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Photographs of Bourbon Street signs, Las Vegas (Nev.), 2002
Date
Archival Collection
Description
Site address: 120 E Flamingo Rd
Sign owner: Carma LTD
Sign details: Bourbon Street is located between the Maxim and the Barbary Coast on the north side of Flamingo, stretching to the corner of Audrie and Flamingo. The building contains elements such as brick masonry, stucco and wrought iron grating. It is a smaller property compared to nearby plots such as Bally's or the Flamingo. Extending north a short distance for a structure of rooms and parking, the signage consists of wall signs on the east and west sides of the building, a main sign on the south side of the building, a sidewalk and window canopies, as well as a main pylon.
Sign condition: Structure 3 Surface 3 Lighting 3--notes: The entire facade of the building, as well as canopies are badly faded and in need of attention.
Sign form: Pylon; Fascia; Porte-cochère
Sign-specific description: Headed west on Flamingo the first signage visible of the Bourbon Street is on the east face of the main building. A giant stucco arch, which runs the height of the building, is adorned at the very top with a round canopy. The canopy is divided into striped sections of red and white alternating panels, separated by gold aluminum polished raceways lined with incandescent bulbs. The canopy's underside is laden with incandescent bulbs. White channel letters reside on the surface of the building spelling out " Bourbon Street," with one word above the other. The letters are filled with white neon. Below the word "Street," the words "Hotel Casino," are spelled in channel letters and filled with red neon. Below the collection of channel letters and canopy, the majority of the space is occupied with an internally lit plastic screen with vinyl letters. Two small canopies flank the arch over two windows and also contain incandescent bulb raceways. The top edge of the building is gold polished raceways with incandescent bulbs. Along the south side of the building, long canopies are hung upon the top edge of the wall hanging over backlit plastic screens with vinyl letters. The middle of the building is an archway projected out into space creating an extension of the side of the building. The same canopy design seen on the east side of the building is seen at the top of the structure only larger in size. It is also treated with the same raceway and incandescent bulb design. "Bourbon Street" is spelled in al capital channel letters outlined in red neon and filled with incandescent bulbs. Above and below the text on the wall, white neon is bent into decorative, scrollwork patterns. The very top of the arch is crowned with a single internally lit spherical bulb. Below the text a cabinet with rounded top corners, houses channel letters filled with red neon. It is bordered with a raceway lined with incandescent bulbs. Projecting out on either side of this cabinet, along the face of the building, hanging over the sidewalk, is a canopy with an exoskeleton of raceways lined with incandescent bulbs. On the wall of the building, between the two top and bottom canopies, and on either side of the main entrance two small canopies hang over windows. They are treated the same as the window canopies on the east side of the building. On the west end of the property there is a small porte-cochere, and covered walkway that extends west to the end of the property. At a slightly higher elevation than the facade's canopy, the porte-cochere is a square design with the same external raceways and bulbs, the same can be said for the walkway extending to the edge of the property. The canopies look to be made of steel and painted to match the color scheme of the establishment. The underside of the porte-cochere is comprised of squared mirrored paneling illuminated with incandescent bulbs. On the west side of the building above the porte-cochere the same canopy and arch design can be seen but the text is more akin to the text on the south side of the building. The channel letters spell the text Bourbon Street in two lines. They are outlined in red neon and filled with incandescent bulbs. The text "Hotel Casino" is represented in channel letters filled with red neon. The only difference is the yellow neon design placed in between the two words. To the left of this sign, along the top edge of the building the canopy design picks up again hovering above a backlit sign message board. On the extreme west end of the property the main pylon sign faces east/west on the northeast corner. The sign basically consists of a large pole with a double-backed cabinet, crowned with the umbrella canopy shape seen throughout the property. The cabinet is of rectangular design with the corners cut out in a circular shape. The majority of the sign is occupied by the red neon bordered channel letters, which read "Bourbon Street". These are also filled with incandescent bulbs. The text "Hotel Casino" is spelled in channel letters and outlined on the interior with red neon. The left and right sides of the word "Street" are occupied with a channel scrollwork design lined with yellow neon. A channel pattern also separates the words "Hotel" and "Casino" This patterns appears to be like a flier de lie with its mirror image attached to it from the bottom. It too is filled with yellow neon. The face of the cabinet is lined with a raceway containing incandescent bulbs. The umbrella canopy occupies the top of the sign. It is fully realized in the round, with the exterior skeleton of the raceways with incandescent bulbs. The underside is also mirrored with incandescent bulbs spread across the surface. At the very top of the umbrella shape a streetlight puts the finishing touches on the sign. A small sign worth mentioning sits north of the main pylon at the edge of a small parking lot for the facility. It is a small back-lit cabinet denoting hotel registration and parking. The rectangular cabinet sits upon a small pole with a rounded section incorporated into its design. On the plastic portion of this rounded extension the words "Bourbon Street" are graphically painted along with the image of the red and white canopy.
