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Transcript of interview with Charlotte Conti by Charles Conti, March 20, 1978
Date
Archival Collection
Description
On March 20, 1978, Charles Conti interviewed hairdresser and physical education instructor of St. Francis School, Charlotte Conti (born Charlotte Anne Easton on December 13, 1941 in Arkansas) at her home in Las Vegas, Nevada. During the interview Charlotte discusses occupations, Mormon Church activity, education, marriage and raising a family in Las Vegas. She then recalls the social significance and communal impact of the annual Helldorado Parade. She also discusses the overall growth and development of Las Vegas, Nevada, from 1953 to 1978.
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Transcript of interview with Michael S. Mack by Claytee White, May 21, 2009
Date
Archival Collection
Description
During this interview, Michael Mack visualizes his childhood memories of the later 1930s, when Las Vegas was a small, but steadily growing, desert town. As he says, "The desert was our backyard." The Strip hotels like the last Frontier and the Flamingo pop into the stories, but it was basically an innocent time. He attended John S. Park Elementary when classrooms were temporary buildings from the local Air Force base and the neighborhood was filled with children. He still maintains close friendships from that time. And he also recalls friends from the Westside neighborhood. Michael talks of scouting, riding horses, and watching Helldorado parades.
Michael Mack's first recollection of Las Vegas is as a two-year-old living in a duplex on Bonneville Ave. Though the family moved several times, they remained in or near the John S. Park neighborhood. Michael's father was a Polish immigrant who arrived in Boulder City, where he opened a shoe store, in 1932. The building of the Hoover Dam brought opportunities and his father Louis expanded into the salvage business. In time Louis moved the family to Las Vegas, opened a retail clothing store, which eventually sold uniforms, and set up the first local bail bondman office. During this interview, Michael visualizes his childhood memories of the later 1930s, when Las Vegas was a small, but steadily growing, desert town. As he says, "The desert was our backyard." The Strip hotels like the last Frontier and the Flamingo pop into the stories, but it was basically an innocent time. He attended John S. Park Elementary when classrooms were temporary buildings from the local Air Force base and the neighborhood was filled with children. He still maintains close friendships from that time. And he also recalls friends from the Westside neighborhood. Michael talks of scouting, riding horses, and watching Helldorado parades. Though the Macks were a Jewish family, Michael's mother always brought the Christmas tree to school. It was a period when people memorized each other's 3-digit phone numbers, went to movies for 14 cents, and there was a ranch for people to stay while getting divorced. Halloween Trick-or-treaters in the John S. Park neighborhood might get a tasty cupcake or a shiny dime. Michael has a plethora of stories about innocent mischief and the unique experiences of a boy growing up in Las Vegas.
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Transcript of interview with Florence McClure by Joanne Goodwin, January 24, 1996 & February 6, 1996
Date
Archival Collection
Description
Florence McClure came to Las Vegas later in her life, but the state felt her presence and the community her contributions as if she were a native daughter. Introduced to the League of Women Voters in 1967, McClure met her political mentor Jean Ford and learned how to practice the core elements of democracy. She put those tools to work in a number of ways, however her participation in the creation of the Rape Crises Center and her advocacy for locating the women’s prison near Las Vegas are two of her long-lasting efforts. Florence Alberta Schilling was born in southern Illinois where she enjoyed the security of a tight-knit family and the independence to test her abilities growing up. She graduated from high school