Okay.

Okay, we're here with six okay.

I'd like to call the November 24th, 2025 Commission for the Las Vegas Centennial Board Meeting to order.

Are we in compliance with the open meeting law?

Yes, we are.

Thank you so much.

Uh may we do a roll call at this time.

Chair Berkeley.

Yes.

Commissioner Bryan.

Yes.

Commissioner Arnold.

Commissioner Stodle.

Present.

Commissioner Brown.

Is excused.

Commissioner Coffin?

Commissioner Helton.

Is excused.

Commissioner Sinnoch.

Commissioner Mowbray.

Is excused Commissioner Truesdale?

Is excused Commissioner Brandenburg?

Is excused Commissioner Career?

Is excused Commissioner Mills?

Is excused Commissioner Prato?

Is excused and Commissioner Diaz is excused.

Thank you, Chair.

You have a quorum.

Thank you so much.

Agenda item number three.

Public comment during this portion of the agenda must be limited to matters on the agenda for action.

If you wish to be heard, give your name for the record.

The amount of discussion as well as the amount of time any single speaker is allowed may be limited.

It'll be limited to two minutes.

Is there anybody wishing to speak at this time?

Chair three, you can confirm who has joined on the phone.

Oh, clear.

Thank you very much.

Hello, Cedric.

Agenda item.

Agenda item four for possible action to approve the final minutes by reference of the special meeting of September 29th, 2025.

Do I hear a motion?

So brother, I could make a motion to approve the minutes as written.

Ryan, for a second.

All those in favor?

Aye.

Motion passes.

All right.

Agenda item five.

Report by the City of Las Vegas Finance Department staff regarding the commission for the Las Vegas Centennial Budget for fiscal year 2026.

Good afternoon.

Paul Bresnahan, Senior Financial Analyst for Finance.

Today I'm going to go over the financial standing of the commission as of October 31st, 2025.

Program expenditures, uh, five-year projection, annual revenues by category since inception, year and cash balances since inception, and uh license plate numbers compared to the Raiders and Vegas Golden Knights.

So these are our financial statements as of October 31st.

Uh the new fiscal year began on July 1st.

So this is four months into the year.

So projected out for a full year, multiply this by four.

That would be one million six hundred and ninety thousand dollars.

So about thirty-five thousand dollars less than uh what we budgeted for interest earnings through the first four months of the year.

We've uh earned almost eighty thousand dollars.

So projected out to a full year, that'd be two hundred forty thousand dollars, so about forty-seven thousand dollars more than what was budgeted.

So they kind of wash.

Then you have program expenses through the first four months of five hundred and thirty-four thousand dollars, five hundred and eighty-three.

Uh general and admin expenses of seventy-six thousand one sixty-three, sixty thousand of that is your contribution to the city.

Total change in that assets of 108,000 dollars.

You started the year with uh six million two hundred and fourteen thousand dollars, and at the end of October, six million one hundred and six thousand dollars.

So these are all the uh program expenditures through the first four months.

Uh 178,000 on the 2025 Eldorado Parade.

Two years of the parade was approved by the commission for an amount of three hundred and ninety-two thousand dollars.

Total cost for the two years was three hundred and forty-six, six forty-nine.

So the excess of 45,351 was returned to unallocated funds.

Then you have 106,578 on the Paul Revere Williams documentary, 158,900 on the uh new city in the desert, and it happened on Fremont Street Docs, and then another 90,000 on various other projects.

Uh this old time reunion project was completed for 28,342.

Uh, and the excess amount of 4,217 was returned to unallocated funds.

So then you have the five-year projection.

Uh some things we updated on this.

We did the license plate revenue for a two percent decline year over year.

Uh interest income on the year in cash balance of four percent.

We have the 180,000 dollar contribution to the city remaining flat.

I think in the prior one we had a growing, and then since the last meeting, we have added um eight hundred and twenty-five thousand dollars in new projects.

405,000 for the Heldorado Days Parade 2026 and 2027, 207,000 for the Marble Manager, and 213,600 for the MLK parade.

So this will show you your cash balance year over year.

If we spend all the amounts we've awarded, and all those things hold true, we would end the year with $5,446,000.

At the end of five years, we would have $11,368,000.

This is total revenue since the beginning of time.

So you can see that there was $42,163,000 since the beginning of time, and here's a breakdown by year and by revenue.

