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Transcript of interview with Billy Paul Smith by Claytee White, October 3, 2013
Date
Archival Collection
Description
Chemist, mathematician, and health physicist Billy Paul Smith donates time to tutor young people in hopes of attracting more youth into the fields of math and science. Born in 1942 and schooled in segregated black schools in Shreveport, Louisiana, and Texarkana, Texas, he graduated from high school at age fifteen and enrolled at Prairie View A&M University, where he trained with the Reserve Officer Training Corps (ROTC) and earned his Bachelor’s degree in chemistry and in 1964 his Master’s degrees in chemistry and math. Most young U.S. Army officers in 1964 went to Vietnam, but Billy’s math and science background steered him to the Army Chemical Corps, where he was quickly selected to join a new team. The team was to develop responses to nuclear weapon accidents and worked under the Defense Atomic Support Agency (DASA) in Albuquerque, New Mexico. At the same time, Billy completed the Weapons Ordinance Army course on classified information relating to the U.S. nuclear weapons arsenal. In this interview, Billy talks about his service with DASA and his subsequent twenty-seven years working at the Nevada Test Site in a variety of positions with Reynolds Electrical and Engineering Company, Inc. (REECo), a company that had “percentagewise more blacks in management positions than any other [Las Vegas] company.” He experienced the quiet racism of Las Vegas residential segregation when he tried to purchase a house in a neighborhood he liked and the unexpected kindness of the REECo general manager, Ron Keen, who made sure the Smith family could live where they wanted to live. He talks about Area 51 and explains underground testing activity and offers the scientific and ecological reasons why scientists deemed Yucca Mountain safe to store nuclear waste. After retiring at fifty-two, Billy and a colleague formed an independent instrumentation company, which, from 1995–2005 provided and calibrated radiological measurement and detection instruments for the decommissioning and closure of the Rocky Flats nuclear plant in Golden, Colorado. During that time, Billy rented an apartment in Boulder, but he and Jackie maintained their Las Vegas home, where they still reside. Billy shares memories of places he and his wife used to enjoy on the Westside and tells of their longtime friends in the black community. He also talks about developing his philosophy of philanthropy through Alpha Phi Alpha Fraternity and discusses becoming a member of the Knowledge Fund Advisory Council for the Governor’s Office of Economic Development (GOED) and the advisory council for the Nevada System of Higher Education.
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Photographs of Mirage signs, Las Vegas (Nev.), 2002
Date
Archival Collection
Description
Site name: Mirage (Las Vegas, Nev.)
Site address: 3400 S Las Vegas Blvd
Sign owner: MGM Mirage
Sign details: The main attraction of the property is its spectacular exploding volcano placed among an astounding array of lagoons, waterfalls and palm trees. One of the themed hotel casinos, the architectural form takes precedence over an abundance of flashing lights and neon. Two pylon signs reside on the front of the property along Las Vegas Blvd, another on the west side of the property, two arched banner entrances are placed among them, lettering atop the towers, and various text placed among the vast stretch of landscaping are the only visible large elements of signage.
Sign condition: Structure 5 Surface 5 Lighting 5 The structure and lighting on the signs are in excellent repair, with no apparent major physical damage. The surfaces of the pylons and assorted log text, are a bit dirty, but no more than any other establishment, considering the punishment each must undergo due to the elements as well as the live volcano.
