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Nevada Mining Photograph Collection

PH-00361
Abstract

The Nevada Mining Photograph Collection depicts mining activities, miners, and mining towns in Nevada from 1868 to 1937. The photographs primarily depict the towns of Tonopah, Nevada and Goldfield, Nevada, including mills, buildings, mine shafts, and panoramic views of the landscape. The photographs also depict Beatty, Lost City, Delamar, Candelaria, Winnemucca, Virginia City, Rhyolite, Elko, and Reno, Nevada. The photographs also include portraits of early settlers in Nevada, Native Americans, children, parades, celebrations, and funerals.

Archival Collection

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Goldfield Consolidated Mines Company Records

MS-00744
Abstract

The Goldfield Consolidated Mines Company Records (1904-1930) consist of correspondence, invoices, receipts with voucher checks, mining leases, insurance policies, payroll accounts, published notices and articles. Also included is a monthly Goldfield Consolidated Mines reports ledger from February 1914 to October 1916 for mines located in the south central Nevada area. The collection primarily dates from 1904, before the consolidation when the boom in Goldfield was beginning in earnest, until 1919, when the company ceased its operations in Goldfield, although there are a few records post-1919 as the company continued to exist after the mines and mill closed down.

Archival Collection

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Jewish Federation of Las Vegas Annual Report, Building a Community, 1996

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Kol Badmidbar, newsletter from Midbar Kodesh Temple, September 2001

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Transcript of interview with Clarles Alvin (Todd) Early conducted by Brenda Sue Cody, March 25, 1981

Date
1981-03-25
Description
On March 25, 1981, Brenda Sue Cody interviewed local business owner, Charles Alvin (Todd) Early, Jr. (born in Yerington, Nevada) at his Central Credit office in Las Vegas, Nevada. The interview covers the history of Nevada. During the interview, Charles discusses mining, the building of Boulder (Hoover) Dam, and travelling by train as the central mode of transportation, in the early days. He also discusses a quick and easy divorce process and gambling as the main tourist attractions in Nevada.

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Transcript of interview with Cecile Dotson Crowe by Darin Toldisky, April 27, 1981

Date
1981-04-27
Description

On April 27, 1981, Darin Toldisky interviewed Cecile Dotson Crowe (born October 17th, 1911, in Millville, Utah) at Clark County Library in Las Vegas, Nevada. This interview covers Mrs. Crowe’s account of the building of Hoover (Boulder Dam). Mrs. Crowe discusses the Six Companies, Boulder City, and recalls President Franklin Delano Roosevelt’s visit to Nevada by train to dedicate the dam on the 30th of September, 1937.

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Transcript of interview with Rosina Goodwin by Bruce Eubank, March 15, 1978

Date
1978-03-15
Description

On March 15, 1978, Bruce Eubank interviewed Rosina Goodwin (born 1918 in Sweet Springs, Missouri) about her life in Las Vegas, Nevada. Goodwin first talks about her family background before discussing the Las Vegas Strip, the Stewart Ranch, and Twin Lakes. She also talks about schools, Boulder Dam, the atomic testing, and her work as a telephone operator. The latter part of the interview includes discussion on changes in Las Vegas, the Helldorado Parade, and changes in weather.

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Photographs of Boardwalk Holiday Inn signs, Las Vegas (Nev.), 2002