and attended the MacMurray College for Women at Jacksonville. With the attack on Pearl Harbor in 1941, she began a series of jobs working for the war effort. She moved to Ypsilanti, Michigan with a girlfriend to work at the Willow Run Army Airbase and then moved to Miami, Florida where she worked for the Provost Marshall in the Security and Intelligence Division. She met her husband, James McClure, at the time and they married in 1945. During the next several years, they raised a family and moved around the country and to Japan with the military. McClure came to Las Vegas in 1966 as part of her work in the hotel industry which she engaged in after her husband’s retirement from the military. She had worked in California and Miami Beach, but it was Burton Cohen in Los Angeles who invited her to join him in a move to Las Vegas to build the new Frontier Hotel and Casino. Following the completion of the Frontier, she moved to the Desert Inn with Cohen in 1967 and worked as the executive office manager. After a few years, she decided to leave the industry and complete her college education. She graduated from UNLV in 1971with a BA in Sociology with an emphasis on criminology. She was 50 years old. McClure had been a member of the League of Women Voters for a few years at that point and had learned the political process from Jean Ford and workshops on lobbying. She had numerous skills that were waiting to be tapped when she attended an informational meeting on the incidence of rape in the Las Vegas valley. From that meeting, a small group of individuals, including McClure, began the organization Community Action Against Rape (later renamed the Rape Crisis Center) in 1973. It was the first agency in the area devoted to serving individuals who had been assaulted and changing the laws on rape. The organization’s first office was set up in McClure’s home. Over the next decade, she worked to change attitudes and reshape policy by constantly raising the issues of sexual assault with police officers, emergency room doctors, judges, and legislators. Her role as an advocate took her into hospital emergency rooms and courtrooms to assist victims. It also took her to the state legislator to lobby repeatedly for a change in laws. During this period, journalist Jan Seagrave gave McClure the nickname “Hurricane Florence” - a fitting moniker that captured the force with which McClure attacked the issue. As a result of her efforts and those of the people with whom she worked, we now 1) recognize rape as a crime of assault; 2) forbid the sexual history of a rape victim from being used against her in court; and 3) recognize marital rape. In addition to learning about Florence McClure’s activities, the reader of this interview will gain information on the role of civic organizations like the League of Women Voters in engaging the voluntary efforts of women in the post-war years.
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Alpha Kappa Alpha Sorority, Theta Theta Omega Chapter scrapbook: "Exemplifying excellence through sustainable service"
Date
Archival Collection
Description
From the Alpha Kappa Alpha Sorority, Incorporated, Theta Theta Omega Chapter Records (MS-01014).
Mixed Content
Photographs of New York New York signs, Las Vegas (Nev.), 2002
Date
Archival Collection
Description
Site name: New York-New York Hotel and Casino (Las Vegas, Nev.)
Site address: 3790 S Las Vegas Blvd
Sign owner: MGM Mirage
Sign details: Occupying the northwest corner of Las Vegas Blvd and Tropicana Ave. is the New York New York Hotel and Casino. The property is a miniature representation of New York City in a collection of colorful architecture and sculpture. Colored reflective panels create the facades of high rises and skyscrapers. An almost cartoon like element is brought to the structures, flowing seamlessly sometimes throughout a surreal landscape of classical architectural elements and mock high rises. Distinguishable landmarks, such as the Empire State Building, the Statue of Liberty, and the Brooklyn Bridge, can be recognized with ease. A lagoon of water represents a harbor shooting water out of fountains disguised as boats.
