This photograph has three images. The first one (0272_0026) is a picture of the first bucket of concrete poured in Boulder Dam, June 6, 1933. The handwritten inscription reads, "The first bucket was 'grout' (cement and water) which was spread over surface of pour with steel brooms. All loose rocks have been pried out, and all cracks have been pumped with grout until filled. Some has taken a week of continuously pumping night and day. Each from and pour is supervised by government selected men." The second one (0272_0027) reads, "Excavation for foundation three hundred feet below river bed down to bedrock." The picture is looking upstream, excavation for dam foundation, Boulder Dam photo provided by the Bureau of Reclamation. It also says, "Seen from lookout point above. Trucks struggling up and down the steep grade, reminds you of ants as they attack this giant job. I often wondered where did they put all this dirt and rubble? Brakes were soon worn out and never replaced. Trucks were geared down real low, but you still got a thrill, going downhill. x-marks trussel for rail that will bring concrete from lower mixing plant around the bend where the mts. end in a gentle slope." written as a handwritten inscription. The third one (0272_0028) reads, "Drilling of walls to clean up and to blast off loose slabs on upstream canyon walls. These men climb hand over hand at end of shift, and slide down to work. The art of keeping your balance in a bos'n chair is picked up in a hurry at heights like this. I saw a miner hand a 90 lb. Hammer of his shoulder and climb hand over hand 75 ft. up, until he got past the overhang before he could touch the canyon wall with his feet. It was a side show," written as a handwritten inscription.

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).

This photograph has three images. The first one (0272_0084) reads, "Top of dam about one form wide - everyone getting in each other's way" (duplicate of Image 0272_0016). The second image (0272_0085) reads, "Getting higher and more enormous. Can you see what's swinging on end of No.7 line?" Refers to the arrow at the top right of photo. "(3) tunnels drilled for penstocks that divert water to turbines. So much to tell about, that's shown in this pic. You can see where the turbines will set. The (slot) in middle of dam indicates how much of the dam has been cooled. Notice how dam curves into canyon walls - to brace against weight that will build up behind it." The third image (0272_0086) shows an early view of the enormous amount of excavating being done and tailings to be moved. An inscription reads "Pouring cement on any part of the dam has not begun, only the diversion tunnels and tracks for head tower and tail tower that hi-lines across the channel are connected to" (referring to the arrow at top of photo). The inscription continues "(x) Reeve fell down this tunnel but was cemented at that time. On the dam I never heard anyone being hurt with falling rock. But - most injuries and fatalities occurred building roads to the dam and at the location of dam. No men have been covered up and left in the cement. Nothing but the purest cement went into the construction of dam, maybe a piece of metal if it wasn't oily. About men being buried in the dam is a misconception (sic). Some have been covered up with cement when the bucked dumped out of control, but the men were rushed to first aid and washed off, and treated, but very few injuries."

A view of the Dunes Hotel tower under construction. The famous sultan statue is visible in the foreground. The marquee is visible in the background advertising "Now in the Persian Room Vive Les Girls French Stage Spectacular 8:30 pm, 11:30 pm, 1:15 am" and "Persian Room All new direct from Paris Vive Les Girls! Produced by Danny Costello Star of the Ed Sullivan Show". The Dunes, which was themed after the Arabian Nights stories, opened on May 23, 1955 with 200 hotel rooms, located in several two-story buildings. From the time of its opening, the Dunes was known for the 35 foot tall fiberglass sultan statue that stood above its main entrance. In 1961, a 24-story, 250-room hotel tower, known as Diamond of the Dunes, was added to the northern part of the property, bringing the total number of rooms to 450. At the top of the tower was the Top O' the Strip restaurant and lounge. The tower was the tallest building in the state at the time. In 1979, the South Tower was added, expanding the hotel to 1300 rooms. A second casino in a separate, round building on the site opened in 1983 under the name Oasis Casino at The Dunes. In 1985, the sultan statue was moved to the golf course during renovations, and later caught fire, reportedly due to an electrical short. On November 17, 1992, the Dunes was sold to Wynn's company, Mirage Resorts, Inc., for $75 million. On January 26, 1993, the Dunes closed its doors for good. Steve Wynn bought the Dunes and started the redevelopment trend with the demolition of the 32-year-old North Tower. On October 27, 1993, the Dunes was demolished in a grand ceremony that involved major fireworks displays and the use of several "cannon blasts" from the English ship 'HMS Britannia' of Treasure Island Hotel and Casino. The 15-year-old South Tower was demolished 9 months later in July 1994, with no fanfare and minimal media attention. The Bellagio now stands in its place. The property is located at 3600 Las Vegas Boulevard South, Las Vegas, NV 89109.

