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"Bashing Spring Bash Themes": article draft by Roosevelt Fitzgerald
From the Roosevelt Fitzgerald Professional Papers (MS-01082) -- Drafts for the Las Vegas Sentinel Voice file. On the Allied Arts Masque Ball "Gone With the Wind" theme.
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Apolonio Sauceda interview, August 13, 2019: transcript
Interviewed by Barbara Tabach and Monserrath Hernández. Born in 1927 to Mexican immigrant parents, Apolonio spent his youth in the Kansas City, Kansas area. Arrived in Las Vegas and was a map maker for Clark County. Very involved in local Latino community, NALA, Veterans organizations, and was an actor on the side. Subjects: NALA, American Legion, Lt. Colonel in Nevada Color Guard
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Transcript of interview with Harriett Thornton Hicks by Claytee D. White, October 28, 2009
Harriett Thornton Hicks was born June 8, 1913,in Parowan, Utah; the thirteenth child of 14. She tells of her pioneer family who dwelled in two log cabins—one for cooking and one for sleeping. In 1931, she moved to Las Vegas to join two older sisters who had relocated here. She was picked up at the train by young Charles Hicks, who was a friend of her sisters. Charles had a car and offered to provide transportation. Within three years, the two were married. She quit her drug store job to raise a family and he worked for the railroad, the only business at the time in Las Vegas. At the age of 96, Harriett recalls a range of community milestones, such as the Boulder Dam, the news of Pearl Harbor bombing, Fremont Street, the Biltmore Hotel, and how to live in a city with mob influences.
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Transcript of interview with Corinne Entratter Sidney by Claytee White, June 5, 2007
Interview with Corinne Entratter Sidney by Claytee White on June 5, 2007. In this interview, Sidney talks about growing up with privilege in California, where her father served as the attorney general. She attended school at UCLA and took acting classes and signed with United Artists. She met Jack Entratter in Los Angeles and moved to Las Vegas and worked as a Copa Girl. She discusses Jack Entratter's generosity and influence in town, and his style, and their lifestyle together. She mentions the likes of Frank Sinatra, Lena Horne and Sammy Davis, Jr. and her extravagant life living at the Sands. After Jack's death in 1971, she moved back to Los Angeles, returned to acting, and wrote a newspaper column. On a visit to Las Vegas with George Sidney after Sidney's wife Jane died, Corinne and George began dating and were married shortly after. They moved back to Las Vegas together for a slower pace. She describes her love of Las Vegas and its continued growth.
Corinne Sidney's life story makes for fascinating reading. She was born in 1937, the daughter of Alice Polk, former Ziegfeld showgirl, and Carl Kegley, an attorney. She attended U. of C. Berkeley, transferred to UCLA, and was spotted by a talent scout who convinced her to enter a Miss USA contest. Corinne's runner-up status in the Miss USA contest led to job offers in acting, so she decided to study acting. This, along with her childhood lessons in ballet, piano, singing, tap dance and horseback riding, led to a contract with United Artists, freelance work, television parts, and plays. Around the age of 18, Corinne met Jack Entratter. Their relationship brought her to Las Vegas, where she worked as a showgirl at the Sands for a few months, and where she married Jack a few years later. They lived a fabulous lifestyle which included travel, beautiful homes, and friendships with noted celebrities. Corinne went back to acting in Los Angeles after Jack passed away, but then segued into writing a gossip column and hosting a television show. She reconnected with an old friend (George Sidney) by writing the obituary for his wife, and within a few months they were married. The Sidney's moved back to Las Vegas, where Corinne still makes her home today.
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Transcript of interview with Joyce Marshall-Moore by Emily Powers, March 25, 2008
Joyce Marshall-Moore came to Las Vegas from Chicago in December of 1953. Only eight years old at the time, she clearly remembers the road trip with her father Royce (known as "Mousie"), her mother Agnes, and her two brothers. They left Chicago, where it was snowing, and arrived in Las Vegas on a cold snowy day! Joyce attended school at Sunrise Acres ES until eighth grade and then went to Rancho High School, graduating in 1962. She recalls that her father worked for a time at the El Rancho Vegas and that her mother found work at Southern Nevada Memorial Hospital. Agnes Marshall (nee Rasmussen) took her nurse's training in Buffalo, New York, and then worked at Buffalo General Hospital and Millard Fillmore Hospital. Later she joined the army and was stationed in Memphis, Tennessee, working at Kennedy General Hospital where she met Royce and married him. They moved to Chicago where she found work at Ravenswood Hospital. After their move to Las Vegas, Agnes was hired at Southern Nevada Memorial Hospital. She became disenchanted with nurse-patient interactions at the county hospital and found employment at Las Vegas Hospital. She worked there until 1976 and then was hired at Las Vegas Convalescent Center. Agnes followed her dreams and traveled during this period as well. Agnes worked with Doctors Lund, Allen, Woodbury, Sulvane, and Hardy, among others. Joyce recalls that Dr. Hardy, a cousin and look-alike to Oliver Hardy, was one of her mother's favorites. She shares anecdotes and memories of these and other doctors. Joyce remembers many aspects of her mother's life, including the fact that she took care of neighbors as well as her family and patients. She often worked double shifts and the pay was nominal, but she loved her job because of the relationships with her patients. Agnes passed away in 2006 at the ripe old age of 91.