Sign condition: Structure 5 Surface 5 Lighting 5
Sign form: Pylon; Fascia; Porte-cochère
Sign-specific description: The porte cochere is located on the south side of the property facing Tropicana Ave. The design cantilevers off of the main structure to the north, and then is supported by two columns on its far end. The three exposed sides hold the radiating crown of the New York New York logo sign. The two on the east and west sides are smaller than the one on the south side, but are essentially the same design. A half circle cabinet holds the text New York New York stacked in two lines. The channel letters are polished metal on the outside with incandescent bulbs on the interior. Their faces are bordered with red neon. The text is positioned on the front of the half circle cabinet. Breaking the surface of the radius edge, elongated triangular pan channels create a repeating pattern. The result is a crown of points running all across the top of the cabinet. It is reminiscent of the crown on the statue of liberty, or the rays of the rising sun. The face of the cabinet is painted blue, with metallic raceways, filling the negative spaces with more triangular shapes. The triangular pans are painted yellow on the interior with a blue finish on the exterior. The exterior width of the cabinet is also finished in a golden reflective surface. Three tubes of neon fashioned into succeedingly smaller triangles are inside each surface. The color scheme of the neon is yellow being the outer, orange being the second, and the center being red. The sign on the south side is designed the same, except being quite a bit larger, and the crowns of the cabinet angle forward instead of straight up in the air. All the edges are bordered with incandescent bulbs. The bottom edge below the signage, actually underlining the signage significantly, is a gold polished double bull nose that wraps the entire length of each side. The surface is strewn with small incandescent bulbs. An entablature runs above the bull nose, filling the spaces between the sign. The pediment is bordered on the top and the bottom with gold polished raceways and incandescent bulbs. Two mirrored posts support the southern end. The ceiling of the porte cochere is treated much the same as the logo signage on the three sides of the roof. Long pan channels are placed on the ceilings and shaped to look like waving banners, confetti, and beams, radiate out of a centerpiece positioned over the entrance to the casino. Red pans are painted orange on the interiors and green channels are painted blue on the interior. Tubes of neon are bent to the contours of the shapes of each one of these channels. The entire composition is a brilliant abstract pattern of light and colored steel shooting out toward Tropicana Ave. Headed east toward the northwest corner a bridge connects the Excalibur property to the New York New York. At the end of a bridge an entrance into the NY NY is below a LED message center and an arched logo cabinet, with the text and the radiating triangular channels. It is actually the same neon and color scheme, just fit to sit over the LCD display. The sign faces south. The sign has the distinct backdrop of a domed rotunda lined with columns. Rounding the corner another elevated bridge stretches east over the strip to the MGM property. The same configuration of the arched signage, along with the illuminated text, and LCD display screen is on the east side of the building. The corner facade of the harbor is flanked by these two collections of signs and walkways. Around the corner, the property extends north up Las Vegas Blvd continuing the facade of fake apartment buildings, with storefront windows at ground level. Here the replica of the Brooklyn Bridge serves as the main concourse of pedestrian activity. There are two sections of sign that are of particular interest to the eastern face of the building. The first is an advertisement for Panasonic. Panasonic is spelled in silver channel letters with blue fronts. The blocky font is internally lit. The entire text sits along the top edge of a matching message center. Further north on the face of the building, a section of building, finished in brick, combine graphics and three-dimensional elements for a sign for Pepsi. Toward the top of the face a logo/wall sign is crafted out of channel letters and filled with incandescent bulbs and bordered with blue neon. The entire text reads "Pepsi: Cola" The capital "P" and "C" are crafted out of one cursive style channel. The remaining letters are spelled in separate channel letters. The channel letters are stylized in a fashion reminiscent of the turn if the century. The colon placed between the "I" in Pepsi and the "C" in cola is also made out of channel boxes. Below the logo, a mural is painted on the majority of the remaining open space on the surface. Two police officers, in the style of early cartoons from the first few decades of the twentieth century, are the focus of the mural and are reminiscent of the famed "keystone" cops. The two figures are shown from about waist up in a circle, which is broken at the top by the white painted thought bubbles, bordered in black. The thought bubble on the left reads "bigger bottle" and the opposite reads, "better flavor". The two police officers correspond the appropriate thought bubble, with the one on the left being the larger figure, and the one on the right being smaller and apparently older. They are treated with blue paint, with their stripes, buttons and badges, treated in yellow paint. The skin tones are treated with proper hues, with facial features distinguished by black contour lines. The three-dimensional aspects come into play when describing their action. The officer on the left is pouring a bottle of the cola into the glass, which the