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Charley Henchis Papers

Identifier

MS-01145

Abstract

The Charley Henchis Papers (approximately 1945-1987) document the career of international cabaret show producer Charley Henchis and the shows he produced in Las Vegas, Nevada and Beirut, Lebanon. Materials include Henchis' business files which includes correspondence, files on specialty acts, photographs, and press about Henchis. Shows represented in this collection includes La Parisienne which was performed at the Dunes Hotel in Las Vegas in 1960 before moving to Casino du Liban in Beirut. Other shows represented in this collection that were produced for Casino du Liban includes Mais Oui, S'il Vous Plait, Flash!, and Hello!. Additional materials include press and publicity files, music arrangements and scores, recordings of musical numbers used for the productions, and film footage of shows and production reels. Also included is film footage of the Charley Ballet, Henchis' dance troupe who were featured in his shows.

Archival Collection

Felicia Campbell Papers

Identifier

MS-01173

Abstract

The Felicia Campbell Papers (approximately 1962-2020) contains material documenting the life and work of long-time UNLV English professor, Felicia Campbell. Materials include Campbell's personal and professional papers including correspondence, scholarly journals featuring her published articles, article drafts, newspaper clippings, photographs, personal diaries, and awards. Also included are materials documenting Campbell's discrimination lawsuit against UNLV in the 1970s regarding equal pay for tenured female faculty.

Archival Collection

Felix Lenox Photograph Collection

Identifier

PH-00395

Abstract

The Felix Lenox Photograph Collection (approximately 1910-2000) contains original photographic slides, prints, and contact sheets collected by Lenox in support of his popular "Nevada Armored Transport Inc. (1946-1984)" Facebook page. The collection also includes Lenox's own research on Las Vegas history and armored trucks.

Archival Collection

Las Vegas Ambassadors Collection

Identifier

MS-01195

Abstract

The Las Vegas Ambassadors Collection (1968-1985) primarily consists of a scrapbook, newspaper articles, and photographs documenting the activities of the Las Vegas Ambassadors youth singing group. The materials were compiled by Harry LaFavor, the Ambassadors' business manager, who co-founded the group with Norman Kaye and Richie Astone to promote a positive image of Las Vegas. The collection also includes a songbook, vinyl record and ¼” tape recording, and promotional materials.

Archival Collection

William Flangas Scrapbooks

Identifier

MS-00099

Abstract

The William Flangas Srapbooks document his anti-smoking efforts in Nevada from 1974 to 2014. These materials include correspondence, articles, copies of assembly bills, newsletters related to smoking and health, and newsletters related to non-smokers.

Archival Collection

Archie and Zora Grant Papers

Identifier

MS-00137

Abstract

The Archie and Zora Grant Papers document the lives of Archie and Zora Grant from 1918 to 1973. Materials include scrapbooks, clippings, correspondence, records, certificates, and awards pertaining to Archie’s career in the Nevada Legislature, the State Board of Education, Las Vegas Housing Authority, and Las Vegas Chamber of Commerce.

Archival Collection

Rinker, C. A. Earle (Cleveland A. Earle), 1883-1965

Cleveland A. Earle Rinker was born in Indiana in 1883 to S. Cleveland Rinker and Isadora (Fenwick) Rinker. Shortly after his twentieth birthday Rinker went to Parker, Indiana, seeking work as a stenographer. He soon began working as a clerk for Thomas Condon, a coal and oil dealer who was also an enthusiastic investor in Nevada gold mines. Condon encouraged Rinker to seek his fortune in the gold fields and, in late October of 1906, Rinker boarded a train to make the journey to Goldfield, Nevada.