Sign form: Pylon; Fascia; Porte-cochère
Sign-specific description: Just north of Caesars Palace a giant pylon sign faces north/south, on the east side of the strip. Two giant square posts support a giant backlit advertisement panel, and an adorning entablature containing the channel letters spelling "Mirage." Between the two giant legs two cabinets are present to fill the space. Just below the main backlit panel an LED screen resides just above another back lit panel. The two giant legs have a series of polished metallic panels running vertically up the sides, creating a recessed channel. The sections are separated with slight overhangs. The bottom smaller panel cabinet is an advertisement for "Danny Gans" and the main panel advertises for the "Seigfried and Roy" magic show. A small banner rests between the main entablature, and the panel, reading "Magicians of the Century." The black channel letters in the main pediment spells "The Mirage," and are filled with incandescent bulbs. The lush foliage and walkways continue north where a covered awning faced with a carved wood and brass bullnose, allows pedestrians to take a moving walkway up to the resort. The landscaping continues north where it meets a driveway denoted by a low arched banner supported by a pair of square columns on either end. "The Mirage" is spelled in polished gold channel letters, with white interiors and filled with incandescent bulbs. The banner itself is sculpted into two sweeping solid shapes on the tops and bottoms, with a series of folded ribbon like scroll shapes. The center section is crafted as to allow light to pass through the negative spaces created by the rows of positive scroll shapes. The banners face east. On the faces of each of the flanking posts, two images of jumping dolphins are sculpted and finished in the same fashion. Past the gateway the thick beds of foliage and palm trees can be seen headed back along the drives. Continuing north a multi tiered lagoon rushes circulating water on and over waterfalls, while yet more green shrubbery and palm trees encrust islands and images of eroded rocks and geological formations. The beautiful imagery continues north, twisting and turning in and behind itself to create a fantastic spectacle for a passerby to be lured in and be fascinated. Approximately in the middle of the length of the expanse, the famous functioning volcano rests quietly amongst smaller rocks and waterfalls. Just past the volcano the lagoon opens up into a wide flat area of water where bronze dolphins are positioned to look as if they are jumping out of the water. Still the rich foliage dominates the landscape, until another arched gateway interrupts the expanse to allow traffic. The foliage, and lagoon landscaping, picks up again, cozily grasping the base of a smaller pylon of similar design as the first. The two reflective paneled legs rise up to connect with a horizontal piece of the same design. A large backlit cabinet advertising for Danny Gans occupies approximately three-quarters of the space between the legs. An entablature of the same design as the main pylon, yet smaller, crowns the top of the sign. The trademark font spells "The Mirage" in black channel letters and filled with incandescent bulbs. Just past the small double sided pylon, a small of recess of rocks plays home to the end marker of the Mirage. A bust of Siegfried and Roy with a tiger is ambiently lit, provided photo opportunities for tourists. An interesting function has been added to the bust. In the flower bed behind and on the sides of the object, faux boulders are places with glowing crystals protruding from the surface. The tower of rooms for the Mirage is the popular three winged "Y" configuration converging onto a center structure. On each face of each wing, giant black channel letters spell "The Mirage" in their trademark text. Each is filled with incandescent bulbs.
Sign - type of display: Neon; Incandescent; Backlit
Sign - media: Steel; Plastic
Sign animation: Oscillating
Notes: The incandescent bulbs located within text logos on the pylon sign, and upon the tower oscillate to appear as shimmering. The effect is one of the more common animations particularly among the larger, corporate casinos.
Sign environment: The placement of the Mirage right on the curve of the Strip makes the pylons visible from a good distance from either direction. The environment displayed by the mirage is that of paradise. When walking past, and up to the property, it hard not to stop and stare at the amazing foliage and spread of waterfalls, and rocks.
Sign manufacturer: Ad-Art
Sign designer: Pylons: Charles Barnard with touches from Wynn's design group Atlandia Design Group. Dolphin Archways: Barnard and Jack Dubois as well as hotel architect, Joel Bergman
Sign - date of installation: 1989
Sign - date of redesign/move: The main pylon has since been updated with a new Siegfried and Roy Back lit Mural, a new LED screen, and another back lit plastic screen featuring Danny Gans. An internally lit banner reads horizontally across the top of the giant Siegfried and Roy Mural which reads Magicians of the Century.
Sign - thematic influences: The theme is tropical island paradise. Complete with active volcano, the front spectacle of rushing waterfalls, chirping bird noises, and leaping bronze dolphins, serves as the backdrop for the simple, slim design of the property's pylon structure. The pylons were designed to reach harmony with the structure of the tower itself, rather than the island theme. The dolphins over the entrance arches however represent the tropical island theme, as well as speaking about the dolphin habitat inside.