other officer is holding. The one hand each officer is showing is a three-dimensional, fiberglass, white, cartoon, gloves. The one on the left is integrated into the tilted bottle. The bottle is coming off of the wall in a sculpted two-dimensional cabinet. The bottle is treated with the red white and blue Pepsi label, and reminiscent of the logo channel text. The tilted bottle points down toward a glass that the other officer holds. The glass is also a sculpted cabinet treated with paint on the surface, as well as the bottle, to appear as glass, utilizing highlights. Neon for the mural is cleverly designed to accent the mural and compliment the design. The text in the thought bubbles is overlaid with yellow neon, which animates back and forth to suggest an interaction of talking to each other. One half will illuminate, then the other as the first darkens. The yellow painted buttons, stripes, and badges of the characters uniforms are all outlined with yellow neon. The action of the neon in the bottle and glass can be seen through the semitransparent materials. Horizontal tubes of red neon fill the bottle, as well as the glass. In the space between the bottle and the glass waving tubes of neon pass through the apparent opening at the top of the cabinet, and can be seen behind the translucent face. When in action, the bottle appears as if it is pouring the liquid into the cup. (see animation notes) Among the ground level shops along the east side, marquis signage denotes passage. One on the southern end of the elevation just before the Brooklyn Bridge begins, and another, a bit further north, before the ESPN Zone signage. Two message panels come off the wall at an angle flattening off with a smaller panel boasting logo channel letters. Each one of the wings are spanned across the top of the face with channel letters spelling "entrance," painted in an off white on the interior. They are filled with incandescent bulbs and bordered with red neon. The remaining space on the bottom of the face is an LED message center. A narrow horizontal plane rises off of the top edge and is lined with three tubes of neon. The cabinet is made of a polished gold metal. The entire outline of the wing is lined with a raceway lined with incandescent bulbs. Smaller eastern face of the overhang is a square cabinet with an arched top. To either side of the cabinet is crafted into a set of two narrow horizontal planes. The one closest to the cabinet is taller that the one right next to it, with rounded corners echoing the curve of the main cabinet. The resultant effect is a sculpted cabinet with a top edge descending on either side in a water falling radius. These bookend elements are bordered with yellow, and three vertical tubes of neon running the length of the interior. They main cabinet is occupied by the internally lit double set initials "NY," stacked one set on top of the other. They too are filled with incandescent bulbs and bordered with red neon. The face of the middle cabinet is bordered with incandescent bulbs and finished in a slick blue hue. The underside of the overhang is covered in the polished gold surface and laden with incandescent bulbs. The northern end of the property is dominated by the signage for the ESPN Zone sports lounge, located inside the NY NY. The exterior signage is basically a theatre marquee entrance with a long overhang supporting an electronic message banner that reads from left to right. The majority of the theatre front is polished aluminum wit h thin tubes of red neon above and below the electronic reader board. Above the top edge of the actual front of the sign is a design of pan channels, crafted and shaped to form a complex background for the logo text spelling "ESPN." A wavy green crafted channel creates what looks like a horizon. The space between the marquee and the green channel is a black field laden with incandescent bulbs. Above the green channel an array of pan channels crafted into interlocking, swaying, pointed shapes. They are painted yellow and orange so the result is a bed of flames. These too are lined in the interior of the contour in red and orange neon. In the center of the entire face of the overhand in a black steel cabinet with the logo for the establishment spelling "ESPN Zone." The First portion of the two-word phrase is spelled in shallow channel letters lined with horizontal bars of white neon. The text is outlined in red neon as well. The second half spells "Zone," and is written in the same font with the "Z" being the largest letter in the sign, designed with the bottom horizontal leg underlining the rest of the letters in the word. The word is oulined with white neon as well. The latter portion is filled with horizontal bars of red neon. Situated along the middle of the sign, and against the vertical plane of the building, a blade sign repeats the design and colors of the bottom portion of the sign. The vertical cabinet is double sided spelling the "ESPN Zone" logo vertically with the same neon treatments for the respective words. The three toned background of black, green, red and orange on the bottom of the sign is interpreted on the blade. Running vertically, the black portion laden with bulbs runs against the wall, with the wavy channel next to that, disappearing temporarily behind the letters. The flames hang off of the outer edge of the sign. All of the neon treatments are seen here as well. Crowning the top of the blade sign two circular cabinets are arranged touching each other at one end, the faces pointing out to angled directions. Here the ESPN logo is arranged inside a circle. The bottom half below the letters is filled with horizontal bars of green neon, while the flames are present on the top half. The same cabinets can be seen mounted on the ends of the bottom overhang.
