Maggie Arias-Petrel is a successful businessperson and philanthropist. Born in Quito, Ecuador in 1966, Maggie grew up during the Space Age, meeting astronauts through her father’s work as a NASA engineer. Her mother worked as a teacher in an all-girls school. When she was a teenager, Maggie visited her aunt in California and decided to stay in the U.S. She eventually returned to Ecuador and helped her mother run her toy store business, helping her manage multiple locations. Her entrepreneurship flourished as she helped the family business grow into a successful enterprise. Despite the success in her home country, Maggie always dreamed of coming back and living in the U.S. When her family returned, they settled in Las Vegas in 1991. Through her entrepreneurship, Maggie helped many doctors set up their practices, and began her own consulting business, Global Professional Consulting. Today, her expertise includes over 20 years of medical practice management, marketing and advertising for medical and legal, business development and consulting experience. Maggie is also the Chairwoman of the Executive Board of Directors of the Latin Chamber of Commerce of Nevada. She is responsible for changing the direction of the Chamber and helping it become what it is today. She is also the director of the Señoras of Excellence, a philanthropic organization that focuses on raising funds to help Latino students attend college. They have awarded thousands of dollars in scholarship funds to students across the Las Vegas Valley. Because of her work in the medical field, Maggie understands the importance of affordable health care and accessibility. During the Obama Administration, she was part of Senator Harry Reid’s promotion team for the Affordable Health Care Act. She also worked with Governor Jim Gibbons doing international research work in Mexico, and was invited to the White House for the Cinco de Mayo celebration through the U.S. Hispanic Chamber and the Latino Coalition. Maggie is also responsible for the partnership between the Universidad Autónoma de Guadalajara, one of the most prestigious and accomplished institutions of higher education in Mexico, St. Rose Dominican Hospitals, and the Nevada System of Higher Education to develop nursing programs with direct collaboration from UAG to increase the number of bilingual-bicultural medical professionals in Nevada. She is the director for the Workforce Connections of Nevada Board and the Dignity HealthCare - St. Rose Dominican Hospital Board of Directors. Maggie has also received numerous accolades and awards such as the Community Service Award from the Latin Chamber of Commerce, Señoras of Excellence Award given to woman who excel in their professions, the Excellence in Advocacy Award by The Colors of Lupus Foundation, and the “Woman in Business” Award by the National Coalition of 100 Black Women. In 2011, she was named one of the ten most influential Hispanics in the city by the Las Vegas Business Press. She is also one of the community leaders featured in the Las Vegas Latino Leaders Inaugural Edition Book. Maggie attended Los Angeles Mission College and Central University of Ecuador. She lives in Green Valley with her two sons.
Oral history interview of Brian Shepherd conducted by Claytee D. White on July 13, 2020 for the Boyer Early Las Vegas Oral History Project. Brian Shepherd, Chief of Staff of Service Employees International Union (SEIU) Local 1107, represents health care and public sector employees across the state of Nevada. SEIU advocates for fair wages, quality health care, and the "secret ballot" for all union employees. Shepherd discusses his work with the union, racism, discrimination, inequality, organizing protests, the Black Lives Matter movement, and social justice.
From the Syphus-Bunker Papers (MS-00169). The folder contains an original handwritten letter, an envelope, a typed transcription of the same letter, and a copy of original letter attached.
From the Syphus-Bunker Papers (MS-00169). The folder contains an original handwritten letter, an envelope, a typed transcription of the same letter, and a copy of original letter attached.
Oral history interview with Joseph Ostunio conducted by Claytee D. White on December 20, 2017 for the Remembering 1 October Oral History Project. In this interview, Joseph Ostunio discusses his early childhood in Las Vegas, Nevada and how he grew to love country music. He talks about the Route 91 Harvest music festival, which he attended with his friend in 2017. He describes the events of that weekend and the shooting on that Sunday, October 1, 2017, during which his friend was shot. Ostunio ends the interview with his feelings regarding Las Vegas and what he has learned about himself from this experience.
