Search Results
University of Nevada, Las Vegas Creative Services Records (1980s)
Identifier
Abstract
This is part 2 of 6 finding aids for the University of Nevada, Las Vegas Creative Services Records and represents 1980 to 1989. Generally, materials are transferred from UNLV Photo Services to UNLV Special Collections and Archives 5 years after they are created. For materials within the last 5 years, contact photo@unlv.edu or call 702-895-3036. This finding aid contains the photographic negatives and contact sheets produced by the University of Nevada, Las Vegas from 1980 to 1989 as an official record of the institution's development, activities, and community. Clients include UNLV colleges and departments, the University's administration, the UNLV Foundation, athletic departments, and the Nevada System of Higher Education (NSHE). Images include academic activities, athletic events, faculty and administration, student life, campus life, campus development and architecture, and public relations.
Archival Collection
Kenneth H. Childers Architectural Drawings
Identifier
Abstract
The Kenneth H. Childers Architectural Drawings (1968, approximately 1981-1995) contain the work of Childers and his Las Vegas, Nevada architectural firm, Kenneth H. Childers Architect. The drawings depict both residential and commercial structures built primarily in Las Vegas.
Archival Collection
Senator Chic Hecht Political Papers
Identifier
Abstract
The Senator Chic Hecht Political Papers (1943-1988) contain the political papers of United States Senator and Las Vegas, Nevada businessman Chic Hecht. The bulk of the collection contains legislation, notes, correspondence between Hecht and constituents and other members of Congress, and speeches from Senator Hecht's term in the Senate from 1982 to 1988. Also included are files on civil service, the federal budget, education, labor, transportation, land management, foreign policy, public health, and trade.
Archival Collection
Transcript of interview with Shelley Berkley by Barbara Tabach, February 13, 2015
Date
Archival Collection
Description
In this interview, Berkley shares her family history, from her great-grandparents? immigration to the United States to her immediate family?s own migration from New York to Las Vegas. She reflects upon her childhood experience in Las Vegas, including her varied leadership positions with Jewish organizations as well as at school, from junior high school through college. Berkley also talks about her involvement as an adult within the Jewish community and more broadly as a public servant, in all levels of government.
Former United States Democratic Congresswoman Shelley Berkley represented Nevada?s 1st Congressional District from 1999 to 2013, an area that includes most of Las Vegas. During her seven terms as a member of the U.S. House of Representatives, the district benefited from millions of dollars of federal funding for education, transportation, and other projects. She also successfully fought against storing nuclear waste at Yucca Mountain in Nevada. Shelley Berkley was born Rochelle Levine in New York City in 1951 and moved to Las Vegas during junior high in 1963. She practiced law in Las Vegas and served in the Nevada Assembly for two years. She was also a member and vice chair of the Nevada University and Community College System Board of Regents. Berkley attended the University of Nevada, Las Vegas where she served as student body president and graduated with honors in 1972 with a B.A. in political science. After obtaining her J.D. in 1976 from the University of San Diego, she returned to Las Vegas to practice law. From 1976 to 1979 Berkley was Deputy Director of the Nevada State Department of Commerce. She provided legal counsel to several casinos at various points in her career, served as national director of the American Hotel-Motel Association, and founded the Southern Nevada Association of Women Attorneys and the Senior Law Project. In 1977 she married Frederic Berkley and had two children, Max and Sam. She remarried in 1999 to Dr. Lawrence Lehrner of Las Vegas, who also had two children from a previous marriage. Before being elected to Congress, Berkley served on the board of the American Israel Public Affairs Committee. She continued her vocal support of Israel in Congress and was heavily involved in all matters related to the Middle East. She was a member of several committees, including: Foreign Affairs, Veterans Affairs, Ways and Means, Small Business, and Transportation. Building a new Veterans Administration medical complex in Southern Nevada and sponsoring many pieces of healthcare legislation are also among her accomplishments as a U.S. Representative. In 2013, she was appointed CEO and Senior Provost of the Touro College and University System?s Western Division.
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Transcript of interview with Mary Ellen Osborn Lake by Fred Wilson, February 18, 1951
Date
Archival Collection
Description
On February 18, 1951, Fred Wilson interviewed Mary Ellen Osborn Lake (born 1870 in Mercer County, Missouri) and her son, Thomas Lake (born 1889 in Missouri). Wilson first asked Mary Ellen questions about when she first arrived in Las Vegas, Nevada in 1904. Much of the relatively brief interview involved questions related to the first Methodist churches in Las Vegas and the Lakes’ involvement and recollections of the locations and members of the church community.
