Nighttime views of the Sahara Hotel and Casino signs on the Strip. Information about the sign is available in the Southern Nevada Neon Survey Data Sheet. Site name: Sahara Hotel and Casino (Las Vegas, Nev.) Site address: 2535 S Las Vegas Blvd Sign owner: William Bennett Sign details: The Sahara lies at the northern most end of the survey, on Sahara, and Las Vegas Blvd The Sahara was remodeled in the late nineties to create an entirely new facade utilizing a large pylon, a porte cochere and various independent illuminated signs. On the eastern side of the property another porte cochere is located just west of Paradise Rd. across the street from the Sahara's original pylon. Sign condition: Structure 5 Surface 5 Lighting 5 Sign form: Pylon; Fascia; Porte-cochère Sign - type of display: Neon; Incandescent; Backlit Sign - media: Steel; Plastic Sign - non-neon treatments: Graphics; Paint Sign animation: Flashing, oscillating Sign environment: The Sahara utilizes many of the new elements of Las Vegas to create an environment. The western side of the property facing the strip is composed of a giant pylon, a domed porte cochere, and a roller coaster for the themed attraction incorporated into the property. To the north across Sahara Ave. the Holy Cow casino gives way to the distinctly older and smaller venues on the remaining northern stretch of the strip, while the entire heart of the boulevard lies to the South. Palm trees and various foliage surround winding drives which lead up to the open air dome, fore the circular valet. Along the twisting lanes leading to the parking garage, you can see fiberglass figures riding on camels, and various text signage upon the structures. Walking through the lush surroundings toward the north side of the property, you encounter the giant pylon, being able to walk right up next to it. The roar of the rollercoaster is rather deafening as it zooms right over a pedestrians head, as the signage for the NASCAR gives way to human sight. Sign manufacturer: Mikhon Lighting and sign Sign designer: New Pylon: Jack M. Larsen Jr. and Mikhon Lighting and sign Sign - date of installation: 1996-2000 Sign - date of redesign/move: During the reconstruction which took place between 1996 and 2000, the original pylon was moved east across Paradise Rd Sign - thematic influences: The theme of the Sahara is definitely linked to the desert theme so often seen throughout Las Vegas history. The name itself is the name of what is probably the most famous desert in the world. Elements of the design give way to this theme with rather heavy-handed iconography. Examples of this include the image of a camel on the pylon and rear porte cochere, as well as the statuary of men riding on camels. The text is the same classic Sahara text seen throughout the properties history, and definite reference the cure and angle of some Arabic writing, but also are linked to shapes seen in the architecture from that region of the world. Other properties which can be linked to this theme in Las Vegas History include, the Dunes, and the Aladdin. The Aladdin and the Sahara also share the trait of being a Vegas icon, revamped to meet the current trends of Las Vegas. The Sahara falls into that trend of being geared more toward the family theme these days, with the addition of the NASCAR Cafe as well as the roller coaster. The other property which incorporates a roller coaster is the New York New York. Surveyor: Joshua Cannaday Survey - date completed: 2002 Sign keywords: Flashing; Oscillating; Pylon; Fascia; Porte-cochère; Neon; Incandescent; Backlit; Steel; Plastic; Paint; Graphics
Part 1: Interviewed by Stefani Evans. Myron G. Martin, President and CEO, and Donald D. Snyder, Chairman of the Board of Directors, share their memories of the founding of The Smith Center for the Performing Arts from the first non-for-profit foundation formed in 1996. The second iteration led by Snyder in 1999 brought in Martin--former Director of UNLV Performing Arts Center--and created a sustainable business plan for a center for the performing arts that would be accessible geographically and culturally for all segments of Nevada society. Here, Martin and Snyder recall how land, funding, and legislation for The Smith Center depended on the ""power of the project"" and the Snyder-Martin team's