Search Results
Photographs of Mandalay Bay signs, Las Vegas (Nev.), 2002
Date
2002
2017-08-15
Archival Collection
Description
Photos show Mandalay Bay signs during the day and at night. Two surveys were conducted to gather information about this sign. One was conducted in 2002 and one was conducted in 2017. PDFs are available for both surveys. See the 2017 survey PDF for additional information that is not included in the object description.
Site name: Mandalay Bay (Las Vegas, Nev.)
Site address: 3950 S Las Vegas Blvd
Sign owner: Mandalay Resort Group
Sign details: Mandalay Bay resides on the west side of the Strip, south of the Luxor. The expanse of property is surrounded with ornate foliage, jutting faux rocks, and assorted statuary accented with the flavor of an ancient island. The three-winged tower looms over the low-rise casino structure. The surface of the tower is covered with an impressive expanse of gold mirrored windows, and vertically striped with gold tubes of neon. The towers also home to the giant channel letters, which serve as the logo building text for the establishment. The ground level the property is home to two giant pylon signs at either end of the property as well. One resides on the east side of the property, while the other on the west.
Sign condition: Structure 5 Surface 5 Lighting 5
Sign form: Pylon; Fascia
Sign-specific description: The Mandalay Bay has little signage, but is cohesively joined together into a simple yet effective use of lighting, which fits in well with it's environment. The building itself is actually the biggest piece of signage, being vertically striped with tubing of gold neon. There is actually over three miles of neon tubing which runs up and down the surface of the tower, reflecting off of the gold, mirrored, surface of the tower. The tower itself during the day is unassuming, for the off white stucco, and mirrored surface, blend to create a harmonious surface. When dark, the building transforms into a mysterious figure clad in golden stripes. On each wing of the Y shaped tower, " Mandalay Bay" is spelled in channel letters across the top edge of the surface. These giant black pans hold incandescent bulbs, which oscillate rapidly. The two pylon signs sit flanking the building on extreme edges of the property. The two pylons are rather plain in design, but are efficient and large. They are highly integrated architecturally, being essentially two giant vertical rectangles. Two massive square legs support an upshot of space defined by two internally it color screens advertising for the "Shark Reef" and for the "House of Blues" These two are squares which sit side by sides, comprising the bottom section of the face. Above that, a large LED screen stretches up to the end of this section. The three signs are closed in on either side by a set square legs capped on the top and bottom with molding. Making up the top section of the pylon another horizontal plane rises up a bit before being topped with a series of crown moldings. Two lines of channel letters spell " Mandalay Bay" and are filled with incandescent bulbs.
Sign - type of display: Neon; Incandescent; Backlit
Sign - media: Steel; Plastic; Masonry
Sign - non-neon treatments: Graphics; Paint
Sign animation: Oscillating
Notes: The incandescent bulbs inside the channel letters which spell the text for the establishment oscillate in a pattern which makes them appear as if shimmering. This style is the most common animation next to the incandescent bulbs on the raceway.
Sign environment: The Mandalay Bay resides in exclusive company on the south end of the Strip. It stands as one of the four major establishments before Tropicana Ave. The other three include the Luxor, the Excalibur, and the Tropicana
Sign manufacturer: LED and plastic sign inside pylon were manufactured by Ad-Art
Sign - date of installation: 1999
Sign - thematic influences: The theme of the Mandalay Bay is one revolving around an island paradise, transformed into a sleek ultra modern super resort, creating a sort of independent city of steel glass, neon, lush foliage, and assorted statuary. It could best be said that it is a combination of the influences of the Tropicana, the Mirage, and Treasure Island, all mixed together as one. The pylons themselves find themselves more a kin to those displayed by the large corporate properties like the Bellagio, and the Mirage. The simple vertically oriented rectangle, plays host to LED screens and backlit color advertisements, and channel letters filled with incandescent bulbs. These elements can be seen in other large properties such as the Mirage.
Surveyor: Joshua Cannaday
Survey - date completed: 2002
Sign keywords: Oscillating; Pylon; Fascia; Neon; Incandescent; Backlit; Steel; Plastic; Masonry; Paint; Graphics
Site name: Mandalay Bay (Las Vegas, Nev.)
