Search Results
Tomiyasu Family Photograph Collection
Identifier
Abstract
The Tomiyasu Family Photograph Collection (approximately 1908 to 1991) consists of black-and-white photographic prints of the Tomiyasu family and their farming business in southern Nevada.
Archival Collection
Kenny Kerr Papers
Identifier
Abstract
The Kenny Kerr Papers (approximately 1973-2013) contain audiovisual materials, photographs, newspaper clippings, and ephemera that document the career of Las Vegas, Nevada female impersonator Kenny Kerr. The majority of the collection includes recordings of Kerr's performances, including his impersonation revue show
Archival Collection
Aplin Family Scrapbooks
Identifier
Abstract
The Aplin Family Scrapbooks (1927-1971) consists of four handmade scrapbooks compiled by Hilda Aplin. The scrapbooks contain photographs, correspondence, newspaper clippings, and handwritten captions. The majority of the collection focuses on Hilda and Charles Aplin’s involvement in the Fraternal Order of Eagles and Las Vegas Eagles Auxiliary #1213. Also included is a photograph album that details the family’s activities from 1927 to 1959, including notable locations around Las Vegas, Nevada such as Lake Mead, Hoover Dam, Mt. Charleston, and annual Helldorado parades.
Archival Collection
Transcript of interview with Count Guido Roberto Deiro by David G. Schwartz, January 30, 2002
Date
Archival Collection
Description
Count Guido Roberto Deiro, born in Reno, Nevada, in 1938, has had several fascinating careers. The son of vaudeville performer and recording star Count Guido Pietro Deiro, who was the first major piano-accordionist to become popular in the United States, and his teenage wife Yvonne Teresa LeBaron De Forrest, Deiro grew up in and around Las Vegas and Southern California after his parents' 1941 divorce. After attending 13 grammar schools and five high schools, Deiro graduated from Las Vegas High School in 1955. During his youth, thanks to his stepfather Samuel "Baby Shoes" Prezant, Deiro had an early introduction to the Las Vegas gambling scene. Following a brief stint in the U.S. Army, Deiro worked a series of jobs, including parking cars, selling shoes, and driving an ambulance. He transitioned from working as a fitness instructor to being a lifeguard at the El Rancho Vegas hotel, all the while becoming interested in aviation. Deiro entered the gaming industry at the age of 19 and a half, when he began working as a dealer, having been taught by his stepfather. Breaking in at the Nevada Club, Deiro, who became known as "Bobby Blue Eyes," later worked at the New Frontier, Sands, El Cortez, and Holiday casinos. He provides a great deal of detail about the social world of Las Vegas casinos in the 1950s through the 1970s, with insight into many major personalities. While working in gaming, Deiro continued to pursue a career in aviation, acquiring in the early 1960s a commercial pilot license, instrument rating and instructor's certificate. He began working as a flight instructor and charter pilot at Thunderbird Field, now known as North Las Vegas Air Terminal. Deiro flew around the United States promoting Las Vegas and the airfield. After Howard Hughes purchased the airfield in 1967, Deiro stayed, ultimately becoming Director of Aviation Facilities for the Hughes Tool Company. Following his marriage to Joan Marlene Calhoun, Deiro moved to California, where he became Vice President and Director of Administration for Air California and Golden West Airlines, before serving with other companies owned by C. Arnholdt Smith. In 1971, Deiro returned to Las Vegas. Deiro then met artist Michael Heizer, who enlisted Deiro's help in scouting and securing locations for his Earth art installations. This led to Deiro's long involvement with that genre. In addition to these careers, Deiro was also influential in many key developments in Las Vegas, including the construction of the Las Vegas Motor Speedway and, with his wife Joan, several philanthropic endeavors. In this interview, Deiro shares his perspectives on his times and his impact on Las Vegas.