Daytime and nighttime views of the Boardwalk Holiday Inn signs on the Strip. Information about the sign is available in the Southern Nevada Neon Survey Data Sheet. Site address: 3750 S Las Vegas Blvd Sign owner: MGM Mirage Sign details: The Boardwalk Holiday Inn is one of the most distinctive front faces which incorporate an extreme amount of signage condensed into a replica version of an eastern sea board. Since it is designed to be reminiscent of a boardwalk, the pedestrian element is a wooden planked walkway lined with shops and establishments. The area is separated from the traffic by landscaping and concrete elements. All the shop fronts designs, some false and others functioning, are all linked into the casino. The structure is encrusted with raceways and incandescent bulbs, as well as a ridiculous amount of internally lit signage that advertising everything from hotel promotions, to prices of drinks. Headed from the south, headed north, the parking garage can be seen, set back from the street slightly west, adorned with signage on it's face. The casino begins at full throttle aesthetically, with raceways lining almost every edge, contrasting tones of paint, murals, advertisements, neon and incandescence all come together. Above the first main entrance of the property, is a vibrantly lit, gold clad entrance canopy. Above that a non-functioning skeletal mass of a roller coaster comprises the majority of the southern end of the property. Neon letters are located on the vertical plane created by the rise of the tracks. The carnival style treatments of raceways and propaganda run north until the path is interrupted by the vertical pylon sign which is integrated into the architecture of the Boardwalks facade. The tracks continue above the property, all along the length interrupted by the main pylon and addressed with replica's of Ferris wheels with actual mannequins, dressed and riding inside of them. Just pas the main pylon the facade is transformed into a giant three dimensional clowns head smiling joyfully. The facade continues a short distance past the clown's head, and rounds off just as it began. Sign condition: Structure 4 Surface 4 Lighting 4 Sign form: Pylon; Fascia Sign-specific description: Upon the eastern face of the parking garage signage is created upon the top edge of the outside wall. The top edge of the wall is fashioned into a sculpted entablature of signage, complete with rising crests and swooping scrolls, which match the fashion of decoration for the facade as well. On each side of the surface possess a pair of internally lit signage. One is square, and the next is rectangular, brandished with black text. The center portion of the sign is closed in with a pair of half columns which rise out of the surface of the entablature to flank the main text. These half columns are laced with an outline of an orange and yellow neon tubing. The Text is spelled in two different lines of channel letters lined with red neon on the interiors. The First line reads "Boardwalk Casino" the second line reads "Free Parking." The two lines span the length of the space provided and are separated by a sculpted dividing line. The tower just to the north of the parking garage is suited with channel letters that spell "Boardwalk' and are filled with red neon. Roller coaster: The sign which resides over the first entrance is similar that of the paring garage, for it is placed in a raceway bordered fascia. The large channel letters are placed in the center and spell " Casino." The first and last letter are the smallest in size, and gradually climb up toward the middle. They are filled with incandescent bulbs and outlined with a border of red neon. Pylon: The rest of the facade is necessary for the theme to really work, but the tallest and brightest piece is the main pylon sign. The pylon sign is essentially a triangular shape which rises straight up into the air. If a unilateral triangle, then one point is facing east with the two sides meeting at this eastern most point, being designated for the main signage. Three visible posts support the sign, glowing with the reflectivity of the gold polished underside which is striped with rows of incandescent bulbs, running perpendicular to the entrance. Three bands of pink neon wrap the two visible sides, just above the pedestrians head. Just above that there is a narrow LED message center which scrolls text, which also wraps the two sides. The majority of the sign occupies the space between this small border and the main marquee. This rectangular portion each one of the pylons sides can be broken down into four horizontal sections. The bottom two comprise the bottom 1/3 of the sign, and are internally lit advertisements ninety-nine cent offers and the Surf buffet. The middle section, being the tallest, contains a large LED message center, flanked on both sides by multi colored neon tubes crafted into the shapes of stars. The stars vary in size and spread up the small wings of the reader board with surprising fluidity. Compared to the rest of this section, the top remainder is rather plain. A plain surface is accented with