So $38.2 of that was license plate revenue and $1.1 in interest, $2.8 in other income.

Here it is in a bar graph, a line graph, year in cash balances since inception.

So you can see we're still hovering around the six million dollar number.

And then here are the license plate numbers uh since June of 2021.

And that's it.

If you have any questions, I will do my best to answer them.

Thank you so much.

Are there any questions or comments by members of the commission?

Bob if you go back to uh October 31st, 2025 financial standing.

There it says for management and administrative services, a budget of 180,000, advertising, another 50,000, administration fifteen thousand, and legal fourteen thousand.

Uh what's confusing to me is the existing operating agreement between the city of Las Vegas and the Centennial Commission, is that it includes the legal fees, the administration fees, and advertising fees within the $180.

$180,000.

They're not separate.

The the work, the operating agreement uh right now with the the city uh and the and the centennial commission, those items, those services are included with the 180.

So I was a bit surprised to see them out of that, and and the total being 287,000.

So if you'd look into that and see how we how we can fix that or or merge that, or or if it's correct, or okay, I can look into that.

It looks like so far this year, only 740 has actually been charged.

Sure.

Uh so I will I will look into what those charges were and I will look into the agreement and see if that those are allowable or not.

But but the yeah, the but somebody came up with these other numbers for the for the for the calendar here.

But if you take a look at that and at the operating agreement and make sure that anything that's included in the 180 is not a separate separate charge.

The second thing is, and this I guess really not for you.

I think the commission would like to see what we're advertising.

I mean, what what what are we propose?

Who proposed the 50,000 and what are we doing with that?

Is that simply putting notices in sewer uh bills or what we're doing?

But that's not you.

That's just something.

No, I can I can pull the detail on that.

I will send it to Diane and she can forward it to you.

I can maybe pull like the last five years of that.

Uh currently there's no no expenditures in the current year, but I will see what what has been charged there in the past.

Great.

And then the last uh uh this I think is more.

Well, there's two questions.

One going to the centennial annual review revenues by category.

Uh this is a these are all great charts and very very helpful.

But there looks like there's one, two, three, four, five, six, seven, eight, nine, ten, eleven.

More more than ten years that we didn't have any additional revenue.

Do you have any sense of that?

So I know in these middle years where there's no interest income, your money was not invested in a uh mutual market fund.

I think the cash balance was so low that it they didn't have it in a in an investment account.

The other income, I'm not sure.

That 2005 year, there was like fundraising in there, and I think there was about 1.8 million in fundraising uh in that year.

Um since then, I think it's all been like the other income's been all YouTube and other income.

So well, it's the revenue, but I'm just really surprised that there's nothing for a decade, and there was stuff before 2006, 2007, 2008, and then we pick it up again in 22.

But I it was just an observation on on my part.

The last one was on page centennial commissioned license plate numbers.

We're still roughly at 80,000.

And I have the actual numbers on the on the handout, so right.

Very helpful.

Yeah, at end of October, 84,440.

Uh September was 84, 391.

So that was the first month, and the last year that the number actually went up.

You increased 49.

Yeah, so it looks like we're uh roughly at 80,000.

And it looks like for the license plate for both the the knights and the raiders, they went up dramatically, but now have leveled off.

Yes, sir.

And so with the one is leveled off at 38, another one at 78, but we're still uh and I think the 78 is the nights, if you pick the color correctly.

Well, the Raiders is at 47,400, and the and the knights are at 81,000.

Yeah, so I think that that's really really helpful that uh the those chart those charts.

Based upon the Raiders, I'm not sure what I'd like to strike that are they playing this year.

Uh the the other thing is I mentioned last time there's a book coming out on Betty Willis and and her sign.

Uh should be coming out, and I think that may help boost the license plate sales for for a little while.

Uh thank you very much.

Really uh very helpful uh financial report.

Does anyone else have any questions?

Yes, Commissioner Cinnic for the record.

Uh I like the three sporting teams, but I think it helped me if we had the top 10 maybe listed, and maybe not do it every month that we meet every time, but once a year, something to see how some of the others are doing along the same.

Okay, yeah, I have every license plate, so I can go through it and try to find the 10 biggest and add them to the uh chart.

Thank you.

Any other questions or comments?

This is an informational item only, so there will be no vote.

And just for the record, members, Mr.

Billbray, uh, Mr.