Daytime views of the Glass Pool Inn signs on the Strip. Information about the sign is available in the Southern Nevada Neon Survey Data Sheet.
Site address: 4613 S Las Vegas Blvd
Sign details: Located on the very south end of Las Vegas Blvd the Glass Pool Inn boasts a Pylon/Pole sign along the east side of the Strip. Both the sign and the adjacent lounge, which holds vestiges of wall signs, are directly Northwest of the famed glass Portaled pool, where the establishment takes its name.
Sign condition: Structure 3 Surface 2 Lighting 2
Sign form: Pylon
Sign-specific description: The Glass Pool's main sign is a double-backed, double poled, internally lit pylon design. The top portion, a sculpted internally lit marquee in the classic kidney pool shape, reads "Glass Pool Inn." A smaller sign of similar water referenced design, sits below the main marquee. They are both contained in sheet metal framed painted blue. The bottom portion is comprised of a incandescent bulb LED matrix center, a Sheet metal message center containing a small plastic readerboard with vinyl letters, and a red neon sign for vacancy. The boxes or the message centers are also blue sheet metal.
Sign - type of display: Neon; Incandescent; Backlit
Sign - media: Steel; Plastic
Sign - non-neon treatments: Paint
Sign animation: none
Sign environment: The Glass Pool Inn sits on south end of the strip among the small dying hotels of Las Vegas Blvd's earlier history, it is one of the first signs you see traveling North on the strip entering town. Just north lies the beginning of the main flood of architecture from the modern strip; while to its south are the beginnings of the strip and the spawning new growth of Las Vegas. The Glass Pool stands in the unique position of being in that gateway of entering the Las Vegas Strip
Sign manufacturer: YESCO
Sign - date of installation: 1953
Sign - date of redesign/move: In 1989 when Steve Wynn was establishing the Mirage, there was another property which also had the name: the small southern Strip, roadside motel. When Wynn acquired the name the original Mirage simply changed its name to the Glass Pool Inn. The original sign was left in place, and simply remodeled to fit the new name of the motel. Permitted by the county to refurbish in December of 1988.
Sign - thematic influences: Water and the pool itself, kidney-shaped design.
Sign - artistic significance: The Glass Pool is an artistic artifact of the older smaller strip hotels. Artistically it is reminiscent of the roadside pole sign used to attract traffic. It represents one of the last strip roadside motels in that portion of the Strip.
Surveyor: Joshua Cannaday
Survey - date completed: 2002
Sign keywords: Pylon; Neon; Incandescent; Backlit; Steel; Plastic; Paint