Sign - artistic significance: The main pylon was the first of its kind to feature a full color illuminated photographic pictoral. Designed by Rosco, it was billed as the largest of its type in the world. The resort's themed spectacular was also the first of it's kind in regards to its extravagance and unique functionality. Approximate 125,000 people visited the property on its opening day. The resort fits well into the theme of design of the large, corporate property, after all it was one of the pioneers of such a movement in Las Vegas. The Mirage also set the standards for the now frequently seen element of the attraction spectacle, and the standard of quality on the Las Vegas Strip
Surveyor: Joshua Cannaday
Survey - date completed: 2002
Sign keywords: Oscillating; Pylon; Fascia; Porte-cochère; Neon; Incandescent; Backlit; Steel; Plastic
Mixed Content
Transcript of interview with Rita Deanin Abbey by Claytee White, November 29, 2014 and February 26, 2015
Date
Archival Collection
Description
Rita Deanin Abbey is an Emeritus Professor of Art at the University of Nevada, Las Vegas. She taught drawing, painting, and color theory and innovated interdisciplinary courses with the sciences at UNLV from 1965 to 1987. The University of Nevada, Las Vegas, Marjorie Barrick Museum and the Palm Springs Desert Museum (presently Palm Springs Art Museum), Palm Springs, CA collaborated to present the Rita Deanin Abbey 35 Year Retrospective, which was held February 16-March 5,1988 at UNLV and March 25-June 5,1988 at the Palm Springs Art Museum. Abbey received her Bachelor of Fine Arts degree in 1952 and her Master of Arts degree in 1954 from the University of New Mexico, Albuquerque, NM. She also studied at Goddard College, Plainfield, VT; the Art Student s League, Woodstock, NY; the Fians Hofmann School of Fine Arts, Provincetown, MA; and the San Francisco Art Institute, San Francisco, CA. She was an artist in residence in the studios of Toshi Yoshida, Tokyo, Japan, John Killmaster, Boise, ID; Methow Iron Works, Twisp, WA; Tamarind Institute, University of New Mexico, Albuquerque, NM; the Mason Gross School of the Arts, Rutgers, The State University of New Jersey, New Brunswick, NJ; Shidoni Foundry, Tesuque, NM; Bill Weaver Studio, Chupadero, NM; Savoy Studios, Portland, OR; and Carlson & Co., San Fernando, CA. Abbey, who works in the areas of painting, drawing, printmaking, sculpture, porcelain enamel fired on steel, stained-glass, and computer art, has had 60 individual exhibitions and has participated in over 200 national and international group exhibitions. She is represented in private and public collections in the United States, the Middle East, Europe, and South America. Abbey has published several articles in journals, and six books: Rivertrip, Northland Press, Flagstaff, AZ, 1977; Art and Geology: Expressive Aspects of the Desert, Peregrine Smith Books, Layton, UT, 1986 (co-authored by G. William Fiero); the Rita Deanin Abbey Rio Grande Series, Gan Or, Las Vegas, NV, 1996; In Praise of Bristlecone Pines, The Artists' Press, Johannesburg (presently located in White River), South Africa, 2000; Isaiah Stained- Glass Windows, Gan Or, Las Vegas, NV, 2002; Seeds Yet Ever Secret, Poems and Images, Gan Or, Las Vegas, NV, 2013. She has been the recipient of many commissions and grants and has won several awards, including the Bicentennial Commission for the State of Nevada, 1976; the Governor's Seventh Annual Visual Arts Award for the State of Nevada, 1986; and the Chairman's Award of Excellence at the 1987 International Exhibition of Enamelling Art, Ueno Royal Museum, Tokyo, Japan. From 1988-1990, Abbey fabricated Northwind, a steel sculpture (17ft. x 27 ft. 5 in. x 25 ft. 10 in., 7 tons), installed in Las Vegas, NV. Abbey was invited by the Gallery Association of New York State to exhibit four of her works in its 1989-1991 traveling exhibition, Color and Image: Recent American Enamels. In 1992, the Markus Galleries, Las Vegas, NV, and the Nevada Symphony presented an exhibition of art by Abbey, which inspired Virko Baley s Piano Concerto No. 1. The world premiere performance of the concerto was held in 1993 at the National Opera House, Kiev, Ukraine. In 1993, Abbey constructed Spirit Tower, a