Sign - type of display: Neon; Incandescent; Backlit
Sign - media: Steel; Fiberglass; Glass
Sign - non-neon treatments: Paint
Sign animation: Oscillating, chasing
Notes: All the incandescent bulbs on the raceways that are visible, chase each from other top to bottom. The incandescent bulbs, which line the raceways on the umbrella shape on the main pylon, chase each other downward as well as around the border of the face of the sign. The underside of the umbrella is also encrusted with incandescent bulbs, which oscillate. The text on the pylon sign all light up simultaneously in an oscillating pattern, they then steady burn, then shut off. The main logo marquee seen on the south face of the building contains the same animation seen on the pylon sign as well. The small vertical raceways underneath the porte cochere also animate by chasing downward.
Sign environment: Headed west toward the strip on Flamingo, the defunct Maxim is almost invisible at night, while the first active property is the Bourbon Street. The main pylon resides directly across Audrie from the Battista's pylon, making a flanking neon gateway to northern bound travelers on Audrie.
Sign manufacturer: YESCO
Sign - date of installation: 1984-05
Sign - thematic influences: The theme of the Bourbon Street is evident in its name being influenced by the Mardi Gras party atmosphere of New Orleans. The new Orleans theme itself is reminiscent of turn of the century America. The canopies and brass railing are reminiscent of properties such as the Westward Ho, with its umbrellas, brass treatments and raceways as well. The pylon is reminiscent of a close neighbor in the Barbary Coast, with similar style 19th century block text, and color palette.
Surveyor: Joshua Cannaday
Survey - date completed: 2002
Sign keywords: Oscillating; Chasing; Pylon; Fascia; Porte-cochère; Neon; Incandescent; Backlit; Steel; Fiberglass; Glass; Paint
Mixed Content
Photographs of Circus Circus signs, Las Vegas (Nev.), 2002
Date
Archival Collection
Description
Site name: Circus Circus (Las Vegas, Nev.)
Site address: 2880 S Las Vegas Blvd
Sign owner: Mandalay Resort Group
Sign details: Circus Circus is a cluster of signage and buildings located toward the Sahara Boulevard. When approaching Circus Circus on Las Vegas Boulevard from the North or the South the first thing which is seen is Lucky the Clown, the giant, sculpted, roadside pylon, on the west side of the strip where the property is located. From the South as you approach the property A small double backed marquis sign for the Circus Circus is perched atop the corner or the shared and neighboring establishment of the Slots-a-fun's small street side covering. As you make you way past to entrance to Slots of Fun toward the Giant Lucky sign, the impressive porte cochere comes into view. The porte cochere is the centerpieces for the flankings of the electrified north elevation of the low rise Slots a fun building and the Lucky the Clown Pylon. Following the building North and around it's North elevation, and elevated tram track is exaggerated by the striping of red neon and incandescent bulbs. From there you see the letters horizontally along the high rise towers spelling Circus Circus. The rear of the property serves as home to the Circus Circus Manor, an RV park for the recreational motorist to stay in their travels.
