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neo000083-004

Description
Sign animation: Chasing, flashing, oscillating
Notes: The text fascia sign just to the north of the giant glass display illuminates with a background of neon tubing which chases from right to left. The pattern of colors running across are a sequence banks of red, pink purple and blue vertical neon tubing, chase each other creating a pulsating movement of the individual banks of these colors. While they are animating, the channel letters, which spell "Riviera," are dark and proceed to light up one letter at a time. Once all lit they remain lit, until the background stops with all the bars illuminated. Once all the bars are lit, the interiors of the letters turn off one at a time starting on the far right. The giant mirrored section of the building, advertising for the Splash stage show. The sequence can be best described from its dramatic powering up. The entire sign comes alive with a rapid upward chasing pattern covering the surface of the tower. Once alive, small white bulbs grow out of the end of the space on the top and bottom of the end of the "Splash" text. Once all the previous elements are illuminated, the letters in the Splash logo shut off, illuminate one letter at a time in red neon, then the white neon figure of the seal balancing a ball on the end of it's nose, lights up. The neon bordered circular raceway, then animates with the bulbs in the center chasing each other in a clock-wise sequence. Once lit the vast array of white bulbs grown out of the end of the text begin to gently oscillate, as well as the sparse assortment of floating and attached incandescent bulbs on the wall of the tower. Once the bulbs animate for a few seconds, the entire wall chases downward, becoming black as night, except for the Slash logo text. Underneath the entire front side of the western face of the Riviera, the incandescent bulbs which cover the entire surface oscillate in a wildly, while the ringed entablature on the wall animates quietly in comparison. The multi-colored rings of neon tubing chase each other from left to right, chasing the distance then repeating. The sequence then changes direction and chase from left to right. Creating the tops and bottoms of the entablature are raceways lined with incandescent bulbs that chase each other from left to right. On the surface of the west wall incandescent bulbs chase each other along the raceways which run horizontally around the internally lit cabinets. The small vertical raceways which run inside the clear plastic boxes chase each other from top to bottom, but all the raceways are offset to each other by a few seconds. At the North end of the property the signage for the Riviera's, "Nickeltown" gambling attraction, dominates the corner. He animation on the large exploding sculptural fountain lights up the entire corner. The three rocketing pieces of steel are wrapped in repeating bands of their corresponding colors of blue, purple and yellow. All three simultaneously chase from bottom to top, until completely lit. Then they begin to animate in a chasing pattern from bottom to top. After a few moments of chasing, they chase from beginnig to top once more, leaving al the tubes dark in its path. Along the circular entablature, which runs the circumference of the top mass of the fountain, incandescent bulbs chase each other from right to left, but only on the side which faces the casino. The wall, which faces north, contains the multicolored banks of vertical neon bars that animate in a specific pattern. They chase each other from right to left, then only the purple neon tubing illuminates, they chase again, then only the blue neon tubing illuminates. They chase once again, and then only the gold bars illuminate. The bars chase yet one more time, then all of the tubing illuminates, thus ending the sequence. The main entrance to nickel town is adorned with neon text and images, but only the stars higher up on the wall itself animate. The incandescent bulbs elevated above the surface of the mirrored wall, animate in a soft oscillating pattern, adding the twinkling effect. The larger five pointed stars are animated on the interior by a center of oscillating incandescent bulbs, while concentric neon shapes echo outward in the yellow, purple and blue colors seen on the adjacent wall facing north. The smaller snow-flake esque star shapes are alive with oscillating incandescent bulbs. Looking upward along the north face of the closest tower, the giant vertical, Riviera channel letters animate one character at a time, oscillate then shuts off.

Arnie and Sheila Wexler Professional Papers

Identifier
MS-00579
Abstract

The Arnie and Sheila Wexler Professional Papers consist of the professional materials dating from 1976 to 2006 of Arnie and Sheila Wexler, compulsive gambling counselors from New Jersey. The papers include documents, articles, videotapes, and audiocassettes on various aspects of problem, compulsive, and pathological gambling.

Archival Collection

Las Vegas PRIDE Parade Records

Identifier
MS-01072
Abstract

The Las Vegas PRIDE Parade Records (2016-2017) contain administrative files that document how the Southern Nevada Association of PRIDE, Inc. (SNAPI) organized the 2016 and 2017 PRIDE parades in Las Vegas, Nevada. Materials include correspondence with event organizers, parade participant information, and PRIDE event guides.

Archival Collection

Houssels Photograph Collection

Identifier
PH-00216
Abstract

The Houssels Photograph Collection contains color and black-and-white photographs and slides of the Houssels House from 1983. The photographs document the house's original location on Sixth Street in Las Vegas, Nevada, and its subsequent transportation to the University of Nevada, Las Vegas campus.

Archival Collection

Steve Johnson oral history interview

Identifier
OH-00959
Abstract

Oral history interview with Steve Johnson conducted by Fred Reagan on March 20, 1978 for the Ralph Roske Oral History Project on Early Las Vegas. In the interview, Johnson discusses his exposure to African American racial discrimination and segregation in Las Vegas, Nevada during the 1950s to the 1970s. He discusses these experiences in markets, theaters, casinos, employment, and in common social interactions. Johnson also discusses the slow progression of social acceptance to racial integration and African Americans entering professional fields.

Archival Collection

Julie McDonald oral history interview

Identifier
OH-01253
Abstract

Oral history interview with Julie McDonald conducted by Michael Richardson on March 14, 1981 for the Ralph Roske Oral History Project on Early Las Vegas. In this interview, McDonald describes life in Las Vegas, Nevada after moving there in 1956, as well as the city's layout. McDonald also passionately describes the complexities, perks, and pitfalls she faced while working as a card dealer in various casinos.

Archival Collection