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Marc Franco Casibang oral history interview: transcript
Date
Archival Collection
Description
Oral history interview with Marc Franco Casibang conducted by Catherine Mariano on December 5, 2021 for Reflections: The Las Vegas Asian American and Pacific Islander Oral History Project. University of Nevada, Las Vegas nursing student Marc Franco Casibang shares stories of his childhood moving with his family from Cagayan province, Philippines to different locations around the world. After their international travels, the family immigrated to the United States and lived in South Dakota and Maryland before settling in Las Vegas, Nevada in 2014 when Marc was a high school sophomore. Marc Casibang discusses his experiences as an immigrant in America, learning English and adapting to the culture of the United States, and maintaining his Filipino identity. He shares his thoughts on Filipino stereotypes, the community he and his family have found in Las Vegas, his faith, and his educational pursuits to become a nurse.
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Virginia Valentine (Nevada Resorts Association) oral history interview conducted by Kelliann Beavers and John Hudak: transcript
Date
Archival Collection
Description
From the Lincy Institute "Perspectives from the COVID-19 Pandemic" Oral History Project (MS-01178) -- Business interviews file.
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Transcript of interview with Juanita Kilburg by Vincente C. Camacho, March 7, 1981
Date
Archival Collection
Description
On March 7, 1981, Vicente C. Camacho interviewed accounting clerk, Juanita Kilburg (born September 25th, 1923 in Los Angeles, California) on the second floor of the UNLV Dickinson Library. Kilburg explains how her family first moved to Southern Nevada and her father’s ties to the railroad. She then goes on to explain the growth of the military and Nellis Air Force Base. The interview concludes with a discussion on her work with the American Legion service organization.
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Transcript of interview of Thalia Dondero by Mary Germain, March 13, 1976
Date
Archival Collection
Description
On March 13, 1976, Mary Germain interviewed Thalia Dondero (born 1921 in Greeley, Colorado) about her life in Nevada and her experiences as the first female commissioner for the Clark County Commission. Dondero first talks about her upbringing and her eventual move to Southern Nevada. She also discusses her involvement in extracurricular activities, such as being a leader for the Girl Scouts, and how some of those experiences led her to get involved in politics. Dondero also mentions her work with National Geographic and her passion for working with oil paintings and watercolors. The final part of the interview involves some of Dondero’s accounts as a commissioner for Clark County and some of the challenges she has faced in that position.
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Transcript of interview with Linda Hartley by Pauline Marchese, March 10, 1978
Date
Archival Collection
Description
On March 10, 1978, Pauline Marchese interviewed her neighbor, Linda Hartley (born in 1941, in Cedar City, Utah) in her home at 5261 South Jane Way, Las Vegas, Nevada. During the interview, the two discuss Hartley’s personal history, such as schools that she had attended and her recollection of local recreational activities. The two go on to talk about changes in crime, the environment, and briefly discuss a variety of issues at the time, including: segregated schools, prostitution, and effects of the Nevada Test Site.