cor-ten steel sculpture (20 ft., 11 tons), which was commissioned by the Las Vegas-Clark County Library District for the Summerlin Library and Performing Arts Center. Abbey was invited by the Pacific Division of the American Association for the Advancement of Science to lecture on Art and Geology at San Francisco State University for the 75th Annual Meeting, on June 19-24,1994. She was one of three artists from the United States invited to participate in the exhibition, Enamel Today, at Villa am Aabach, Uster, Switzerland, June-July, 1995. Additionally in 1995, Abbey completed a series of cast bronze sculptures at Shidoni Foundry, Tesuque, New Mexico. Commissioned in 1998, Abbey completed the Isaiah Stained-Glass Windows in 2000, sixteen 10 ft. x 2 ft. stained-glass windows for the main sanctuary of Temple Beth Sholom, Las Vegas, NV. Also in 2000, she completed Holocaust, a stainless steel sculpture (14 ft. 3 in., 4.5 tons), installed in Las Vegas, NV. In 2003 her bronze sculpture, Ner Tamid, was installed in Temple Adat Ami, Las Vegas, NV. Snakewash, a cor-ten steel ground sculpture (62 ft.), was completed in November 2003. Abbey fabricated steel sculptures and cast small and large bronzes from 2004 through the present. In 2006 she completed and installed Guardian of All Directions, a stainless steel sculpture (14 ft., 1.5 tons). The Guggenheim Hermitage Museum and Young Collectors Council visited the studio and home of Rita Deanin Abbey, Las Vegas, Nevada October 15, 2006. During March 2008, Women's History Month, Abbey was recognized for her contributions to the Arts by Mayor Goodman and Members of the Las Vegas City Council. Hidden Pass, a 2-inch steel plate sculpture (16 x 28 ft. 8 in. x 13 ft., 22 tons), was installed in 2010. Between July 16-December 23, 2011, Abbey exhibited in Blast from the Past, '60s & '70s Geometric Abstraction at Palm Springs Art Museum, Palm Springs, California. The City of Las Vegas Office of Cultural Affairs, Las Vegas Arts Commission presented Abbey the Lifetime Achievement Award for Excellence in the Arts on May 25, 2012. Balanced Arc, an outdoor bronze sculpture (8ft. 8 in. x 9 ft. x 7 ft. 4 in., 1600 lbs.), completed in 2012, was installed in April 2013. The Western Museums Association 2014 Annual Meeting in Las Vegas, NV, toured The Art of Rita Deanin Abbey at the Desert Space Museum October 5, 2014. Abbey participated in the fall group exhibition Macrocosm/Microcosm: Abstract Expressionism in the American Southwest at the Fred Jones Jr. Museum of Art, University of Oklahoma, Norman, Oklahoma, October 2, 2014-January 4, 2015. Her artwork was also shown in the Recent Acquisitions exhibition at the Marjorie Barrick Museum, University of Nevada, Las Vegas, June 19-September 19, 2015. Currently, Abbey is working on new sculptures, paintings, and enamels. vii
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Transcript of interview with Danny Lee by Claytee White and Stefani Evans, May 23, 2016
Date
Archival Collection
Description
Folks who graduated Boulder City High School in 1953 and who began kindergarten there might remember being in kindergarten class with Clark D. "Danny" Lee. They would be excused for not remembering the towheaded Lee; after all, he was in Boulder City only for the first half of the year. They also would be excused for not remembering Lee because he never stayed in school once he arrived. Danny was the child whose mother faithfully brought him to class every day. And every day, as soon as his mother dropped him off, he took off and beat his mother home. Danny Lee was born in his grandparents’ house in North Las Vegas, grew up on 10 Bonneville Street, and (except for his first semester of kindergarten in Boulder City) attended Fifth Street Elementary School and Las Vegas High School, where he graduated in 1953 with Rex Bell. In 1960 he married fellow Las Vegas High grad and former Rhythmette, Dorothy Damron; they have raised four children. Here, Lee talks about the difficulties his father had finding work and supporting a family during the Great Depression-of living with relatives and moving from place to place in the small travel trailer as his father found work. He describes a hardscrabble Las Vegas, where he and other