Text
Transcript of interview with Louis Evans by Jeannettte Lonpergan, February 17, 1976
Date
Archival Collection
Description
On February 17, 1976, Jeannette Lonpergan interviewed well driller and dairy worker, Mr. Louis Evans (born on August 8th, 1914 in Jones County, Iowa) in his home in Las Vegas, Nevada. Mrs. Lonpergan’s husband, Mr. Dennis Lonpergan, was present during the interview and joined in on the discussion. Mr. Louis Evans’ wife, Mrs. Evans, was also present during the interview. Mr. Evans relocated to Nevada from Iowa in search of employment. Construction on the Hoover Dam had begun at this point; Mr. and Mrs. Evans recall their earliest recollections of Nellis Air Force Base and McCarran Airport. The interview covers the history of Nevada from Mr. Evans’ perspective. Mr. Evans discusses the paving of roads, employment, religious activities, housing developments, early above ground atomic tests, social and environmental changes and mining in Nevada.
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Photographs of Blue Note signs, Las Vegas (Nev.), 2002
Date
Archival Collection
Description
Site address: 3663 S Las Vegas Blvd
Sign owner: Blue Note International: Father & Son team of Danny and Steven Bensusan
Sign details: The Blue Note is located a short distance east, down Harmon Ave., on the north side of the street, facing south. It is part of the Aladdin Hotel Casino. A vacant lot resides on the corner, and is the only thing that separates the Blue Note from the Strip. Signage for the property includes two logo wall signs on the west wall of the building, a vertical blade sign and an entrance sign over the main port to the establishment.
Sign condition: Structure 5 Surface 5 Lighting 5
Sign form: Fascia
Sign-specific description: Just east off of Las Vegas Blvd, down Harmon Ave, lies the entrance to the "Blue Note: Jazz Capital of the World." The Blue Note is actually part of the Aladdin property, residing in the eastern most wing of the building, on the south side of Harmon. The majority of the signage hangs on the front of the building, which faces south toward Harmon Ave., with additional signage on the west face of the structure that extends from the Aladdin property. A vacant lot on the north east corner separates the Blue Note from the rest of the strip. The structure of the building and the design of the signage are juxtaposed with the building still being finished in a Persian Palace theme. While the signs are reminiscent of roaring twenties style font and theatre front design. Several different types of signs adorn the Blue Note. Two wall /logo signs hang on the west side of the building, while a sculpted entrance marquee, a hanging logo sign, and a vertical blade sign hung on the south side of the building. The west wall logo sign is composed of blue channel letters spelling the text " Blue Note," separated by a circular cabinet with a tube of neon bent to emulate the shape of a musical note placed in the middle. Five steel bars just out from either side of the cabinet. Below the text, a white steel cabinet with rounded ends, support a thin set of blue channel letters reading, "Jazz capital of the world." Further to the right a set of pink channel letters rest upon the upper portion of the corner of the structure. The letters are filled with pink neon. Along the South face of the building the first sign, hung in close proximity to the southwest corner, a vertical blade sign sits on a radius base of shaped molding jutting out of the wall. The actual body of the sign is a double backed cabinet finished in polished aluminum, with blue pin striping along the edges as well as along the rounded edge of the top. Near the top of the sign, the same rounded cabinet seen on the west wall of the structure, is integrated into the blade facing east/west. The cabinet is thicker in width to compensate for the width of the actual sign. The edges of the steel structure are painted in the same blue tone. The afore mentioned blue neon tubing fashioned into the shape of the note resides in this cabinet also. Along the east/west sides of the sign the text "The Blue Note," runs vertically from top to bottom, in blue channel letters only interrupted by the circular cabinet. The panel, which the text resides is painted white. Along the edge of the blade, which faces south, the text "Blue Note" is spelled vertically in blue channel letters. Sitting along the edge of the base, which the sign sits on, thin red channel letters stand almost independently, wrapping around the radius of the base. Starting on the west side of the sign and finishing on the east side, the text reads "Club & Cafe." These letters are filled with tubes of red neon. The letters are attached to a backing radius band of metal appearing to be gold. Further down the face of the building the main entrance to the building plays host to an overhead marquee/logo sign incorporating sculptural elements as well. Directly in the center of the composition, a long horizontal cabinet plays host to the red channel letters filed with red neon, reading, "World's Finest Jazz Club." Sitting on the top edge of the cabinet the same configuration of the Blue Note logo sign along with the circular cabinet, rests in front a sculpted piece of black steel. This piece of black painted steel is cut to appear as if it is the open top to a piano. Along the interior edge of the lid tubes of blue neon form a blue border. Between the piano top and the Blue Note logo, a horizontal steel grate serves as a divider as well as support for the blue channel letters. This entire section sits on a long horizontal ledge composed of a long polished steel section with a long LED message center just below that. Slightly recessed below the message center another width of overhang constructed of steel is painted to appear as if it is made of piano keys. Along the wall, just above the door, the pink channel letters read "Insomnia" with pink neon on the interior.