Daytime and nighttime views of Madame Tussaud's museum signs on the Strip. Information about the sign is available in the Southern Nevada Neon Survey Data Sheet.
Site name: Venetian (Las Vegas, Nev.)
Site address: 3377 S Las Vegas Blvd
Sign details: Madame Tussaud's Wax Museum is located inside the Venetian Hotel and Casino. Located at the southern end of the property, it is tucked away at the end of a long stretch of escalators. Even though it is not in complete plain view, the facility is directly in the line of pedestrian traffic. The escalators serve as one of the main causeways into the Venetian for the traveler headed north on the east side of the strip. The facility is also advertised by an architecturally integrated building sign, and an LED screen that are in plain view from the street. A the end of the bay of escalators, a platform folds out, containing the vibrant entrance to the Wax Museum. Flanking the large opening designated as the entrance, are six free standing sculpted cabinet, advertising for Madame Tussaud's, lining up three on either side of the door. Standing underneath the entry, are a cast of ever rotating wax figures of celebrities. Just beyond the wax sentry, six more sculpted cabinets are present on other side of the pedestrian leading up to a ticket counter. On the ceiling above the pedestrian is an array of sculpted elements that are adorned with incandescent bulbs and neon, all leading up to the afore mentioned counter.
Sign condition: Structure 5 Surface 5 Lighting 5
Sign form: Fascia
Sign - type of display: Neon; Incandescent
Sign - media: Steel; Plastic
Sign - non-neon treatments: Graphics; Paint
Sign animation: Chasing
Sign environment: Madame Tussaud's holds the unique position of being elevated above the street, within the Venetian. Located at the top of a bank of escalators, the museum is positioned so that it is the dominating force upon the pedestrian with its immediate area. With careful examination it is evident that the it resides in the Venetian, but has tight hold on it's claim of space. Even though the location is somewhat hidden, it is a present force, and alongside a series of moving walk paths, generating a high frequency of vibration.
Sign manufacturer: YESCO
Sign - date of installation: 2000
Sign - thematic influences: The theme of Madame Tussaud's revolves around the theme of what the establishment provides. The main attraction is of course the lifelike imagery of celebrities sculpted in wax. The establishment draws from the theme of celebrities and stardom in design. The advertisement cabinets, which line the entry to Madame Tussaud's, are shaped to reference this. One set is crafted in the shape of a stylized star, while the others appear as street side movie posters seen in theatres or propaganda. The feel of them, to sum up initially, is classic "Hollywood" movie opening extravaganza. The star shapes and jutting channels on the ceiling of the entrance are other references to stars as well as the feel of electricity. These too can be associated with "movie star" like elements such as the Hollywood walk of fame, with it's star shaped crests, references to celebrities as "stars," as well as the a fore mentioned flavor of a movie opening or extravaganza.
Surveyor: Joshua Cannaday
Survey - date completed: 2002
Sign keywords: Chasing; Fascia; Neon; Incandescent; Steel; Plastic; Graphics; Paint

Daytime and nighttimes views of the Somerset Motel signs on the Strip. Information about the sign is available in the Southern Nevada Neon Survey Data Sheet.
Site address: 294 Convention Center Dr
Sign details: Just across the small street, connecting with Convention Center Drive, the Somerset Motel resides.
Sign form: Pylon
Sign-specific description: A vertical white steel pole represents the pylon for the establishment. The pole incorporates a backlit message center, and a series of sculpted cabinets to create a complete advertisement for the smaller property. The base of the sign is a white steel pole, whose progress is halted by a backlit message center cabinet. The cabinet is not actually a single cabinet with two sides, but two separate cabinets, sandwich the pole. The sign is flag poled off of the structure being off center. The sides of the cabinet possess the low, sweeping, convex, negative space seen on the Somerset shopping center sign. The bottom half of the face is occupied by the by the white internally lit face, with vinyl lettering. The top half is painted a maroon color with "Somerset" painted on the surface in white paint. Neon hovers over the surface of the text. Jutting off of the south side of the pole from the center of the cabinet, another white, steel pole travels for a very short distance, before turning into a sculpted double backed steel cabinet. The small cabinet is designed with rounded bottom edge, and a recessed negative shape on the top. The bulge on the bottom, is the positive form of the negative space at the top. The result is a pseudo U shaped display. Vacancy is spelled in white graphic text on the surface of the cabinet. Neon tubing spells "NO" above the painted text as well as the tubing hovering over the graphics. The white pole shoots upward, being interrupted but a series of five horizontal steel poles. On the south end of each one of the poles, the U shaped cabinets are present. Each cabinet holds one letter from the word "Motel," starting with the "M" at the top. The letters are painted in white and bordered on the edges with neon. The borders of the face of each one of these cabinets, is lined with neon as well. The north end of each one of the crossing members is a small maroon, circular faced, cylindrical shaped cabinet, with white edges. Neon is bent into the shape of a four-pointed star. The vet top of the [pole is crowned with a double backed cabinet in the shape of a prismatic, seven pointed star. The faces of the cabinet are convex, with each facet of the star being it's own separate plane. In the very center of the star an incandescent bulb resides. The surface is treated in a white and maroon paint finish.
Sign - type of display: Neon; Incandescent; Backlit
Sign - media: Steel; Plastic
Sign - non-neon treatments: Graphics; Paint
Sign animation: Chasing, flashing, oscillating
Surveyor: Joshua Cannaday
Survey - date completed: 2002
Sign keywords: Chasing; Flashing; Oscillating; Pylon; Neon; Incandescent; Backlit; Steel; Plastic; Graphics; Paint