a pair of words spelled in channel letters. The word hotel is spelled on the left and filled red neon. They are separated by a small, circular, channel filled with green neon. The word on the right is spelled in the same lettering except it is filled with green neon. The space above that is occupied by the main logo for the establishment. A black field supports large white channel letters that are filled with white neon. Then black field is closed in on all sides by scrollwork shapes created out of incandescence and neon. The white and yellow luminescence, takes the form of a double arched section resembling an "E" or a sideways "M" or "W." The top sweeps upward creating an arched top. A top the main array of signage there are three smoke stacks arranged in a triangular formation, with one at the very front of the edge of the sign and two flanking them in the distance. When looking at the sign directly at the face, it appears as if there are a pair for either side. Spanning the distance between the two smoke stacks is an LED reader board lined on both the top and bottom edge with blue neon. An arch of raceways lined with incandescent bulbs loops over the reader board. A large pylon is designated for the Surf Buffet as well. On the northern end of the property a tall pylon sign faces north/south, and stands lined with red neon. The vertical post supports three internally lit cabinets. The post itself, if viewed directly from the top, would be in an "X" or cross formation. Vertical bars of red neon run up the length of the pole, creating a striping effect. The three cabinets are arranged sitting one on top the other, with a small space in between each. The group all differ in size to an extent, with the two lower cabinets being similar sized, horizontal rectangles, and the top cabinet being the largest. They all have raceways lining the exterior faces with chasing incandescent bulbs. The faces are brightly illuminated colored plastic, with the main cabinet being an advertisement for the Surf Buffet. The others advertise for similar amenities. Sign - type of display: Neon; Incandescent; Backlit Sign - media: Steel; Plastic; Fiberglass Sign - non-neon treatments: Graphics; Paint Sign animation: Chasing, flashing, oscillating Sign environment: The environment created by the Boardwalk is an effective use of the theme on the pedestrian to create the environment. The Boardwalk is located next to a CVS Pharmacy to the south, which was erected during the course of the survey. When the pedestrian walks upon the Boardwalk, it is busy and noisy, and very attraction getting. When passing into the front side of the property, a pedestrian is assaulted with sounds and noises that are difficult not to pay attention to. This feeling created by the conglomerate of signage and utter blazing advertisement, is almost like a roller coaster. Person comes out the other side noticeably aware of the silence and darkness contrasted to the presence of the property. Sign - thematic influences: The theme surrounding the Holiday Inn Boardwalk is that of a seaside boardwalk. Most preferably it is modeled to be representative of the eastern seaboard Coney Island. The facade therefore is most logically themed after the environment experienced on such property, amusement rides, and boisterous circus type lighting loom overhead, while wooden planks exist under the foot of the pedestrian. The walk is lined with coin-operated gadgets and games, while store fronts are found spaced between glowing advertisements. A faux Ferris wheel and roller coaster create an overhead arena of stylized representation that can best be suited as one of the more unique on the strip. It is not often that you see mock people lined up inside of a non- functioning Ferris wheel. Oddly enough, this phenomenon can be linked to couple of still existing Las Vegas Strip properties. When Caesars Palace completed its initial main pylon sign, actual life sized replicas of Centurions and Romans were placed at the base of the statue. They were painted to appear as life like as well. This is one example. The next is the living embodiment of this representation of figures, and their role as evolved on the strip as well. Madame Tussaud's wax museum can be said to be the incarnation of the use and fascination with such a medium. While the exteriors of such properties have shifted toward classic statuary, the life like figure has assumed the role of art form, as an elevated attraction in today's strip community. The noisy facade finds a place for three dimensional sculptural elements, such as the clowns face, which further adds to the "Coney Island" "Atlantic City" theming. Event though, the theme, and very nature of the construction of the Boardwalks facade are dictated by its name, it set early precedence for this interactive miniature city facade as present in many of the major player among the strip. e.g. The Paris, NY NY, Bellagio, Aladdin, etc. Surveyor: Joshua Cannaday Survey - date completed: 2002 Sign keywords: Chasing; Flashing; Oscillating; Pylon; Fascia; Neon; Incandescent; Backlit; Steel; Plastic; Fiberglass; Graphics; Paint