Sign - type of display: Neon
Sign - media: Steel; Fiberglass
Sign - non-neon treatments: Paint
Sign environment: Situated just east off the strip, down Harmon Avenue, the Blue Note is the only attraction in its immediate area. Even though it is part of the Aladdin complex, the closest property is the Harley Davidson Cafe on the south east corner of Harmon and Las Vegas Blvd At night, the property loses its Arabian Nights architecture emitting a sultry glow of neon. It is hard to miss, if a pedestrian peers down the street while traveling north or south, on the east side of the strip. During the day, the architecture helps to blend in the property to appear as it is, part of the Aladdin.
Sign manufacturer: YESCO
Sign - date of installation: 2000
Sign - thematic influences: The building itself is part of the actual Aladdin property, so the faced of the structure is themed in the manner of an ancient Persian city. It is an interesting juxtaposition for the sleek, modern finish and colors of the signage, with the organic facade of domed towers and stone facade. The Blue note signage is themed around the subject of music, specifically Jazz and Blues music. The blue hue of the neon, and the cabinet containing the crafted musical note are all evidence of this. The blade sign is thematically influenced by marquee building signs for theaters and music clubs from the first part of the century, specifically the forties and fifties. Such examples that utilized a similar designed blade sign were properties from the 1930's 40's and 50's such as The Boulder Club, The Pioneer Club, and the Las Vegas Club.
Surveyor: Joshua Cannaday
Survey - date completed: 2002
Sign keywords: Fascia; Neon; Steel; Fiberglass; Paint
Mixed Content
Audio from interview with Mike and Sallie Gordon, March 2, 1977
Date
Archival Collection
Description
Full interview audio with Mike and Sallie Gordon in March 1977 in which they discuss arriving in Las Vegas and their business enterprises.
Sound
Transcript of interview with Joseph L. Haughaboo by James F. Haughaboo, April 1, 1976
Date
Archival Collection
Description
On April 1, 1976, James F. Haughaboo interviewed his father, Joseph L. Haughaboo in his father’s home at 954 Lulu Avenue, Las Vegas, Nevada. The two discuss Haughaboo’s personal family history, his occupational history, and Mr. Haughaboo’s observations of Las Vegas city life since he moved to the state in 1953.
Text
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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Kiel Ranch Preservation Committee Records
Identifier
Abstract
The Kiel Ranch Preservation Committee Records (1973-2005) document the activities of the North Las Vegas Bicentennial Committee (1973-1976) and its successor, the Advisory Board for Kiel Ranch (1978-1995), in their efforts to restore Kiel Ranch, one of the earliest non-indigenous settlement sites in the Las Vegas, Nevada area. The collection contains various official reports on Kiel Ranch, proposals on how to restore Kiel Ranch, chronological files for each year of the project, and newspaper clippings on the status of Kiel Ranch.
Archival Collection