Sign condition: Structure 4 Surface 4 Lighting 5
Sign form: Pylon; Fascia; Porte-cochère
Sign-specific description: The first description belongs to the double backed color LED message center. The board is outlined in rose neon leading up into neon scrollwork center-pieced at the very top of the sign by a smiling clown face. Between the message center and reader board are the animated neon words circus circus in channel lettering with red neon. When facing the front of the Circus Circus, the first fixture, which catches the eye, is the dazzling Rudy Coristomo designed porte cochere. The gradually arched cover is of fully cantilevered design, and the entire piece is encrusted with a dizzying array of animated red and white incandescent bulbs. The words Circus Circus are spelled in channel lettering cross the front peak of the low rise arch design. The letters are filled with white animated incandescent bulbs. A backdrop for the porte-cochere is the pattern of incandescent bulbs along the wall of the structure, which supports the porte cochere. Painted in animated bulbs, narrow, intersecting archway designs reach from the ground nearly to the top of the building itself. The effect is nice backdrop, which leads the eye from the wings of the property to the center. Placed just to the left of the Porte cochere is an entrance into the casino. Above the door a neon and bulb encrusted fascia designed clown holds guard to the word entrance spelled in backlit plastic. Flanking the figure itself are animated red and white bulb laden scrollwork. To the right of the porte cochere is a smeller yet equally charming sign representing another entrance into the building. The smiling backlit plastic wall sign, like the previous, holds an arched text of casino which itself sits above the word entrance. It is outlined in blue neon, with animated incandescent bulbs. Two backlit plastic message boards with changeable vinyl lettering join the wall sign. Animated incandescent bulbs form a border around each. Following around to the North side of the building. A continuous stripe of red neon and a stream of incandescent bulbs border an elevated tram path. As it disappears into a higher elevation building, the giant, vertical, red neon letters Spelling Circus Circus can be seen high above along the east elevation of the tower in the near distance. Continuing west you arrive in the rear parking lot where several items of signage reside. At the very west edge of the property a single sided arched backlit panel faces east and is supported by two candy striped red and white poles. Following the striping and forming a border around the arched panel, white incandescent bulbs chase around the entire sign. In a two-leveled section of text, in the very center of the top of the sign, the words Circus Circus and then Entrance below that are spelled in metal channel lettering with exposed red neon on the interior. On either side of the red neon text are the words free parking painted in white. Directly through the gate further in the distance in the Parking lot, the parking garage can be seen highlighted by the vertical channel lettering, in block text the words Free parking on the west elevation and on the north elevation the key circus circus turn of the century lettering spell circus circus lighted with red neon. The words light up in sequence back and forth in animated turn, saying Circus, Circus. Below that Free Parking is also spelled in block text channel lettering, with exposed red neon. Along the north side of the parking lot is Circus Circus Manor, the recreational vehicle park is highlighted with it's own unique signage.
Sign - type of display: Neon; Incandescent; Backlit; Matrix
Sign - media: Steel; Plastic; Fiberglass
Sign - non-neon treatments: Graphics; Paint
Sign animation: Oscillating, flashing
Sign environment: The site is bordered on the South by Slots of Fun, on the north by the Hilton timeshare under construction, and across the Strip by the Riviera.
Sign manufacturer: YESCO (porte and pylon)
Sign designer: Rudy Crisostomo/LeeLinton (Porte cochere) Dan Edwards (Lucky the Clown Pylon)
Sign - date of installation: Pylon: 1976, Porte Cochere: 1983
Sign - date of redesign/move: The back-lit plastic message board of Lucky the Clown was replaced with an LED matrix screen. In 1983, the porte cochere was redesigned by Rudy Crisostomo and architect Lee Linton.
Sign - thematic influences: The Circus Circus is entirely encompassed by the theme of the big top extravaganza of the three ring circus. The furiously animated light arrays, sheer magnitude of the number of bulbs, intensity of light, all add to the exciting concept of the circus. The turn of the century fonts, reminiscent of the Barbary Coast block Style, are mostly consistent through out the property.
Sign - artistic significance: This theme was en effort to give a bit more respectable image to gambling originally in the late sixties and early seventies. They would incorporate live aerial acts over the casino floor The unique concept was accented by a higher capacity for staying travelers and more family oriented attractions. The giant backlit sculpted pylon Lucky the Clown sign stood as a standard for size and dominance. The 84 ton steel structure was all internally contained and lit from head to toe and welcomed guests and was on of the most memorable Las Vegas sign experiences. Artistically it was influential on the standard on how a resort could be totally encompassed by a theme to create a unique spectacular for most people as well as retain the brilliance of Las Vega's garish style.
Surveyor: Joshua Cannaday
Survey - date completed: 2002
Sign keywords: Oscillating; Flashing; Pylon; Fascia; Porte-cochère; Neon; Incandescent; Backlit; Matrix; Steel; Plastic; Fiberglass; Graphics; Paint
Mixed Content
Pair A Dice Mobile Home Park Neon Survey document, September 12, 2017
Date
Archival Collection
Description
Site address: 2067 N Las Vegas Blvd
Sign owner: Peyman Masachi and Pair A Dice Estates LLC
Sign details: Originally construction was in 1956 for a Manufactured Homes park. This location offers 137 spaces for mobile homes and have 42 permanent parked homes.