ability to overcome skeptics in the public, the Nevada Legislature, the Clark County Commission, the Las Vegas City Council, and the Don Reynolds Foundation. Martin and Snyder satisfied the various requirements for each organization and earned unanimous approval at each stop--in fact, the $50 million donation to The Smith Center was the largest the Don Reynolds Foundation had ever granted largest. That the approvals came on three consecutive days from competing municipal jurisdictions makes the accomplishment even sweeter. Subjects: Las Vegas, NV; Cultural center; Performing arts; The Smith Center for the Performing Arts; The Smith Center; Not-for-profit;; Nevada Legislature; Clark County Commission; Las Vegas City Council; The Don Reynolds Foundation; Fundraising; Planning; Endowment; Part 2: Interviewed by Stefani Evans. Martin, who was the youngest of three boys raised in suburban Houston, Texas, likes to say that in college at the University of North Texas he played for the Atlanta Braves and the Texas Rangers. So he did--as the organist. He earned a Bachelors of Music in piano, organ, and voice and an MBA from Golden Gate University. He came to Las Vegas after a fifteen-year career with the Baldwin Piano Company as executive director of the Liberace Foundation; he later became president of UNLV?s Performing Arts Center and in 1999 he became president of the Las Vegas Performing Arts Center Foundation. Here, Martin and Snyder recall the process whereby they hired architect David Schwarz of Washington, DC, to create The Smith Center's ""timeless, elegant"" look; creating a ""shared vocabulary"" by visiting 14 performing venues in 5 European countries; the City of Las Vegas's RFP that resulted in hiring Whiting-Turner Contracting Company; the exterior art/artists, significance of the bell tower, Founding Fifty(seven), and the ability of the theater to adapt from staging The Book of Mormon to staging a community funeral for two slain police officers. Subjects: The Smith Center; The Smith Center for the Performing Arts; Architecture; Fundraising; Acoustics; Public private partnerships; Request for proposals; Whiting-Turner; Theater Projects Group; vocabulary; Part 3: Interviewed by Stefani Evans. Author Jack Sheehan, joining this third session on The Smith Center in his role as Don Snyder's biographer, explains the way he envisions the place of The Smith Center in the larger context of Las Vegas. Martin and Snyder provide names for the group that grew out of the Call to Action meeting and founded the original Las Vegas Performing Arts Foundation. They share anecdotes of a 2005 trip, wherein they were joined by Las Vegas City Councilman Lawrence Weekly, City of Las Vegas Mayor Oscar Goodman, and consultant to the City of Las Vegas Dan Van Epp to visit City Place and the Kravis Center for Performing Arts in West Palm Beach as an example of a place where a performing arts center was a catalyst for revitalization in an area of underused and underutilized urban land. They discuss opening night, March 10, 2012, /From Dust To Dreams: Opening Night at the Smith Center For The Performing Arts/, which was produced broadcast live on national Public Broadcasting System (PBS) television stations, produced by George Stevens Jr. and directed and produced by Michael Stevens for The Stevens Company; hosted by Neil Patrick Harris; and featuring Jennifer Hudson, Willie Nelson, Merle Haggard, Emmylou Harris, Martina McBride, Carole King, Arturo Sandoval, Joshua Bell, Mavis Staples, Pat Monahan; American Ballet Theater dancers Marcello Gomes and Luciana Paris; also Broadway performers Brian Stokes Mitchell, Laura Osnes, Cheyenne Jackson, Sherie Rene Scott, Montego Glover, and Benjamin Walker. Martin describes how provisions of Nevada SB235--introduced March 6, 2017, signed into law by Governor Bob Sandoval, and became effective October 1, 2017--for the regulation of ticket sales to an athletic contest or live entertainment event affect The Smith Center ticket sales. They talk of providing 3,600 good construction jobs during the recession, of Discovery Childrens Museum, of future development plans for the entire 61-acre Symphony Park parcel, and of a second capital campaign to increase the endowment to $100 million to enable The Smith Center to be economically sustainable.