Mr.

Mowbray and Miss Diaz have joined the meeting.

Whatever works, whatever works.

Um, agenda item number six, 25-0412-CLC one abeyance item discussion for possible action regarding the approval of a grant request for 176,200 by Gold Creek Films for the production of a documentary film focused on the 1909 Las Vegas land auction and authorizing the president to execute the grant agreement as approved by the city attorney.

Hello.

Well, hello, madam mayor, and hello to the commission.

It is uh it's really great to be with you again.

And uh I am I am happy to present um this version, and and I suppose it's uh welcome to uh the uh process of filmmaking and uh c the collaborative effort, which is uh what I really really enjoy.

Projects called 110 acres.

Pardon me, I'm sorry.

My name is Ted Fay, and uh thank you.

Uh the project is called 110 Acres and a Dream.

And it is a proposal for a 56 minute documentary on the original founding of this city and doing a deep dive into those early formative years.

Just by way of introduction, I do uh I just felt like I needed to let you guys know what I've done in the past.

Uh this is a sampling of some of the projects that I feel are relevant.

Um, and these are all self-initiated.

I did a project called Death Valley Memories.

President Reagan did the introduction for us, actor Eddie Albert narrated it, and it premiered on PBS.

I did a piece called The Great Desert Railroad Race about the race between William Andrews Clark and the Borax King at Francis Mary and Smith to get to of all places, Beatty, Nevada, which was a really important place in 1905.

And that aired here on Las Vegas PBS and also uh in regional PBS stations.

I produced a series of touring CDs for Travel Nevada on Highway 95, 93, Highway 50, and became super familiar with this incredible state.

Um I've authored three books that are relevant uh the history of the 20 mule team, uh Death Valley and Borax, one's called the Death Valley Gold Rush, and the other is on this story of Goldfield.

Currently, I have a YouTube series with Mark Hall Patton that we're really enjoying doing called Mark and Ted's History Adventures, and you can find it there.

And in development with Reno PBS, uh we are working on a story called The Longest Fight, The Story of Joe Gans and the 42 round bout in Goldfield, Nevada.

So with that, let's move on to this project.

And I just want I would like to read this to you, and it's the only thing I'm gonna read in any kind of depth because it really sets the stage for what this film is about.

In 1904, more than a year before the famed land auction pictured here, the emerging settlement of Las Vegas was already accelerating towards its future.

The railroad had arrived, businesses were taking route, and preparations were underway for the formal land sale that would soon ignite a flurry of construction, establish the town's first infrastructure, and shape its earliest regulations.

This documentary explores those explosive opening years from 1904 to 1906 that sets Las Vegas on its unlikely path to becoming America's most improbable city.

Why this project is important?

It brings to light many of the unknown details, one of which is a lot of folks just assumed that Las Vegas sprang up in 1905, but actually in 1904, there was a lot going on.

This explores themes of corporate interests, on the ground management, uh dreamers, the people coming here seeking opportunity, the idea that people were resilient, especially here in the desert, and the migration of people to this neck of the woods.

The film will preserve, educate, and commemorate the city's unique history in an authentic way for the general public.

One of the things that's significant about this film, and um when Bob and I spoke, he had informed me of this, which is really important, that it does fill a gap in the ongoing documentary series that you have already been funding.

It provides a deeper look at a at a part of the history that is often just used as a springboard for the rest of the project.

But we have an opportunity here to really take a deep dive into these two years, which I think is really exciting because it's a real narrative, a real story.

We'll use firsthand accounts of established and varied voices from the collections, atmospheric visuals.

What's that?

Well, if you've watched any of Ken Burns's new film on the Revolutionary War, you see lots of use of atmospheric visuals where he'll shoot a building with the lights on in it, maybe a long, maybe there's a shot of railroad track, something to suggest the era.

And that's all we're really talking about here.

Um I'm not gonna read all of this, but these are just notes as to how these three acts are structured.

1904, with Senator Clark coming here and and executives from the Union Pacific and saying, hey, we need a we need a division stop that's gonna be appropriate somewhere between LA and Salt Lake City, and this looks like a good spot.

So already in 1904, there was a sense that this place would be a good place for a town.

Moving into and and we get into the the ranch and the Bracken brothers maintaining the ranch, uh McWilliams coming up with his site.

In Act Two, we do move into the land auction.