Site address: 3950 S Las Vegas Blvd
Sign owner: Mandalay Resort Group
Sign details: Mandalay Bay resides on the west side of the Strip, south of the Luxor. The expanse of property is surrounded with ornate foliage, jutting faux rocks, and assorted statuary accented with the flavor of an ancient island. The three-winged tower looms over the low-rise casino structure. The surface of the tower is covered with an impressive expanse of gold mirrored windows, and vertically striped with gold tubes of neon. The towers also home to the giant channel letters, which serve as the logo building text for the establishment. The ground level the property is home to two giant pylon signs at either end of the property as well. One resides on the east side of the property, while the other on the west.
Sign condition: Structure 5 Surface 5 Lighting 5
Sign form: Pylon; Fascia
Sign-specific description: The Mandalay Bay has little signage, but is cohesively joined together into a simple yet effective use of lighting, which fits in well with it's environment. The building itself is actually the biggest piece of signage, being vertically striped with tubing of gold neon. There is actually over three miles of neon tubing which runs up and down the surface of the tower, reflecting off of the gold, mirrored, surface of the tower. The tower itself during the day is unassuming, for the off white stucco, and mirrored surface, blend to create a harmonious surface. When dark, the building transforms into a mysterious figure clad in golden stripes. On each wing of the Y shaped tower, " Mandalay Bay" is spelled in channel letters across the top edge of the surface. These giant black pans hold incandescent bulbs, which oscillate rapidly. The two pylon signs sit flanking the building on extreme edges of the property. The two pylons are rather plain in design, but are efficient and large. They are highly integrated architecturally, being essentially two giant vertical rectangles. Two massive square legs support an upshot of space defined by two internally it color screens advertising for the "Shark Reef" and for the "House of Blues" These two are squares which sit side by sides, comprising the bottom section of the face. Above that, a large LED screen stretches up to the end of this section. The three signs are closed in on either side by a set square legs capped on the top and bottom with molding. Making up the top section of the pylon another horizontal plane rises up a bit before being topped with a series of crown moldings. Two lines of channel letters spell " Mandalay Bay" and are filled with incandescent bulbs.
Sign - type of display: Neon; Incandescent; Backlit
Sign - media: Steel; Plastic; Masonry
Sign - non-neon treatments: Graphics; Paint
Sign animation: Oscillating
Notes: The incandescent bulbs inside the channel letters which spell the text for the establishment oscillate in a pattern which makes them appear as if shimmering. This style is the most common animation next to the incandescent bulbs on the raceway.
Sign environment: The Mandalay Bay resides in exclusive company on the south end of the Strip. It stands as one of the four major establishments before Tropicana Ave. The other three include the Luxor, the Excalibur, and the Tropicana
Sign manufacturer: LED and plastic sign inside pylon were manufactured by Ad-Art
Sign - date of installation: 1999
Sign - thematic influences: The theme of the Mandalay Bay is one revolving around an island paradise, transformed into a sleek ultra modern super resort, creating a sort of independent city of steel glass, neon, lush foliage, and assorted statuary. It could best be said that it is a combination of the influences of the Tropicana, the Mirage, and Treasure Island, all mixed together as one. The pylons themselves find themselves more a kin to those displayed by the large corporate properties like the Bellagio, and the Mirage. The simple vertically oriented rectangle, plays host to LED screens and backlit color advertisements, and channel letters filled with incandescent bulbs. These elements can be seen in other large properties such as the Mirage.
Surveyor: Joshua Cannaday
Survey - date completed: 2002
Sign keywords: Oscillating; Pylon; Fascia; Neon; Incandescent; Backlit; Steel; Plastic; Masonry; Paint; Graphics
Mixed Content
Kelly Benavidez oral history interview: transcript
Date
2019-01-29
Archival Collection
Description
Oral history interview with Kelly Benavidez conducted by Maribel Estrada Calderón on January 29, 2019 for the Latinx Voices of Southern Nevada Oral History Project. Laurents Bañuelos-Benitez also participates in the questioning. Kelly Benavidez is originally from San Francisco, California. Benavidez arrived in Las Vegas after her family spent two years in Mexico so her and her brother could learn Spanish. Benavidez and her family have remained in Las Vegas ever since. Kelly attended Area Technical Trade School for hotel management, and was then recruited by Mesa State College in Colorado. She currently works for Commissioner Lawrence Weekly. Her list of community involvement is extensive: Las Vegas-Clark County Library District Board, the Fernando Vargas Foundation, Las Vegas Latin Chamber of Commerce, Hispanics in Politics, Latina Network, among others. Subjects discussed include: Las Vegas, Commissioner Weekly, New York New York construction accident, and Spanish Language.