Date
2002
Description
Daytime and nighttime views of the Boardwalk Holiday Inn signs on the Strip. Information about the sign is available in the Southern Nevada Neon Survey Data Sheet.
Site address: 3750 S Las Vegas Blvd
Sign owner: MGM Mirage
Sign details: The Boardwalk Holiday Inn is one of the most distinctive front faces which incorporate an extreme amount of signage condensed into a replica version of an eastern sea board. Since it is designed to be reminiscent of a boardwalk, the pedestrian element is a wooden planked walkway lined with shops and establishments. The area is separated from the traffic by landscaping and concrete elements. All the shop fronts designs, some false and others functioning, are all linked into the casino. The structure is encrusted with raceways and incandescent bulbs, as well as a ridiculous amount of internally lit signage that advertising everything from hotel promotions, to prices of drinks. Headed from the south, headed north, the parking garage can be seen, set back from the street slightly west, adorned with signage on it's face. The casino begins at full throttle aesthetically, with raceways lining almost every edge, contrasting tones of paint, murals, advertisements, neon and incandescence all come together. Above the first main entrance of the property, is a vibrantly lit, gold clad entrance canopy. Above that a non-functioning skeletal mass of a roller coaster comprises the majority of the southern end of the property. Neon letters are located on the vertical plane created by the rise of the tracks. The carnival style treatments of raceways and propaganda run north until the path is interrupted by the vertical pylon sign which is integrated into the architecture of the Boardwalks facade. The tracks continue above the property, all along the length interrupted by the main pylon and addressed with replica's of Ferris wheels with actual mannequins, dressed and riding inside of them. Just pas the main pylon the facade is transformed into a giant three dimensional clowns head smiling joyfully. The facade continues a short distance past the clown's head, and rounds off just as it began.
Sign condition: Structure 4 Surface 4 Lighting 4
Sign form: Pylon; Fascia
Sign-specific description: Upon the eastern face of the parking garage signage is created upon the top edge of the outside wall. The top edge of the wall is fashioned into a sculpted entablature of signage, complete with rising crests and swooping scrolls, which match the fashion of decoration for the facade as well. On each side of the surface possess a pair of internally lit signage. One is square, and the next is rectangular, brandished with black text. The center portion of the sign is closed in with a pair of half columns which rise out of the surface of the entablature to flank the main text. These half columns are laced with an outline of an orange and yellow neon tubing. The Text is spelled in two different lines of channel letters lined with red neon on the interiors. The First line reads "Boardwalk Casino" the second line reads "Free Parking." The two lines span the length of the space provided and are separated by a sculpted dividing line. The tower just to the north of the parking garage is suited with channel letters that spell "Boardwalk' and are filled with red neon. Roller coaster: The sign which resides over the first entrance is similar that of the paring garage, for it is placed in a raceway bordered fascia. The large channel letters are placed in the center and spell " Casino." The first and last letter are the smallest in size, and gradually climb up toward the middle. They are filled with incandescent bulbs and outlined with a border of red neon. Pylon: The rest of the facade is necessary for the theme to really work, but the tallest and brightest piece is the main pylon sign. The pylon sign is essentially a triangular shape which rises straight up into the air. If a unilateral triangle, then one point is facing east with the two sides meeting at this eastern most point, being designated for the main signage. Three visible posts support the sign, glowing with the reflectivity of the gold polished underside which is striped with rows of incandescent bulbs, running perpendicular to the entrance. Three bands of pink neon wrap the two visible sides, just above the pedestrians head. Just above that there is a narrow LED message center which scrolls text, which also wraps the two sides. The majority of the sign occupies the space between this small border and the main marquee. This rectangular portion each one of the pylons sides can be broken down into four horizontal sections. The bottom two comprise the bottom 1/3 of the sign, and are internally lit advertisements ninety-nine cent offers and the Surf buffet. The middle section, being the tallest, contains a large LED message center, flanked on both sides by multi colored neon tubes crafted into the shapes of stars. The stars vary in size and spread up the small wings of the reader board with surprising fluidity. Compared to the rest of this section, the top remainder is rather plain. A plain surface is accented with a pair of words spelled in channel letters. The word hotel is spelled on the left and filled red neon. They are separated by a small, circular, channel filled with green neon. The word on the right is spelled in the same lettering except it is filled with green neon. The space above that is occupied by the main logo for the establishment. A black field supports large white channel letters that are filled with white neon. Then black field is closed in on all sides by scrollwork shapes created out of incandescence and neon. The white and yellow luminescence, takes the form of a double arched section resembling an "E" or a sideways "M" or "W." The top sweeps upward creating an arched