Sign condition: 3.5- paint has faded drastically
Sign form: Pylon
Sign-specific description: This pylon has 2 plastic back lit red dice on the top of it with the one on top with the number 5 and the lower one reads 2 to make the lucky number 7. To the non-road side of this double sided sign is a yellow circle plastic back lit sign that has painted black letters stating "Pair A Dice". Below this is an orange triangle shape that has channeled neon white steel letters near the top of it stating "Trailer Park" in a block type font that illuminate white at night. Below these letters are a white plastic back lit sign stating "R.V.'s Welcome" with their phone number posted underneath. Below is another plastic back lit sign that is yellow with a black font stating "Senior Park". Below this is a skeletal neon arrow that points to their driveway that illuminates yellow at night.
Sign - type of display: Neon and plastic back lit signs
Sign - media: Steel and plastic
Sign - non-neon treatments: Plastic Back lit portions
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 environment: This location is in North Las Vegas along Las Vegas Blvd. It is north of Jerry's Nugget by about a mile.
Sign manufacturer: There is a marking for "BMS" on this sign which is a sign manufacturer in Minneapolis, Minnesota but could not get in contact with anyone to see if this is the correct manufacturer/maintainer or if it had a different meaning.
Sign - date of installation: Has been up since at least 2007 but does look a lot older than that
Sign - thematic influences: The triangle in this sign does have a mid-century modern theme (50's/60's) to it with curved geometric shapes.
Sign - artistic significance: The theme of Pair A- Dice plays perfectly with the theme of Vegas since for many table dice games you need a pair of dice. Though you are also in paradise here in Vegas particularly since the incorporated area of Vegas which we all know as the strip is technically the city of "Paradise". Also the Pair O' Dice was the name of one of the first casino's down on the strip when gambling was re-legalized in the state of Nevada in 1931.
Survey - research locations: Assessor's Page, Loop Net- Information on what the property offers http://www.loopnet.com/Listing/18840376/2067-N-Las-Vegas-Boulevard-Las-Vegas-NV/ , _Las Vegas Sun article https://lasvegassun.com/news/2011/mar/01/2-southern-nevada-contractors-file-bankruptcy/_, google maps satellite and roadside view
Survey - research notes: With the BMS sticker on this sign, it could be a sign company but the only one found online was in Minnesota. Unless if there was a BMS in Las Vegas but was bought out by a bigger sign company.
Survey - other remarks: The Pair A Dice LLC company went bankrupt in 2011 which this Las Vegas Sun article discusses https://lasvegassun.com/news/2011/mar/01/2-southern-nevada-contractors-file-bankruptcy/
Surveyor: Emily Fellmer
Survey - date completed: 2017-09-12
Sign keywords: Neon; Plastic; Backlit; Steel; Roadside
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UNLV University Libraries Collection of Boulder City, Hoover Dam, and Lake Mead National Recreation Area Maps and Brochures
Identifier
Abstract
The UNLV University Libraries Collection of Boulder City, Hoover Dam, and Lake Mead National Recreation Area Maps and Brochures (1927-1998) primarily contains regional maps, brochures for local points of interest, and subdivision plat maps of Boulder City, Lake Mead, and Hoover (Boulder) Dam.
Archival Collection
Fayle Family Papers
Identifier
Abstract
The Fayle Family Papers (1895-1998) document the family's personal and business interests in Goodsprings, Nevada and Las Vegas, Nevada. The collection contains mining documents, business records, and photographs from Leonard Fayle’s work with the Las Vegas Valley Water District, where he documented reservoirs, dams, and both abandoned and functioning mines. The photographs also include family members, vacations, and Southern Nevada fraternal organization pictures.
Archival Collection
Bill Willard Papers
Identifier
Abstract
This collection is comprised of the personal papers of noted Las Vegas entertainment writer, producer, and critic Bill Willard, which date from 1887 to 1999. It contains material on his father's theater and political involvements as well as Willard's early childhood and high school years. His time in the United States Army is chronicled by the editorials and correspondence he wrote. His papers trace his continued involvement in writing, entertainment, and art which culminated in his direction of the Arnold Shaw Popular Music Research Center. The collection also includes pictures of his artwork, articles he wrote for various newspapers and magazines, scripts, skits, jokes, awards, over 700 audio cassette recorded interviews done for the "Rap with the Artist" series, and personal memorabilia.