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Transcript of interview with Alan Clancy by Su Kim Chung, by February 12, 2015
Date
Archival Collection
Description
Alan Clancy grew up in Sydney, Australia, the second son of famous ballroom-dancing parents. He recalls that he had incredible energy as a child, and, therefore, his parents enrolled him in the Shirley de Paul Studio to learn gymnastics, tap, ballet, and jazz. He also became a soprano singer. This training did well for him for as he went through high school he won trophies in sports and participated in musical productions. Eventually, because of a neighboring friend, Kay Dickerson, Alan moved to the Rudas Acrobatic Studio where he received further training and eventually contracted with Tibor Rudas to participate in an entertainment group called “The Las Vegas Dancers”. He was only seventeen when the group boarded a ship for Hong Kong in an enterprise which would eventually allow the dancers to entertain around the world for approximately two and a half years. When the group returned, Alan auditioned for the Tommy Leonetti television show and then for Les Girls in Sydney. Eventually Tibor Rudas appeared with a contract for Alan, when he had just turned twenty-one, to fly to Las Vegas to work in the Folies Bergere at the Tropicana Hotel and Casino. When he arrived in Las Vegas, he was surprised at the size of the city and the hotels but was overly impressed by the neon signs, the showrooms with their nude dancers, the costuming, magnificent sets, the choreography, and the dress of the patrons. He remembers his first night performing in the Folies and the amount of stars in the audience, for example, Elvis Presley, Liberace, and Zsa Zsa Gabor. Alan goes on to describe the many people that he met in Las Vegas, working in various shows, and the many friendships made over the years. However, he eventually became interested in opening his own vintage clothing store, Vintage Madness, near the Strip. He talks about his many customers, the stores around him, his creative ways of acquiring items to sell and the success that was made. Unfortunately, during the middle of one night the store burned to the ground which left Alan devastated. Eventually, however, he purchased three buildings on Fourth Street and opened an art gallery, a coffee shop, and a small stage. His mercantile interest allowed him to leave show business and briefly open a store in Laguna Beach, Southern California. It wasn’t long until Barclay Shaw asked him to work in “Splash” at the Riviera Hotel in Vegas and, therefore, he returned to show business. However, Shaw, his friend, died and so did his mother and he lost interest in his stores, renting them out. Consequently, he returned to live in California and began working with Aids patients. Alan returned to Las Vegas for the reunion of the cast of Folies Bergere and noticed the many changes made in Las Vegas from when he first arrived to perform at the Tropicana Hotel.
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Photographs of Luxor signs, Las Vegas (Nev.), 2002
Date
Archival Collection
Description
Site name: Luxor (Las Vegas, Nev.)
Site address: 3900 S Las Vegas Blvd
Sign owner: Mandalay Resort Group
Sign details: The giant black, glass, pyramid rises out of the desert as certainly one of the most unique structures. The pyramid is also accompanied by a monolithic, heavily geometric structure, finished in the same black, panels of windows. Just to the north. The front of the property is dominated by an array or Egyptian architectural landmarks such as an giant obelisk, the Sphinx, various statues of Egyptian gods and pharaohs line the multi tiered expanse of concrete and stucco. The property is pedestrian interactive, being able to pass underneath the giant obelisk, and through and beneath the giant Sphinx. The feel produced by area is appropriate for the desert environment.
Sign condition: Structure 5 Surface 5 Lighting 5
Sign form: Pylon; Fascia; Porte-cochère
Sign-specific description: On the expanse of concrete in front of Las Vegas Blvd, just north of the obelisk, a double-sided pylon sign joins the ancient composition. The pylon actually is more akin to the pylons seen at properties such as the Monte Carlo or the Mirage. It is located in the northern portion of the property on the west side of the strip-facing northwest along Las Vegas Blvd Two square posts support a two-sided square cabinet which houses a back lit advertisement and a set of crafted letters spelling the name of the establishment. Occupying the upper portion of the space between the legs another internally lit, two sided, cabinet, atop a small pair of internally lit sculpted cabinets. From a distance the cabinets look like thumbs holding up the cabinet. The shapes are graphically treated on the surfaces to look like colorful recreations of a hieroglyphic bird, the wings being the elongated portion of the cabinet. The only art attached to the cabinet is the portion designated for the head of the creature. Three sets of sculpted cornices, create borders for the different planes. The bases of the legs are treated with the ledging, the section separating the top cabinet, from the rest of the sign, and finally another set around the top crowning edge of the sign. Both sides of the top edge have a sculpted element in the very center. A flat circle, presumably a representation of the sun, flanked by two snakes are set on a pair of large wings spreading to either side. This element is ambiently lit from underneath. The text, which spells "Luxor," is composed of polished gold channel letters, with closed faces with graphic treatments in blue upon the faces. The faces are painted to appear if the letters are faceted into three dimensions. They are lit from behind with whit neon creating a halo effect around the letters. The surface of the actual structure is finished to appear as if it is constructed of limestone, utilizing false joints and seams. The south end of the property close to the street is the four-sided obelisk. The text on the obelisk is the same word treated in the same fashion, structurally and aesthetically, as the pylon sign. The only difference is that it reads vertically from top to bottom. Statuary adorn the base of the obelisk in a repeating pattern as well as it being covered in hieroglyphic patterns. A tunnel allows for the pedestrian to pass underneath the obelisk. The porte cochere is located underneath the body of the Sphinx, another use of the architecture to incorporate the pedestrian element. If you head east through the sphinx, a tunnel opens up into a small courtyard where a shuttle bus may be caught. The ceiling of the porte cochere is adorned with a circular chandelier, composed of metal representations of leafy branches radiating around a rounded center. The ends of the arms hold length-wise half cylinder lamps. The ceiling above is painted blue. The most spectacular element of the Luxor is its super powerful light in the place of the capstone at the very peak. The beam is one of the most powerful lights in the world, and can be seen from high above into the earth's atmosphere as well. The edges of the pyramid are also raceways, which can be seen in action in the dark. An animation of bulbs makes it appear as if a single bulb of light streams up the base to the very peak. The animation runs at an interval of every couple of seconds. On the very south edge of the property, actually on the southeast corner, is a sculpted, small pylon which houses a color led screen.