top. A top the main array of signage there are three smoke stacks arranged in a triangular formation, with one at the very front of the edge of the sign and two flanking them in the distance. When looking at the sign directly at the face, it appears as if there are a pair for either side. Spanning the distance between the two smoke stacks is an LED reader board lined on both the top and bottom edge with blue neon. An arch of raceways lined with incandescent bulbs loops over the reader board. A large pylon is designated for the Surf Buffet as well. On the northern end of the property a tall pylon sign faces north/south, and stands lined with red neon. The vertical post supports three internally lit cabinets. The post itself, if viewed directly from the top, would be in an "X" or cross formation. Vertical bars of red neon run up the length of the pole, creating a striping effect. The three cabinets are arranged sitting one on top the other, with a small space in between each. The group all differ in size to an extent, with the two lower cabinets being similar sized, horizontal rectangles, and the top cabinet being the largest. They all have raceways lining the exterior faces with chasing incandescent bulbs. The faces are brightly illuminated colored plastic, with the main cabinet being an advertisement for the Surf Buffet. The others advertise for similar amenities.
Sign - type of display: Neon; Incandescent; Backlit
Sign - media: Steel; Plastic; Fiberglass
Sign - non-neon treatments: Graphics; Paint
Sign animation: Chasing, flashing, oscillating
Sign environment: The environment created by the Boardwalk is an effective use of the theme on the pedestrian to create the environment. The Boardwalk is located next to a CVS Pharmacy to the south, which was erected during the course of the survey. When the pedestrian walks upon the Boardwalk, it is busy and noisy, and very attraction getting. When passing into the front side of the property, a pedestrian is assaulted with sounds and noises that are difficult not to pay attention to. This feeling created by the conglomerate of signage and utter blazing advertisement, is almost like a roller coaster. Person comes out the other side noticeably aware of the silence and darkness contrasted to the presence of the property.
Sign - thematic influences: The theme surrounding the Holiday Inn Boardwalk is that of a seaside boardwalk. Most preferably it is modeled to be representative of the eastern seaboard Coney Island. The facade therefore is most logically themed after the environment experienced on such property, amusement rides, and boisterous circus type lighting loom overhead, while wooden planks exist under the foot of the pedestrian. The walk is lined with coin-operated gadgets and games, while store fronts are found spaced between glowing advertisements. A faux Ferris wheel and roller coaster create an overhead arena of stylized representation that can best be suited as one of the more unique on the strip. It is not often that you see mock people lined up inside of a non- functioning Ferris wheel. Oddly enough, this phenomenon can be linked to couple of still existing Las Vegas Strip properties. When Caesars Palace completed its initial main pylon sign, actual life sized replicas of Centurions and Romans were placed at the base of the statue. They were painted to appear as life like as well. This is one example. The next is the living embodiment of this representation of figures, and their role as evolved on the strip as well. Madame Tussaud's wax museum can be said to be the incarnation of the use and fascination with such a medium. While the exteriors of such properties have shifted toward classic statuary, the life like figure has assumed the role of art form, as an elevated attraction in today's strip community. The noisy facade finds a place for three dimensional sculptural elements, such as the clowns face, which further adds to the "Coney Island" "Atlantic City" theming. Event though, the theme, and very nature of the construction of the Boardwalks facade are dictated by its name, it set early precedence for this interactive miniature city facade as present in many of the major player among the strip. e.g. The Paris, NY NY, Bellagio, Aladdin, etc.
Surveyor: Joshua Cannaday
Survey - date completed: 2002
Sign keywords: Chasing; Flashing; Oscillating; Pylon; Fascia; Neon; Incandescent; Backlit; Steel; Plastic; Fiberglass; Graphics; Paint

Mixed Content

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Chabad of Southern Nevada

Chabad of Southern Nevada was established in 1990 by Rabbi Shea Harlig and his wife Dina Harlig. It is an outpost of the worldwide Chabad-Lubavitch organization that provides social services and educational programs for members of the Jewish community. Chabad of Southern Nevada is headquartered in Las Vegas, Nevada and has six affiliated centers: Chabad of Summerlin, Chabad of Green Valley, Chabad of East-Or Bamidbar, Chabad of Southwest, Chabad Hebrew Center, and Chabad Student Services at the University of Nevada, Las Vegas.

Katrina Sandigo oral history interview: transcript

Date
2020-08-28
Description

Oral history interview with Katrina Sandigo conducted by Nathalie Martinez and Barbara Tabach on August 28, 2020 for the Latinx Voices of Southern Nevada Oral History Project. Katrina talks about her family's history and her grandfather's immigration to the United States from Nicaragua. She discusses her education and her time spent studying at the University of Nevada Las Vegas (UNLV) and her work with the Clark County School District (CCSD). She is currently the Education Director for Nevada's Anti-Defamation League (ADL). Katrina also shares her religious faith and how she is active in the Jewish community of Las Vegas.

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