Archival Collection
Florence Lee Jones and John Cahlan Papers
Identifier
Abstract
The Florence Lee Jones and John Cahlan Papers (1929-1983) contain material created by the couple related to their work at the
Archival Collection
Edith Giles Barcus Family Papers
Identifier
Abstract
The Edith Giles Barcus Family Papers document the lives and work of three related individuals who lived in Goldfield, Nevada: noted mining engineer Edwin S. Giles who settled in Goldfield in 1907, his daughter Edith Giles who was raised in Goldfield, and Clyde Barcus, also a mining engineer, who came to Goldfield in 1923 and married Edith Giles soon thereafter. The papers date from 1848 to 1979 and document the business and personal lives of two generations of the Giles-Barcus family in Goldfield and Las Vegas, Nevada. The collection includes: property, commercial, financial, and mining records; mining and engineering reports; notes on minerals; correspondence; and photographs of the family, Goldfield, and travel shots of the western United States.
Archival Collection
Nevada Nurses Association Records
Identifier
Abstract
Collection is comprised of the organizational records of the Nevada Nurses Association dating from 1945 through 1995. Topics addressed by the material include Planned Parenthood, state legislature on health care, the Equal Rights Amendment (ERA), and League of Women Voters. Types of material in the collection include clippings, association history, membership information, receipts, correspondence, convention notes and programs, alumni directory, newsletters, pamphlets, meeting minutes, and scrapbooks.
Archival Collection
Transcript of interview with Mark Fine by Barbara Tabach, November 18 and December 2, 2014
Date
Archival Collection
Description
Interview with Mark Fine in two sessions, November 18 and December 2, 2014. In the first session, Fine begins by talking about his sons and their business interests, then discusses his own childhood growing up in Cleveland. Fine moved to Arizona as a teenager and attended the University of Arizona for college. After college, he moved to New York city, and describes his employment at Chemical Bank, and then at the investment firm Loeb, Rhoades. He was married and started a family in New York City, then moved to Las Vegas to assist in his in-laws' (the Greenspuns) business ventures, which included real estate development and Sun Outdoor Advertising. Fine talks about Las Vegas in the 1970s and building Green Valley and Summerlin, the "social engineering" aspects of developing a community and the importance of building incrementally. In Part II of the interview, Fine discusses his family history and raising his children in Las Vegas. He talks about the growth of the Jewish community and ph
Mark Fine was born in 1946 in Cleveland, Ohio, and was raised with a strong Jewish identity. When Mark was in fourth grade, his parents moved the family to Shaker Heights, and again moved to Arizona during his senior of high school. Upon graduation, Mark enrolled at the University of Arizona and became a member of the ZBT fraternity; determined to graduate in four years, he finished in 1964 with a degree in business administration with an emphasis in real estate. Though never having been, Mark took his degree to New York City and established a career on Wall Street, first working for Chemical Bank. In 1969, Mark married Susan Greenspun, and soon after, the couple had their first child. By this time, Mark had taken a new position with Loeb, Rhoades and Company, and worked there for nearly five years in their corporate finance department. In 1973, Mark moved to Las Vegas to assist his father-in-law, Hank Greenpun, with his nonnewspaper business operations, largely under the auspices of American Nevada Corporation. Mark soon capitalized on this passion for real estate and community development, leading several integrated real estate projects to create the Green Valley area, the city's first large-scale master-planned community. Mark went on to launch a similar project in Summerlin, and at one point, he was leading the development of the country's two fastest selling planned communities (Green Valley and Summerlin). Ultimately, Mark became one of state's prominent real estate developers, and continues to lead significant projects positively impacting the city's growth and appeal. His fundamental goal has always been to create a sense of place, to develop thriving communities with generational stamina. His success in this endeavor is recognized, in part, with the naming of Mark L. Fine Elementary School. Over the years, Mark has also been an important member of the Jewish community, among the "second generation of pioneers," coming after those heavily involved with the hotels during the 1950s and 1960s. He served on the Temple Beth Sholom board of directors, and initiated events to bring older and younger generations of the Jewish community together in meaningful ways. Mark has five children?Alyson Marmur, Katie Erhman, Jeffrey Fine and Jonathan Fine and Nicole Ruvo Falcone?and is married to Gloria Fine.
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