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Photographs of Little Church of the West signs, Las Vegas (Nev.), 2002
Date
Archival Collection
Description
Site name: Little Church of the West
Site address: 4617 S Las Vegas Blvd
Sign owner: Greg Smith
Sign details: The Little Church of the West now resides on the south end of the Strip, along the east side among the smaller roadside hotels. Surrounded with pleasant landscaping the property is a charming and welcome sight among the more barren area of the strip.
Sign condition: Structure 4 Surface 4 Lighting 5
Sign form: Pylon; Fascia
Sign-specific description: There are two specific signs which are significant to the property. The first being the double backed internally lit pylon roadside sign which sits on the east side of Las Vegas Blvd and faces east/west. The 10 feet at its widest, and thirty seven feet tall. The structure consists of a center pole upon which an internally lit plastic sculpted message board sits. Painted in an old west script upon the plastic are the words "Little Church Of The West Wedding Chapel," with painted scrollwork on the top and the bottom of the plane. The entire message board is bordered in neon. Sitting on top of the message cabinet is a small, sculpted apse and bell. The original sign from its original construction still exists atop the actual structure of the Little Church of the West. It is an image of a cross outlined in white neon.
Sign - type of display: Neon; Backlit
Sign - media: Steel; Plastic
Sign - non-neon treatments: Graphics; Paint
Sign animation: none
Sign environment: The property sits among the dying roadside motel environment of the South end of Las Vegas Blvd It stands as on of the properties that is still in good repair. The pleasant landscaping and grass provide a pleasant establishment among the southern strip. It seems to capture the environment it has always tried to attain, of the picturesque country church.
Sign manufacturer: Larsen Sign
Sign - date of installation: It was originally part of William J. Moore's Last Frontier Village, which was assembled in the late 1950's. The current pylon sign was manufactured in 1996.
Sign - date of redesign/move: Originally, it resided in the Las Frontier until it was demolished in 1954. The Little Church of the West stood approximately in the spot where Sax Fifth Avenue is located. When the New Frontier was constructed, it was moved to the east side of the Strip approximately where the Silver Slipper was located. It stood in this location until 1978 when it was moved to the south edge of the Hacienda's property. The property was moved to its current location in 1996.
Sign - thematic influences: The thematic influence of the Little Church of the West draws from its original property which was the Old Western theme of the Frontier Hotel Casino. The Last Frontier Village was assembled from actual Western towns and reassembled on the Last Frontier's Property. With its wooden facade, brown color tones, script and pylon structure, the Little Church of the West rings true with its origins, while still incorporating the subtle elements of Las Vegas such as neon.
Sign - artistic significance: The Little Church of the West is reminiscent of old west theme which extends back to the very beginnings of Las Vegas and which dominated the themes for a period of time. " Before it became filled with themed western architecture, Las Vegas was an actual western town with a Spanish Style train station and false front facades fronting plank sidewalks"-Alan Hess, After Hours Architecture. Such properties, which dominated the early years of Las Vegas, were the Pioneer Club, the El Rancho Vegas, the El Cortez, the Last Frontier, Binion's Horseshoe, and the Silver Slipper.
Surveyor: Joshua Cannaday
Survey - date completed: 2002
Sign keywords: Pylon; Fascia; Neon; Backlit; Steel; Plastic; Graphics; Paint
Mixed Content
Lee Tilman interview, 1996: transcript
Date
Archival Collection
Description
In the interviews, Tilman discusses his birth in Gooding, Idaho in 1913, his early life, and his arrival to Las Vegas, Nevada in 1931. Tilman then talks about his experiences mining, milling, and ranching before moving to Las Vegas. While in Las Vegas, Tilman was involved with construction of Hoover Dam (Boulder Dam) and labor issues. Later, Tilman describes fishing and boating in the Colorado River, working at a duplex mine in Searchlight, Nevada, and working at the Las Vegas Ice House. Lastly, Tilman talks about influential Boulder City residents he knew, his children, and the Stratosphere Hotel and Casino.
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Lynnette Sawyer oral history interview: transcript
Date
Archival Collection
Description
Oral history interview with Lynnette Sawyer conducted by Nathalie Martinez on January 03, 2019 for the Latinx Voices of Southern Nevada Oral History Project. Barbara Tabach and Laurents Bañuelos-Benitez also participate in the questioning. Lynnette Sawyer identifies as a Puerto Rican woman born and raised in Spanish Harlem in New York. Her ancestry extends from Spain to Africa and has helped her identity, as she became an educator and museum curator. She describes her life in New York and her journey to Las Vegas. As the founder of the Hispanic Museum of Nevada, she wanted to create a space that would teach young Latinos about their history and heritage.
