Everywhere you look, a sculpture protrudes from a surface, an oddity is embedded in a wall, a clay face looks back at you. It would take years of study to see every item that Van Zant incorporated into his monument.
As Carol Harter steps down from Black Mountain Institute, we talk with her about good writers, big money and the jerks who govern Hunter Thompson’s estate
Carol Harter affects a little comic vanity about the empty bookshelves in her soon-to-be-vacated office at the Black Mountain Institute. “Don’t get those in the picture,” she mock-urges a couple of times.
The El Cortez was the first hotel owned by Bugsy Siegel and, unlike the second, it’s kept the original pink neon intact. The rooftop hotel sign is a classic easily imagined in the background of a film noir, while the sideways “GAMBLING” sign is admirable for its forthrightness.
Does neon still have a home in the changing Las Vegas lightscape? Not much anymore — but it should
When people close their eyes and think of Las Vegas, their mind may light on a chilled cocktail, a statuesque showgirl, a pair of tumbling dice — but the background is always neon. Luminous streaks and flourishes of red and blue, canary and emerald, cerulean and magenta flashing and fading against a velvet-dark background.
You’d be hard-pressed to find a soul in Las Vegas who isn’t happy about this month’s opening of The Smith Center for the Performing Arts. But few are happier than members of the center’s two resident companies, the Las Vegas Philharmonic and the Nevada Ballet Theatre.