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Joyce Helens and Sonja Sibert (Great Basin College) oral history interview conducted by Magdalena Martinez and Elia Del Carmen Solano-Patricio: transcript
Date
2022-10-12
Archival Collection
Description
From the Lincy Institute "Perspectives from the COVID-19 Pandemic" Oral History Project (MS-01178) -- Education sector interviews file.
Text
Maria Casas interview, June 12, 2019: transcript
Date
2019-06-12
Archival Collection
Description
Interviewed by Maribel Estrada Calderón. Farmersville is described as a small town between, Exeter and Visalia, California populated by Mexican American farm workers. It is in this small town, where UNLV History Professor Maria Raquél Casas spent her childhood raised along with her sisters and brothers. In her interview, Dr. Casas describes how growing up in this small town with her traditional Mexican family influenced the person she is today. While working alongside her family in the fields, Dr. Casas decided that she would strive to obtain an education. Through hard work and constant support from her sister, Dr. Casas attended Fresno State, where she discovered her love for history. Upon completing her undergraduate program, Dr. Casas made the decision to further her education by pursuing a master's at Cornell University. At Cornell, she faced discouraging professors who believed she would not be able to complete the master's program let alone pursue a PhD program. Despite these demoralizing professors, Dr. Casas completed her program and was admitted into University of California Santa Barbara's history program. Dr. Casas never forgot her roots or the significance of her presence in the majority white academic spaces she attended during her academic journey. When she arrived at UNLV, she continued to strive for more Latino representation in both the student population and in the school faculty. During her tenure at UNLV, Dr. Casas has served as an advisor for multiple Latino student organizations including MEChA and SoL. Dr. Casas has witnessed much progress in Latino representation at UNLV, but she believes there is still much work left to be accomplished.
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Transcript of interview with Gilbert Shaw by Barbara Tabach, May 3, 2016
Date
2016-05-03
Archival Collection
Description
In this interview, Gil Shaw recalls milestones at Congregation Ner Tamid?first bat mitzvah?and anecdotes about leaders, first rabbis, donation by Moe Dalitz, services being held in Protestant churches, and even a controversy over colors for the new temple building of Ner Tamid.
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Transcript of interview with Marta Sorkin by Claytee White, March 2, 2009
Date
2009-03-02
Archival Collection
Description
In this interview, conducted for the 50th anniversary of UNLV, Marta Sorkin discusses her family and her experience moving to California, and then to Las Vegas. Sorkin worked at the James R. Dickinson Library at UNLV and later in Lied Library, helping to implement and update various databases, and create displays on current topics. She briefly discusses her involvement with Hillel and the Jewish Federation of Las Vegas.
Marta Sorkin begins by reminiscing about her childhood in Far Rockaway Long Island, New York. She details the life her parents lived, which set an example for Marta and her two siblings. Through hard work, advanced education, and involvement in causes that were important to them, they created the template by which Marta lives her life. Marta describes her early work history, which included modeling, sales, library work, and working part time in her father's dry-cleaning plant. She and her daughter were living with her parents for a time in California, and they visited Las Vegas on weekends. It was during one of those visits that Marta met her second husband-to-be. They eventually married and decided to settle in Las Vegas. In Las Vegas, Marta enrolled at UNLV, became involved with the Preservation Association of Clark County, and volunteered at the Jewish Federation of Las Vegas. In addition, she completed her BA and MA degrees at UNLV and started working at the university's library. She details her work there, including creating display cases, working in the reference section, doing research for students and faculty, and compiling interviews. Marta also describes the fundraisers she spearheaded to help raise money for the various societies she was involved with: non-events, pancake breakfasts, dinners, and dance and band performances. In her closing comments she mentions an interview she did for Ralph Roske's class and expresses her appreciation for the career she's had at UNLV.
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