And we talk, and we're gonna spend time there, probably more time than has been spent on film.

We'll actually spend some time there as I had proposed in the last episode uh in the last um meeting that we had, and and hear from those voices at the auction.

But the exciting thing about this revision to me is that it's in a story form.

There's a beginning, a middle, and an end.

We are progressing towards a climax, the land auction, and what followed the flurry of activity building the town, who bought what, where did they buy it, and what was the result of what they built.

And then finally becoming a town, moving into 1906, and that the town does grow.

McWilliams site sort of falls to the side, and um and in thinking about the ending of this, because we end in 1906.

One of the really nice things, and you're all familiar with this, is that the Hotel Nevada, of course, was built in 1906, and now we have remnants of it in the Golden Gate, which is really kind of cool because we can end this film with an actual uh piece of what was left from those original early days of settlement here in Las Vegas.

So just a recap 1904 to 1905, Las Vegas was more than just desert and Joshua Trees.

You can see in this picture, even though this is the depot, uh, just a railroad car, but in the background, there's certainly a settlement there.

There's little wood huts and and uh and and there is the beginnings of the town.

1905, I still love the Ed Von Tobel story.

It's a great story of somebody who came for the auction and and uh and tries to to establish his dreams here.

And I love this shot.

I first saw the saw this shot about 20 years ago, but I looked at it in a whole new way recently.

I don't know who this guy is, we don't know who he is, but he's probably somebody that's full of dreams, maybe hopes of what he could establish here, or you know, maybe he's just coming to visit somebody.

I I don't know.

But what it does show is that this town is a growing community.

This is July 1905 after the land auction, and the train arrives, and this person here of unknown origin, ethnicity, or anything else, is going to establish his life here in Las Vegas.

The creative approach, archival photographs, maps, artifacts, and uh an ephemera, and again the period-inspired visuals.

We talked about that.

Interwoven voices, the uh as much firsthand voices as we can find, our historians, of course, um descendants if if we can find those folks too, and possibly the use of voiceover.

I'm open to it.

I think in the creative process, we'll we'll find that out, but our story is there.

Produced to PBS standards, of course, and our scholars, uh, Michael Green, Mark Hall Patton, Bob Stodal, Mark and Clayty, Stanley, um, and other voices.

And by the way, on this revision, I did consult uh Bob Stodal, I consulted Michael Green, and I did consult Mark Hall Patton, and all of them uh uh really felt that this approach was a more story-based approach, was one that was more um understandable and one that would really give people an appreciation for Las Vegas' early days.

Again, the sources remain the same as last time, the McWilliams family papers, but also adding in some other archives uh like the Union Pacific Archives and other collections.

The budget remains the same, and the request remains the same at 176,200.

Um, I'm happy to have my executive producer with me, Telly Eliadis, and uh Telly's a longtime friend, uh, and we are uh we're excited to work on this project together.

Um we want to produce this and we'll produce it to PBS broadcast standards.

We feel like we'll find some new archival information.

We think it's a uh a project that could really create community pride, and there's a national component to this story.

It really represents the last sort of of this sort of railroad settlement of the West in many ways.

And um and I am excited and and and will hope that um you guys feel the same about the proposal for this new film 110 acres in a dream, the making of Las Vegas.

Well, thank you so much, Mr.

Faye.

Are there any questions or comments from members of the commission?

Mr.

Stodo.

I think with this new rewrite that that from what I understand, there's you're going to be breaking some historic news.

I believe I believe that's right, Bob, especially uh this whole idea that that uh there was stuff going on in 1904.

Right.

Yeah, a lot of people really think that the uh it all started in 1905.

You could take a uh uh in 1904 or in September.

You could take a train ride from Las Vegas to Salt Lake City and on to San Francisco or whatever.

That the general feeling is that the train you could take a ride in 1905, which is not true, it was 1904.

The the construction coming up from the South didn't get done until January, but you could get a train and go to San Francisco.

And and so I think you're gonna break some real news when you mentioned that uh Senator Clark came out here and selected the spot where the where the city is.

That's that's not been reported a lot, so I think you're going to do that.

I was taken back by and I think it was just the phraseology that you made, that you're gonna have the beginning, the middle, and the end.

I think you're gonna have the beginning, the middle, and the future.

Oh, I mean like that, you know, it just at play on word, but I would rather think of that as the end of the uh uh the end of uh what took place.