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Alice Key Papers
The Alice Key Papers (1936-2004) consist of documents detailing Alice Key’s life and work in the African American community, historic preservation, and labor relations in Las Vegas, Nevada. Included in the collection are awards and certificates documenting Key’s achievements, invitations and programs to events, political and civic correspondence, and magazine and newspaper articles both about Key and written by her. The collection also contains photographs.
Archival Collection
Photographs of Tourist Bureau signs, Las Vegas (Nev.), 2002.
Site address: 5191 S Las Vegas Blvd
Sign owner: John Morris
Sign details: The Las Vegas Tourist Bureau is the first establishment on the strip after the McCarran Gates. It located in the south end of the property that is also occupied by the Klondike Motel Casino.
Sign condition: Structure 4 Surface 3 Lighting 3 Notes: Some of the lighting no longer works, and the surface seems to be deteriorating in spots. The structural integrity is good.
Sign form: pylon, fascia
Sign-specific description: The Las Vegas Tourist Bureau is the first establishment on the strip after the McCarran Gates. It located in the south end of the property that is also occupied by the Klondike Motel Casino. Upon the small low-rise structure, white, internally lit message centers wrap the flat roofline of the north and west sides of the building. The cabinet's steel housing is painted yellow to match the borders of the doors below. The cabinets form a giant entablature with giant black vinyl lettering. The north face reads "Show Tickets" in all capitals, and the west face reads "Grand Canyon" in smaller all caps lettering on the left hand side. Three words in the large all caps text reads "Tours," "Rooms," and weddings. Above the internally lit cabinets, the roof rises up several more feet, and is finished in red steel siding, with vertical panels made to look like wood. It is the same as the treatment seen on the Klondike. On the surface of this upper extension and above the cabinets, yellow raceways form a series of arches all along the fascia. They are lined with yellow incandescent bulbs. Standing right next to the entrances on the west face is the giant, double pole, pylon sign. The giant blue poles telescope up three levels, before a horizontal, rectangular, internally lit, yellow cabinet, lined with incandescent bulbs on the widths edge. The plastic face is white with red text. "Las Vegas" is written on the left-hand side at an angle in two lines, and "Tourist Bureau," written horizontally in two lines, in all capital text. A steel grated platform sits just above the cabinet on two extensions of the poles. The platform runs well beyond the edges of the backlit cabinet. On top of the grate a black LED message center runs the length of the platform. Next to the driveway into the small parking lot, a small internally lit sign stands street side. The small sign is two yellow steel cabinets, with white plastic faces, and incandescent bulbs running along the width's edge. They are treated to match the message cabinet on top of the main pylon sign. On top of a thin blue, steel post, a smaller cabinet supports another slightly larger one. The top cabinet reads "Entrance" in faded, red, all capital text. Just below the text on the face of the cabinet, a faded red arrow points east toward the parking lot. Neon tubing is crafted to create a reproduction of the shape, hovering over the surface. The bottom cabinet reads "Parking" in the same text, and condition. The three signs together form a cohesive, matching set of signage appropriate for the property. The sign is actually cohesive with the "Welcome to Fabulous Las Vegas" sign on the median just west of the actual structure.
Sign - type of display: neon, incandescent, backlit
Sign - media: steel, plastic
Sign animation: Chasing
Notes: The incandescent bulbs chase each other around the perimeter of the sign.
Sign environment: Just to the west on the median is the famous "Welcome to Las Vegas" sign, and the Klondike to the north. An expanse of field reaches south, past an attached structure on the south side of the building. That field is the airfield. The structure is highly visible from the north, but a bit less from the south due to heavy foliage placed directly south of the giant pylon. The Giant pylon is highly visible, but has high competition in it's midst. The Klondike when illuminated is very bright, and the Welcome to Las Vegas sign's popularity attracts a great amount of attention. The Las Vegas Tourist Bureau is sort of an afterthought.
Sign - thematic influences: The theme associated around these signs is not so evident. Yes they are the typical elements such as the internally lit cabinet and the border of incandescent bulbs. It is a roadside pole sign design, but it is a bit unique to it's area for it is extremely tall in its surroundings, and it is a double pole supporting internally lit cabinet. The thematic influence is also evident in relation to it's surroundings. It's coloring, and basic principle of design is based on the neighboring welcome to Las Vegas sign. The are both double poled, internally lit, and have incandescent bulbs which chase each other around the outside edge. The coloring of the Tourist Bureau sign parts corresponds with the same parts as the Welcome to Las Vegas sign as well.
Surveyor: Joshua Cannaday
Survey - date completed: 2002
Sign keywords: Pylon; Fascia; Neon; Incandescent; Backlit; Steel; Plastic; Chasing
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Hank Kovell Papers
The Hank Kovell Papers (1945-2012) document his life as a publicity agent in Las Vegas, Nevada. The collection includes photographs, correspondence, publications, newspaper clippings, and a script written by Kovell titled, "The Visitor."
Archival Collection
Shelley Berkley oral history interview
Oral history interview with Shelley Berkley conducted by Barbara Tabach on February 13, 2015 for the Southern Nevada Jewish Heritage Project. In this interview, Berkley shares her family history, from her great-grandparents’ immigration to the United States to her immediate family’s migration from New York to Las Vegas, Nevada. She reflects upon her childhood experience in Las Vegas, including her varied leadership positions with Jewish organizations as well as at school, from junior high school through college. Berkley also talks about her involvement as an adult within the Jewish community and more broadly as a public servant, in all levels of government.
Archival Collection