge of the red cabinet. The arches themselves are yellow painted steel, whose face are encrusted with yellow incandescent bulbs as well as border of yellow neon which floats around the edge of the arch. The tops and bottom surfaces are finished in a reflective, gold, polished metal. A channel runs up the center of the post and a yellow tube of neon glows as a centering stripe. This stripe actually ties in the internally lit yellow sign, with the crowning arches, quite well. Sign - type of display: Neon; Incandescent; Backlit Sign - media: Steel; Plastic Sign - non-neon treatments: Paint Sign animation: Oscillating, flashing Notes: The white incandescent bulbs on the face of the sign illuminate in a chasing pattern from bottom to top, leaving all the bulbs illuminated in it's path, oscillating as they are illuminated. The post vertically illuminates, and when the bulbs reach the top of the brown arms of the U shape, the vertical, red, neon bars on the red portion of the cabinet, chase in simultaneously from either side. They meet in the middle leaving all the bars and thus the cabinet fully illuminated. The cabinet stays lit for a few moments, then the bars curtain out from the middle, back to either side, leaving the bars dark in the animations path. Once they reach the edge, the incandescent bulbs follow suit, and chase back down to the bottom, leaving all the bulbs dark it the chasing path. The yellow incandescent bulbs, which are on the face of the golden arches, constantly oscillate during the animations sequence. Sign environment: As compared to the other two properties, the environment of this McDonald's is quite different. The other two were integrated into the strip mall design, utilizing the pylon itself for other advertisements as well. Even though the McDonald's pylon stood out as the dominant figure among their surroundings, They still felt as if they were part of a whole as well. The environment, which the northern pylon portrays, also reflects its surroundings as well. This environment of the Westward Ho, the Stardust, the Riviera, and the Circus Circus, bring about a certain garish nature in its design that fits in present in the McDonald's pylon.( see artistic significance and theme for further). Sign manufacturer: YESCO Sign - thematic influences: The theme of the McDonald's establishment is in the realm of the well-established McDonalds corporation. The golden arches, and solid red hue, have become synonymous with the name "McDonald's," and is an image, which has been communicated to the masses of people for half a century. It is an icon that is associated with America all over the world. McDonalds has created it's own realm and thematic influence over the years from all of it's extensive advertisements and marketing. Therefore, the theme of the establishment's signs draws from itself and the world, which the name has created. Being one of the most commonly seen images in America, this sign is tailored to fit into the illustrious, illuminative properties held on the Las Vegas Strip. It fits into the category of everyday images and businesses dressed up for Las Vegas, which include, Arabia's, Arco AM/PM, Walgreen's, and Fatburger. Sign - artistic significance: Besides what is mentioned in the above paragraph about the above nature of the iconography of the said logo, this particular sign draws off of its surroundings to display certain aesthetic elements. Surveyor: Joshua Cannaday Survey - date completed: 2002 Sign keywords: Oscillating; Flashing; Pylon; Neon; Incandescent; Backlit; Steel; Plastic; Paint
Rough-draft versions of letters written by William Feldman, Executive Director of the Jewish Family Service Agency (JFSA), and Barry D. Eisen, President of the Jewish Family Service Agency, to Norman Kaufman, Executive Director of the Jewish Federation, and Paul Eisenberg, Chairman of the Endowment Committee, requesting financial aid from the Jewish Federation Foundation endowment fund to support the Jewish Family Service Agency's Elderly Services program. (Original order of pages is unclear, some pages may have been lost prior to donation.)
When Bruce Woodbury, native Las Vegan, attorney, and former county commissioner, looks back on growing up, he immediately says: My first memory of a house here in Las Vegas was in the John S. Park area. The Woodbuiy family lived in two houses in the neighborhood and attended only two schools, John S. Park Elementaiy and Las Vegas High School. Bruce's recollections begin in the 1940s, when they lived on the edge of town. Bruce has what he calls a "nostalgic yearning for the old Las Vegas, even though today it's an exciting, vibrant community in many ways." And during this oral history interview, he recalls the safe feeling of the times—unlocked doors and children allowed to roam more freely than today. The Strip was a "separate world" where kids like himself might go to a show occasionally with their parents, celebrate a prom dance or, as he did, get a part-time job. One of Bruce's jobs included being a busboy at the Flamingo Hotel & Casino where he confesses to learning and
Leon and Norma Friedman, who were married in Pittsburg in 1957, enjoyed civic work, travel and raising their two children, Jodi and Brad. Leon kept active until his passing in 2004.