Sign - type of display: Neon; Incandescent; Backlit
Sign - media: Steel; Plastic; Fiberglass
Sign - non-neon treatments: Graphics; Paint
Sign animation: Chasing, flashing, oscillating
Notes: The incandescent bulbs inside the text reading "Paris" on the balloon oscillate rapidly.
Sign environment: Centering around the theme of the city of New York, it utilizes the corner to create a wrapping montage of sales kiosks, paralleled by a miniature replica of the Brooklyn bridge transforming into a corner bay flanked by the overhead walkways, and bringing the viewer in to the brightly lit arms of the porte cochere. The environment of the overhead wall signs and entrance signs blend in and compliment the theme aspect of being in a city. Of course they stand out a bit more with the over the top Vegas garishness, but they also add to the pedestrian interactive feature that creates the environment in which it sets out to accomplish. The corner fountain provides a unique experience with the views of the neighboring casinos but creates a bit more of a surreal nature with the small scale Statue of Liberty and backing of stylized skyscrapers and metropolitan architecture. To follow further around the corner headed south; the blazing neon adorned porte-cochere is backed by yet more architecture and the sweeping tracks of the resorts roller coaster.
Sign designer: Marnell Corrao Architect: Neal Gaskin
Sign - date of installation: 1997
Sign - thematic influences: The New York City theme is the consuming factor in the aspects of the outmost design interior and exterior, as well as influencing the design of the signage itself. From the corner design being used to create a miniature water spectacular representing a harbor, to the faux apartment and store-fronts, and replica Brooklyn Bridge, to the peaks of the logo cabinet work. It joins the array of properties on the strip which are heavily themed, and designed to attract a family oriented crowd. It is also themed after a city.
Sign - artistic significance: This resort has regularly been recognized as one of the architectural wonders of the Strip, and the signage contributes to its fame.
Surveyor: Joshua Cannaday
Survey - date completed: 2002
Sign keywords: Chasing; Flashing; Oscillating; Pylon; Fascia; Porte-cochère; Neon; Incandescent; Backlit; Steel; Plastic; Fiberglass; Paint; Graphics
Mixed Content
Interview with Bennie Reilley, Sr., May 10, 2004
Date
Archival Collection
Description
Access note: May not quote in any form without written permission from interviewee
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Transcript of interview with John Page by Lois Goodall, April 16, 2014
Date
Archival Collection
Description
John J. Page attended 13 schools before graduating from high school in the Ozark Hill Country of Oklahoma. Although he engaged in no combat, he was drafted into military after completing two years of college at the University of Oklahoma in Norman, Oklahoma. After his discharge from the U.S. Air Force, he helped his wife, Reitha, finish the credits she needed to complete her degree, and he then worked to complete his in Norman. Following his graduation, the couple relocated to Las Vegas in February 1959, when Reitha found a job at Washington Elementary School. In Las Vegas John completed his practice teaching under master teacher Lamar Terry at Twin Lakes Elementary School and under supervision of Dr. Holbert Hendrix at the University of Nevada, Las Vegas. John held his first teaching assignment, fifth grade at West Charleston Elementary School (later called Howard Wasden Elementary School), for 27 years before transferring with his principal to Helen Marie Smith Elementary School. For a time John and Reitha rented a small house at the comer of Bonanza Road and First Street that was owned by entertainer Horace Heidt. They bought their first house, a Pardee Park Home one block north of Tom Williams Elementary School in North Las Vegas, because Reitha taught there, and she and the children could walk to school together. In 1973 they bought their current house on El Cortez Avenue in the Westleigh tract. Page not only worked in Ward 1 for 27 years of his 36-year teaching career (1959-1995); he and his family also lived in Ward 1 for more than forty years. As a teacher in the school that served the wealthiest Las Vegas families, Page witnessed the many ways that generous donations of time, money, and talent matter to schools, students, and teachers. As an early resident of Westleigh tract, Page saw dramatic changes to the area's built environment. And as a longtime educator, Page observed several cycles of experimental instmctional techniques and philosophies.