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Domingo Cambeiro oral history interview: transcript
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Archival Collection
Description
Oral history interview with Domingo Cambeiro conducted by Stefani Evans and Claytee D. White on October 18, 2016 for the Building Las Vegas Oral History Project. In this interview, Cambeiro discusses his upbringing in Havana, Cuba. He talks about his initial interests in architecture, starting his own architecture drawing service, and attending the University of Havana. Cambeiro recalls submitting a request to leave Cuba, emigrating to the United States, and arriving in Las Vegas, Nevada in 1962. Cambeiro talks about working with Las Vegas architect Julius Gabriel, obtaining his architecture license, and starting an architectural firm. Lastly, Cambeiro discusses being selected to create architectural drawings for the Thomas & Mack Center.
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Photographs of Grand Canyon Experience signs, Las Vegas (Nev.), 2002
Date
Archival Collection
Description
Site address: 3791 S Las Vegas Blvd
Sign owner: M H & K Enterprises
Sign details: The Grand Canyon Experience is directly North of the MGM next to the GameWorks complex. Above the clear glass entrances to the outdoor scenic tour's facility is a large building front designed marquee design, as well as a smaller version over the entrance facing northwest.
Sign condition: Structure 5 Surface 3 Lighting 5
Sign form: Fascia
Sign-specific description: The marquee reads Grand Canyon in yellow channel letters outlined in yellow neon, the insides are orange with orange neon in the middle. Experience is spelled in a cursive style orange channel letters with orange neon and incandescent bulbs on the interior. The two texts are supported on a steel framework of interconnecting steel pipes. The shape looks as if it is a bow pointed toward the ground. Two steel poles run vertically approximately 16 feet from the edge of the support system. They run toward the ground against the wall and stop to square i18" tall 10 inch deep, yellow, message box with a black surface. The neon whit von inside of the red channel letters reads "Shop Grand Avenue" in an all caps Arial style text. Two halogen lamps project off of the top of the sign and illuminate a three-dimensional sculpted caricature of a hiker. The entire structure is supported on the West wall of the building. The logo itself spans seventy-eight and a half feet at it's widest and is approximately twenty-three feet tall. Below the NW entrance to the establishment, a smaller version of the giant marquee sign sits above the door. Aluminum channel letters spell " Grand Canyon," with orange argon on the interiors. Below that sits a three-tiered back lit message panel. It forms a shape reminiscent of an upside down step pyramid. The top section actually contains yellow argon in nine-inch cursive text spelling experience. The three stepped cabinet is of a polished aluminum. The text sits on sheet metal raceways.
Sign - type of display: Neon; Incandescent; Backlit
Sign - media: Steel; Fiberglass; Plastic
Sign - non-neon treatments: Paint
Sign animation: Chasing, flashing, oscillating
Notes: The text, which resides on the southern wall and reads "Casino," is filled with incandescent bulbs that all illuminate at the same time, and oscillate. They then shut off at the same time, and then repeat. The raceways of incandescent bulbs chase each other while the neon, which surrounds the back lit, plastic, screens on this wall flash on then off. The bottom two raceways sandwiching the reflective panel chase from left to right, while the remainder of the raceways surrounding the signs, run right to left. The incandescent bulbs on the pylon chase each other gracefully up the length of the pylon. The animation is patterned so as to appear as if a section of several bulbs are pulsing its way up the towers, hugging the edge of the bulbous tops. The raceways continue around the east face of the building. The umbrellas in the plaza behind the pylon, also are animated with incandescent bulbs chasing each other downward along the raceways.
Sign environment: The Grand Canyon Experience is a rather large sign but is dwarfed by the immense MGM pylon just to the south of it. It is accented by faux rock serving as door jambs for the actual entrances.
Sign manufacturer: Mikohn Lighting and Sign
Sign - date of installation: 2000- 08
Sign - thematic influences: The actual theme of the sign is correspondent to that of the business, which the sign advertises. The text does not appear to be associated with any particular theme, but hold a style complimentary to each other. An element of theming is still evident with the faux rock facade, and the sculpted figure on top of the sign.
Sign - artistic significance: If not significant for simply combining different elements to create a completely self-contained sign, it fits into the movement in Las Vegas's history, which is geared more toward the family. The cartoon-like representation of a hiker, the fake rocks, the bright colors, and location in a strip mall, which centered on such establishments as Gameworks and M&M World, all point to the conclusion that families are welcome.
Surveyor: Joshua Cannaday
Survey - date completed: 2002
Sign keywords: Fascia; Neon; Incandescent; Backlit; Steel; Fiberglass; Plastic; Paint
Mixed Content