So it uh and the other thing would also think about education and the and the school.

Yes, yes, we're all proud of the the Golden Gate and its history, and you can still see it.

The building is still there, buried under layers, but it's it's the it's there.

But also education and the first school.

I think I would include that as well.

But this is uh I I think as you pointed out at the beginning, we have some wonderful documentaries, but we don't have one that really does a deep dive on the beginning of our town and our and our city.

And one of the first town ordinances, there were 10 town when we were still in in Lincoln County.

The tenth ordinance was banning swearing on Fremont Street.

I mean, it must be not a bad idea.

Well, maybe it works today.

But that was a strange ordinance, so it must have been very colorful and so but thank you for the update.

Uh that's great.

Any other questions or comments?

And um oh, yes, Mr.

Mowbray.

I think Mike would be good.

Sorry, thank you.

Uh at this point in time.

I know at one time we were this where we're sitting here today as part of the Arizona territory.

And at one time, was this at this period, or did it already have happened at the transfer from the we had become, you know, that's the really a day that we should celebrate, not necessarily October 30th.

What Las Vegas, Clark County, Lincoln County was not in the original statehood.

We didn't become part of it until 1867.

Yeah, and we should be celebrating that as our birthday as a state in Nevada.

But it but at this time we were in we were in Nevada.

Correct.

Yes.

I mean, yes, of course.

I tend to babble, so I'm sorry.

Um, Mr.

City Attorney, do we need to vote for this?

All right, I will entertain a motion.

I so move.

I second.

All right, all those in favor.

Uh motion passes.

Okay.

And uh again for the record, uh exciting.

Commissioner uh Louise Helton has also joined us.

There I I couldn't be more thrilled.

This is very exciting.

Thank you.

Thank you, madam mayor.

Thank you.

I'm I'm excited to produce it for you guys.

It's pretty exciting.

And Chair Pologies is fine.

Agenda item number seven.

25-05-bob, are you leaving us?

Oh yes, ma'am, ma'am.

I'm gonna go visit Mike.

No, no, no, not during a meeting.

Sit down, please, if you don't mind.

She's still talking.

Mr.

God, she pushed me.

All those in favor of you sitting down, say aye.

Aye.

After the meeting, there'll be many, many hours to socialize.

Okay.

Agenda item number seven.

25-0503-CLC one discussion for possible action regarding approval of a grant request for 226,600 by the Nevada Test Site Historical Foundation doing business as the atomic museum for the creation of a permanent educational museum exhibit enhancement and authorizing the president to execute the grant agreement as approved by the city attorney.

Welcome, gentlemen.

And when you speak, will you please state your name for the record?

Good afternoon, Your Honor, and members of the Commission.

My name is Terry Kerr.

I sit on the Board of Trustees with the Nevada Test Site Historical Foundation.

That is the parent organization for what we call the Atomic Museum.

And I have with me Ryan McInallan, who I think many of you know.

He's our one of our representatives.

Joseph Kent is our curator, and Matt Melanowski is our director of education.

We're very fortunate to have Matt.

He actually has a master's degree in museum studies from Harvard University.

So we're in uh we're in good hands.

Um I'll be brief with my remarks.

Um the submission for the commission today is what we like to call the Atomic City Project.

Many of you have got memories, I'm sure, of the Las Vegas Atomic Atmospheric Testing Watch Parties.

Uh the presence uh in the 1950s, early 1960s of the Atomic Energy Commission in Las Vegas and the impact of the economy on the economy by the test site workers and the test site in Las Vegas in those years.

The Atomic City Project will highlight that and much more.

Uh if I could, uh, the way I like to proceed is have Matt make the presentation.

There is a PowerPoint presentation, and then after we're done, of course, questions, or maybe you have questions during the presentation, whichever you prefer.

Um I think we'll wait until the presentation is over.

Very well.

Thank you.

All right.

Uh so again, thank you so much for uh having us here this afternoon.

I'm Matt Malinowski, the director of education at the Atomic Museum.

And um just a little bit about us.

Our museum has been open for 20 years.

It's actually our 20-year anniversary this year.

Um, so opened in 2005, uh, about 14,000 square feet of exhibit uh space.

We're a Smithsonian affiliated institution and a national museum by act of Congress uh back in 2011.

Uh we have about uh 50 to 60,000 visitors annually, about 90 percent of so are uh tourists here to here to our our great city.