Sign - type of display: Neon
Sign - media: Steel; Masonry
Sign - non-neon treatments: Plaster
Sign animation: Chasing
Sign environment: Standing next to the Mandalay Bay on the west side of the southern end of Las Vegas Blvd, the Luxor's front exterior is a sprawling mass of smooth vertical planes turning into eloquent statue and stucco walls. They are interlaced with drives and signage complete with a platform at the base of the Sphinx, which is just east of where the valet and porte cochere are grounded in the base of the beasts belly. From the edge of a Platform a tram station is located and also a view of the signage can be seen as well. The Luxor's environment is a very pedestrian one as well. Being in an isolated part of the strip, the noise clutter brought about by the surging traffic is considerably better than the heart of the strip.
Sign designer: Veldon Simpson
Sign - thematic influences: The theme of the Luxor is obviously that of ancient Egypt. The Ancient Egyptian imagery is placed among the same images but represented in the shiny black glass, giving a touch of future meets the past. The image seen are some of the most commonly seen images when talking about the Ancient Egyptian culture. The Sphinx stands guard at the base of the giant black pyramid, one sign is attached to an obelisk. Various statuary adorn the entire plaza. The environment created with the motif obviously fits into the desert like dust, but still retains the surreal nature associated with the themed hotel. The aesthetics appear to be fantastic, but are a bit odd due to the arrangements and limitations on space. It does however fir into an interesting sub category of resort that is themed around a culture. Yes it is themed around a city, but the culture shines through with more dominance. Another example of this is the Imperial Palace. It is not necessarily themed after a particular city, but the architecture and imagery suggests the Asian culture.
Surveyor: Joshua Cannaday
Survey - date completed: 2002
Sign keywords: Chasing; Pylon; Fascia; Porte-cochère; Neon; Steel; Masonry; Plaster
Mixed Content
"Black History: Lost Stolen or Strayed -- Twenty Years Later": article draft by Roosevelt Fitzgerald
Date
Archival Collection
Description
From the Roosevelt Fitzgerald Professional Papers (MS-01082) -- Drafts for the Las Vegas Sentinel Voice file. On Black reality not significantly improved 20 years later.
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Transcript of interview with Joe Lappin by Gordon Brusso, March 4, 1976
Date
Archival Collection
Description
On March 4, 1976, Gordon Brusso interviewed former miner, Joe Lappin (born November 14th, 1914 in Santa Paula, California) about his life in Boulder City, Nevada. The two discuss his early occupational history and his work for the Bureau of Mines. He then goes on to explain the different housing systems that developed in Boulder City during World War Two.
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Transcript of interview with Eldon Cunningham by Randall L. Williams, March 14, 1981
Date
Description
On March 14, 1981, Randall Williams interviewed Eldon Cunningham (born 1920 in Granby, Missouri) about his life in Las Vegas, Nevada. Cunningham first talks about his family background, his reason for moving to Las Vegas, and his service in the military during World War II. He also mentions the Twin Lakes area of Las Vegas, his hobby of prospecting, and his work with Clark County Electric as an electrician. Cunningham also talks in detail about some of his experiences while working at the Nevada Test Site in electrical work. As the interview concludes, Cunningham talks more about family illnesses, experiments at the Test Site, and his former hunting practices.
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