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Transcript of interview with Gordon Smith by Claytee White, January 29, 2013
Date
Archival Collection
Description
Gordon Smith was born in Utah, but moved with his family to Babbitt, Nevada in 1947. His father, a barber, moved the family to Las Vegas in 1955. In this interview, Gordon recalls school and after-school pursuits; changes in the town; summer jobs; and college. He also talks about his military service and returning to Las Vegas to take up the razor himself - starting a successful barbering business of over 30 years.
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Transcript of interview with Rabbi Sanford Akselrad by Barbara Tabach, October 29, 2014
Date
Archival Collection
Description
Sanford Akselrad is the rabbi at Congregation Ner Tamid. In this interview he describes his rabbinical training, coming to Las Vegas, and the growth of the congregation.
More inclined in his youth to pursue a career as a scientist than rabbi, Sanford Akselrad (1957- ) became the rabbi at Congregation Ner Tamid in 1988. Turning his tenure, Rabbi Akselrad has lead the congregation through its move from Emerson to Street to its permanent home on Green Valley Parkway and I-215 and shares a fun story about buying desks and chairs from the Clark County School District. He talks about many of the milestones including: Project Ezra which he started during the 2008 recession to help Jewish community members find jobs; the NextGen program which was initiated to bring young adults in their twenties and thirties back to the temple. For over twenty years Rabbi Akselrad was a member of the board of the Nevada Governor?s Council on Holocaust education, a topic that was the focus of his rabbinical thesis. He was the founding president of the Clark County Board of Rabbis and has served on the boards of the Jewish Federation of Las Vegas, Jewish Family Services, and the Humana Hospital Pastoral Advisory Board. He was also the chair of the Federation?s Community Relations Council (CRC). Rabbi Akselrad is a board member of the Anti-Defamation League Nevada region office and the Interfaith Council of Southern Nevada. Sanford Akselrad was born on October 6, 1957 in Oakland, California and raised in Palo Alto. He attended the University of California, Los Angeles and then went to graduate school at the Hebrew Union College Jewish Institute of Religion. He spent the first year of his graduate program in Israel, the next two in Los Angeles, and the final two years in Cincinnati, Ohio. Rabbi Akselrad met his wife Joni in Reno, Nevada and married her during his third year of rabbinical school. The couple has two children, CJ and Sam. After his ordination in 1984, Rabbi Akselrad was associate rabbi of Temple Israel in Columbus, Ohio, one of the largest Reform congregations in the Midwest. His choice of career was inspired by his father, Sidney Akselrad, who was a prominent rabbi involved in social justice issues and the Civil Rights Movement. Sanford Akselrad has followed his father?s example of community involvement, both in Las Vegas and on a national level: he served on the board of the National Conference of Community and Justice (NCJJ), he was chair of the NCJJ's Inter-faith Council, and he is active in the Union of Reform Judaism (URJ).
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Transcript of interview with Daryl Morris by Barbara Tabach, February 16, 2016
Date
Archival Collection
Description
Daryl Morris discusses growing up in Las Vegas and his love of acting.
Daryl Morris is a native of Las Vegas. Born in 1961, he is one of three sons born to Paula and Bobby Morris. He recalls his childhood of the 1960s and 1970s with great fondness of the fast friendships formed within the Jewish community. His day job is in insurance, but his great love is for acting. He tells of being smitten at the age of 11 and taking acting lessons as a youngster and then later studying with actor Jeff Goldblum. He has an impressive list of films in which he has appeared, including the opening scene of Mall Cop 2. He enjoys voice-over acting and teaching acting classes. He also tells about his Navy service, attending UNLV, and coming to settle in Las Vegas-the place he calls home. Daryl also participated in the January 31, 2016, Growing Up Jewish in Las Vegas panel discussion for the Southern Nevada Jewish Heritage Project.
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