kids in in multiethnic groups found temporary work helping drovers in the stockyards or filling blocks of ice in the icehouse. He recalls working for Superior Tire during high school and for the Union Pacific Railroad in a variety of jobs after graduation and the U.S. Army-including a stint as a Union Pacific tour director. v Lee’s early kindergarten career seems an unlikely academic indicator for a man who would spend most of his adult life volunteering for and lobbying on behalf of Clark County public libraries and who the American Library Association would select as the 1990 Library Trustee of the Year. Ironically, Lee was asked to serve on the Clark County Library District board of directors to get rid of a troublesome library director. Instead, he became one of the director’s staunchest advocates. It is appropriate that Danny and his wife, Dorothy, are pictured here surrounded by library books. The native Las Vegan built a lifetime career as a State Farm Insurance salesman, but in this interview he focuses on his public library advocacy, his time as trustee for the Clark County Library District; the formation of the Las Vegas-Clark County Library District; the ambitious building program funded by $80 million in voter-approved statewide bonds; and the political wrangling in Carson City necessary to achieve these ends. Lee’s oral history complements that of his wife, Dorothy Lee, and of Charles Hunsberger, who was the “troublesome” library director at the time Lee was trustee. Lee made his living as an insurance salesman. Lee’s ability to sell a product-whether it be insurance or an $80 million bond issue-is the attribute that made Danny Lee so valuable as a trustee to the Las Vegas-Clark County Library District and consequently, to all Clark County residents who value public library services. However, his passion, and dedication, and unbowed determination earned him the Library Trustee of the Year award. As Lee closes the interview, he locks eyes with Dorothy and muses, "Let me tell you what I'm most proud of in all . . . I've been married to this lady for fifty six years now. . . . I've lived a very blessed life. Being born in my grandmother's house and having lived in little travel trailers, it's just good. It's worked. We're living like we've always wanted to live right now."
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Script for television pilot, This Must Be the Place by Hank Henry and Bill Willard, 1950s
Date
Archival Collection
Description
The preface and script for a sitcom television show conceived of by Hank Henry and Bill Willard "to evoke the spirit of fun and laughs springing out of conflict and understanding between the old comedy school and the new school."
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Minutes from Temple Beth Sholom Board of Directors meetings, January 1999 - June 1999
Date
Archival Collection
Description
Meeting minutes include reports from committees of the board, correspondence, and balance sheets.
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Transcript of interview with Elaine Cali McNamara by Claytee White and Stefani Evans, October 5, 2016
Date
Archival Collection
Description
This ability to greet each day with a challenge has laid the foundation for a long history of success for Elaine McNamara as she has navigated through local beauty pageants, an illustrious real estate career, serving on the Las Vegas-Clark County Library board during their decade of expansion to authorship. Her story of resilience starts when she became ill at approximately seven or eight with erythema nodosum that impeded her ability to walk for five months when she started collecting pictures of movie stars. Her favorite movies were any of Roy Rogers, Abbott and Costello, Dean Martin and Jerry Lewis. Her family moved to Las Vegas, where she attended Las Vegas High School as well as UNLV majoring in elementary education and minoring in language arts. While she attended high school, she studied modeling in the evenings to help overcome her shyness and to become more outgoing. Becoming more involved with local and state beauty pageants, she met the likes of Phyllis Diller, Natalie Wood,
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