David E. James is an associate professor of civil engineering at the University of Nevada, Las Vegas (UNLV) and has been with the university since 1990. He is currently the director of Solar and Renewable Energy Programs for UNLV. In 2017, he and the students on his team led UNLV to victory in the U.S. Department of Energy's Solar Decathlon, placing first with a score of 98 out of 100. In the past, David James has served as Associate Vice Provost for Academic Programs, and the President of the Nevada Society of Professional Engineers.
Photos show Little Church of the West signs during the day and 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: Little Church of the West Site address: 4617 S Las Vegas Blvd Sign owner: Greg Smith Sign details: The Little Church of the West now resides on the south end of the Strip, along the east side among the smaller roadside hotels. Surrounded with pleasant landscaping the property is a charming and welcome sight among the more barren area of the strip. Sign condition: Structure 4 Surface 4 Lighting 5 Sign form: Pylon; Fascia Sign-specific description: There are two specific signs which are significant to the property. The first being the double backed internally lit pylon roadside sign which sits on the east side of Las Vegas Blvd and faces east/west. The 10 feet at its widest, and thirty seven feet tall. The structure consists of a center pole upon which an internally lit plastic sculpted message board sits. Painted in an old west script upon the plastic are the words "Little Church Of The West Wedding Chapel," with painted scrollwork on the top and the bottom of the plane. The entire message board is bordered in neon. Sitting on top of the message cabinet is a small, sculpted apse and bell. The original sign from its original construction still exists atop the actual structure of the Little Church of the West. It is an image of a cross outlined in white neon. Sign - type of display: Neon; Backlit Sign - media: Steel; Plastic Sign - non-neon treatments: Graphics; Paint Sign animation: none Sign environment: The property sits among the dying roadside motel environment of the South end of Las Vegas Blvd It stands as on of the properties that is still in good repair. The pleasant landscaping and grass provide a pleasant establishment among the southern strip. It seems to capture the environment it has always tried to attain, of the picturesque country church. Sign manufacturer: Larsen Sign Sign - date of installation: It was originally part of William J. Moore's Last Frontier Village, which was assembled in the late 1950's. The current pylon sign was manufactured in 1996. Sign - date of redesign/move: Originally, it resided in the Las Frontier until it was demolished in 1954. The Little Church of the West stood approximately in the spot where Sax Fifth Avenue is located. When the New Frontier was constructed, it was moved to the east side of the Strip approximately where the Silver Slipper was located. It stood in this location until 1978 when it was moved to the south edge of the Hacienda's property. The property was moved to its current location in 1996. Sign - thematic influences: The thematic influence of the Little Church of the West draws from its original property which was the Old Western theme of the Frontier Hotel Casino. The Last Frontier Village was assembled from actual Western towns and reassembled on the Last Frontier's Property. With its wooden facade, brown color tones, script and pylon structure, the Little Church of the West rings true with its origins, while still incorporating the subtle elements of Las Vegas such as neon. Sign - artistic significance: The Little Church of the West is reminiscent of old west theme which extends back to the very beginnings of Las Vegas and which dominated the themes for a period of time. " Before it became filled with themed western architecture, Las Vegas was an actual western town with a Spanish Style train station and false front facades fronting plank sidewalks"-Alan Hess, After Hours Architecture. Such properties, which dominated the early years of Las Vegas, were the Pioneer Club, the El Rancho Vegas, the El Cortez, the Last Frontier, Binion's Horseshoe, and the Silver Slipper. Surveyor: Joshua Cannaday Survey - date completed: 2002 Sign keywords: Pylon; Fascia; Neon; Backlit; Steel; Plastic; Graphics; Paint