Person

Film strip of individuals or Hoover Dam construction, image 006: photographic print

Date

1930 (year approximate) to 1939 (year approximate)

Description

This photograph has three images. The first one (0272_0040) reads, "Early morning on grave-yard shift, day shift coming on, notice lunch boxes. Hardway Johnnie (John Armitage) the graveyard Asst. Super. Coming down to see why they are slow getting to their jobs - that's me right behind him." "The men nicknamed me Hardway Jr. I relayed his orders. He had a hard time walking those 2x12 boards on top of the forms - they did install rails later, as you can see, but didn't weather the rough treatment - (xx) elevator shaft." "I got a lot of learning under John Armitage. He sent me to relieve on so many different jobs. Had clean up crew for three months - also I ran the pours with #5 hi-line until it could reach the dam no more, with the angle it sat. Tied steel on intake towers two nights." "Most fearful job was relief hook tender on the stiffleg. The job was situated on a pad on the upstream face of the dam, about level with the low-mix trusel, with just enough room for two of the 8 yd. buckets - the stiffleg would leave a bucket of mud - pick an empty one - No.6 hi-line would leave and empty one and pick up the empty. The men stood as flat as they could - during the exchange with the bucket down. The men would grab the swinging steel cables in one hand, the 12 pound hook that felt like 50 pounds. Place cable on eye in bucket, then twist hook down and slam in place - no guard rails." The second one (0272_0041) reads "Intake towers growing. The bottom of the picture shows a finished pour - it must cure for 12 hours in the hot weather, and 48 hours, cold weather - 300 ft. down if you step off the end of this panel (see arrow)," as a handwritten inscription. The third one (0272_0042) reads "The morning after my first night of work, with Dickey" (dog).

Image

neo000139-004

Description

Sign animation: Chasing, flashing, oscillating
Notes: The logo cabinets which adorn the entrances on the elevated walkways: The letters start with both rows of text in the off position. The top row flashes on, while the bottom row is dark then the bottom row illuminates, as the top row goes dark. Once the top row flashes off it flashes back on so that both rows of text are briefly illuminated simultaneously before they both go dark and the sequence stars over again. While this is going on the incandescent bulbs which line all of the raceways are chasing each other from left to right on the horizontal planes, while the arched sections chase each other downward. The triangular peaks which radiate around the top of the logo sign, flash on and off in a sequence which chase each other downward. First the top center peak flashes on, then the next sequential triangular channel on both sides illuminate simultaneously, flash off, then the next two in the series illuminate. The resultant effect is a chasing pattern starting from the top. The sister animation is located on almost the exact same design on the porte cochere. I would think the previous smaller sign would be based on the larger porte cochere. The other variance besides obvious size difference is the that the channel letters are filled with incandescent bulbs instead of neon. The animation is a bit simpler as well. The incandescent bulbs oscillate continuously while the triangular pan channels which create the radiating crown, animate. The neon in the channels chase each other as described in the smaller walk way version, while the text continues until the entire text flashes off, then on, off, then begin to animate once again. All of the bulbs, which line the raceways of the exterior edge of the porte cochere, as well as the encrustation of bulbs on the brass bull nose portion, animate in rapid succession. All the raceway bulbs chase each other while the bulbs on the brass portion continually oscillate. Animation continues on the east face of the building with the entrances first. The principle for these two signs is oscillation and chasing. All bulbs on the underside of the entrance, as well as in the logo, oscillate rapidly. All bulbs on the raceways chase each other. Further on the surface of the building as well, the Pepsi cola wall sign is found displaying a very unique form of animation, seen here on the strip. The signage for the Pepsi ad is located on the eastern wall. (Detailed in specific description) The Incandescent bulbs which fill the inside of the text that spells Pepsi, chase each other from left to right, leaving all the bulbs in its path illuminated, as if writing out the word Pepsi. The neon bars located within the tilted bottle of Pepsi are illuminated, and chase each other downward, leaving the bars it its path dark. As this sequence in taking place, the waving tubes of neon illuminate, flashed subtly making the neon appear as soda pouring out of the bottle. As the tubing flows then the vertical neon bars in the cup illuminate one at a time making the cup appear as if it is filling up. The text above each of the painted fires head, flashes back and forth as if talking to each other as well. ESPN ZONE animation: The letters in the vertical blade portion of the ESPN Zone illuminate one at a time, starting from the top. Once the entire phrase is lit, in flashes off then on then off, before restating. The orange and red neon tubing which resides inside the pan channels that represent flames flash on and off in a relaxed manner as if to animate the flickering of the flames. The small incandescent bulbs on the black portions above the main matrix reader board flash on and off subtly.
Sign keywords: Neon; Backlit