Folks who graduated Boulder City High School in 1953 and who began kindergarten there might remember being in kindergarten class with Clark D. "Danny" Lee. They would be excused for not remembering the towheaded Lee; after all, he was in Boulder City only for the first half of the year. They also would be excused for not remembering Lee because he never stayed in school once he arrived. Danny was the child whose mother faithfully brought him to class every day. And every day, as soon as his mother dropped him off, he took off and beat his mother home. Danny Lee was born in his grandparents’ house in North Las Vegas, grew up on 10 Bonneville Street, and (except for his first semester of kindergarten in Boulder City) attended Fifth Street Elementary School and Las Vegas High School, where he graduated in 1953 with Rex Bell. In 1960 he married fellow Las Vegas High grad and former Rhythmette, Dorothy Damron; they have raised four children. Here, Lee talks about the difficulties his father had finding work and supporting a family during the Great Depression-of living with relatives and moving from place to place in the small travel trailer as his father found work. He describes a hardscrabble Las Vegas, where he and other kids in in multiethnic groups found temporary work helping drovers in the stockyards or filling blocks of ice in the icehouse. He recalls working for Superior Tire during high school and for the Union Pacific Railroad in a variety of jobs after graduation and the U.S. Army-including a stint as a Union Pacific tour director. v Lee’s early kindergarten career seems an unlikely academic indicator for a man who would spend most of his adult life volunteering for and lobbying on behalf of Clark County public libraries and who the American Library Association would select as the 1990 Library Trustee of the Year. Ironically, Lee was asked to serve on the Clark County Library District board of directors to get rid of a troublesome library director. Instead, he became one of the director’s staunchest advocates. It is appropriate that Danny and his wife, Dorothy, are pictured here surrounded by library books. The native Las Vegan built a lifetime career as a State Farm Insurance salesman, but in this interview he focuses on his public library advocacy, his time as trustee for the Clark County Library District; the formation of the Las Vegas-Clark County Library District; the ambitious building program funded by $80 million in voter-approved statewide bonds; and the political wrangling in Carson City necessary to achieve these ends. Lee’s oral history complements that of his wife, Dorothy Lee, and of Charles Hunsberger, who was the “troublesome” library director at the time Lee was trustee. Lee made his living as an insurance salesman. Lee’s ability to sell a product-whether it be insurance or an $80 million bond issue-is the attribute that made Danny Lee so valuable as a trustee to the Las Vegas-Clark County Library District and consequently, to all Clark County residents who value public library services. However, his passion, and dedication, and unbowed determination earned him the Library Trustee of the Year award. As Lee closes the interview, he locks eyes with Dorothy and muses, "Let me tell you what I'm most proud of in all . . . I've been married to this lady for fifty six years now. . . . I've lived a very blessed life. Being born in my grandmother's house and having lived in little travel trailers, it's just good. It's worked. We're living like we've always wanted to live right now."
One cannot talk about the arts in Southern Nevada without speaking of Patrick Gaffey. The Cincinnati, Ohio, native moved to Las Vegas as a child and has served the local arts community in several roles nearly his entire adult life, retiring soon after this interview as cultural program supervisor for the Clark County Parks & Recreation Department. After earning his Bachelor's and Master's degrees in English at the University of Nevada, Reno, Gaffey married Cynthia Pearson in 1968. In 1981 he began working as a publicist for the Allied Arts Council of Southern Nevada, founding its acclaimed magazine, Arts Alive, and remaining with the organization through its several moves until 1991. In this interview, he speaks to the collaborative nature and long vision of the Southern Nevada arts and architecture community through the founding of Discovery Children's Museum and the Neon Museum and of working with farsighted public entities—the Las Vegas-Clark County Library District, Clark County,
As he reveals in this oral history, Roger Thomas is, among many other things, a son, a father, a brother, a husband, a student, an artist, a visionary, and a philanthropist. As the second son of Peggy and E. Parry Thomas’s five children, Roger was raised a Mormon child of privilege and civic responsibility. The banking family summered in Newport Beach, wintered in Sun Valley, and taught their children by words and deeds that it is not up for debate if you will be involved in your community; the only question is how you will apply your talents and resources to benefit your community. Roger absorbed the lessons well. As a child who struggled in school but excelled in art, he attended his last two years of high school at Interlochen Arts Academy, graduating in 1969, finally finding himself “in an environment where what I did had currency.” From there he earned his BFA from the School of the Museum of Fine Arts Boston and Studio Degree from Tufts University before returning to Las Vegas and eventually joining Steve Wynn’s team in 1981. As Executive Vice President of Design for Wynn Design & Development, he is the man in whom Steve Wynn places his trust to make real at each Wynn property the Wynn design philosophy: aim for a constituency of highly sophisticated, well-traveled, very educated people and give them a reality, a now, that is so fetching, so alluring they wish to be no place else. As he was mentored by his father and Steve Wynn, he too is mentoring those who will follow him. At Wynn, the next generation will carry forward the Wynn idea of evoca-texture, of creating “moments of experiential emotion that result in a memory so captivating and so unique that if you want to repeat that you have to come back.” At home, he collaborates with his daughter on a children’s book that has the potential to become a series; she is the illustrator, while he provides the words. Roger Thomas sat for this interview five days after his father, E. Parry Thomas, passed away in Idaho. Instead of postponing the interview to a more convenient time, Roger kept the appointment and explained, “This is for UNLV. If I’d cancelled my father would have killed me.”
Mike Montandon, former Arizonan and former three-term mayor of the City of North Las Vegas (1997-2009), is a natural storyteller. As he recalls municipal governance during a period of record-breaking growth, he talks of forming relationships with developers, legislators, and other municipalities; he speaks to land use, open space, parks, trails, conservation and the Bureau of Land Management (BLM) and Southern Nevada Public Lands Management Act (SNPLMA). He shares histories and stories of the Becker family's role in developing Clark County, of the Combs family's North Las Vegas pig farm; of the drama that routinely characterized BLM land auctions, and of why North Las Vegas spent millions of dollars to build its own sewage treatment plant. The guy who never ran for office in high school or college moved to North Las Vegas in 1992 and four years later was elected as mayor of one of the nation's fastest-growing cities. He ran because he realized the City was populated with people just l
Brothers Steve and Bart Jones live and breathe Las Vegas history. Their grandparents, Burley and Arlie Jones, arrived in Las Vegas in the nineteen-teens; their father, Herb Jones; his sister, Florence Lee Jones Cahlan, and their uncle, Cliff Jones, helped form the legal, journalistic, and water policy framework that sustains Southern Nevada today. The Jones brothers build on that foundation through their custom home-building company, Merlin Construction. In this interview, they talk about living and growing up in Las Vegas, of attending John S. Park Elementary School, of hunting in the desert, of their family's commitment to cultural and racial diversity, and of accompanying their grandfather to his business at the Ranch Market in the Westside. They share their early work experiences lifeguarding and later, dealing, at local casinos as well as second-hand memories of the Kefauver trials through the tales told by their father and uncle. Steve describes mentor Audie Coker; he explains
Patricia Mulroy served Las Vegas as the general manager of the Las Vegas Valley Water District from 1989 to 2014. She served the state of Nevada as the general manager of the Southern Nevada Water Authority from 1993 to 2014. Patricia helped to build the Authority, and saw the state through the devastating drought of the Colorado River. Patricia was born in Frankfurt, Germany on February 24, 1953. As a young girl, she lived in several different countries, but always felt that the United States was her home. Her experiences abroad led her to develop a fascination with government work and state service. She arrived in Nevada in 1974 to attend UNLV. In 1989, Patricia became the general manager of the Las Vegas Valley Water District. She entered the field at a tumultuous time, facing the drought of the Colorado River and tension within the districts. She pioneered the Water Authority, which revolutionized southern Nevada’s water rights system and allowed the districts to deal with the is