Um it is true the museum did examine options for alternate locations in the past, uh, but that is not currently our our path forward.

Uh we are to stay in our current location as we are.

So again, just a little background on uh for those of you that haven't been to the museum or if it's been a few years for you as well.

I just want to highlight some of the things that have been going on over the past two years.

Uh we have seen tremendous growth uh both in our exhibits and our educational capacity as well.

Um on the screen here, we have Atomic Odyssey, which was a new exhibit we just opened in January that was uh meant to make science approachable for middle school and high school students, but also for general audiences as well.

Um it's uh very immersive, technology focused, and really a new step in the direction of the museum and where we want to go as an institution as well.

Um annually, before Atomic Odyssey, we were serving about 600 to 800 students here from our local uh city and county.

And uh now we're happy to say that we've got about 3,000 students that come in uh that have already come in this year, and uh that number is still growing.

Uh with some great programs that uh give the students free transportation to come to the museum to be able to do this and free admission as well.

So uh we're really really happy with the outcome of this and to be able to serve our community and our city in such a way with such a great exhibit.

Um that note, we've we've opened uh several other exhibits just really within the past calendar year.

Uh one that did have a city of Las Vegas connection uh quite significantly was the evolution of Miss Atomic Bomb.

Uh, one of our founding museum members had had discovered the true identity of the person in that iconic photo that we see all over town.

Uh and so to commemorate that, uh, we launched this this uh small kind of rotating exhibit that we had.

But but it was wonderful to have that, to have that connection to the city of Las Vegas to talk about how uh the city was uh not just photographing the atomic uh detonations that were occurring, you know, 80 miles or so away, but also uh how it became uh almost uh this this tourism uh like uh uh moment for the city, right?

To embrace this and to come up with new ways of of cultivating uh the city's own personality.

Um that exhibit uh just recently uh closed up.

We're soon to open the Nevada Test Site uh or Nevada National Security Sites anniversary exhibit, uh telling the 75 year history of the Nevada Test Site and the again the Nevada National Security Site as it's now known and its modern day mission.

Um just a week and a half ago, we opened a brand new pop culture exhibit called the World of Fallout.

Uh this was a pop culture connection uh utilizing a video game and television show franchise that highlights the atomic age, and we were able to do that in a this really unique comparison way.

If you haven't been down to see it yet, I'd invite you to come down.

But uh it shows real world uh historical artifacts right beside things from this fictional uh universe as well, and has been a tremendous success for us, and actually over the past week or two, we've seen the highest attendance we've seen in over a decade, uh, just with the brand new launch of that.

But uh the reason we're here today is to discuss the Atomic City project, and uh the reason we sit before the council is because uh this is the story of the city of Las Vegas.

This pairs directly with our city.

Uh we want to revitalize a 20-year-old space that we have.

It's essentially the main entrance of our exhibit space uh that currently focuses on the Manhattan Project.

Uh we've uh taken that um that story and and shifted it to a whole uh complete exhibit on the Manhattan Project instead.

So there's a little bit of redundancy right now in our storytelling within the museum.

And we've also noticed as we go through the museum space that we have one small sign that kind of highlights the city of Las Vegas' role during uh the atomic age of the 50s and 60s with atmospheric testing.

Uh, but we don't really emphasize it as much as we feel we should, and um really the city is a main character in this story, and we feel like that should be preserved and a unique and telling element of our museum.

Uh and and so that's where the atomic city comes comes into play.

We want this to feel like uh our visitors, our students, um, our local community is entering the 1950s downtown area, the glitter gulch area, uh, seeing the flashes in the background from those early morning detonations, learning about how our city gave itself the moniker, the atomic city in 1957 to capitalize on this, uh, to learn about how the test site itself brought skilled workers here and jobs and communities and families and had this really residual impact on us uh as a city as a whole.

And so this revitalization would would uh again place the city of Las Vegas as a main character in our storytelling at the museum.

Um El Cortez was the um one of the places where there'd be meetings for the Atomic Energy Commission on Main Street.

There were offices down there for several of the organizations involved with nuclear testing, and even Las Vegas High School's auditorium was used for the Federal Chivalro Defense Administration's headquarters during uh some of their testing as well.

So again, a story that that really belongs uh to the city of Las Vegas that we would like to incorporate into our museum space.

Uh we are seeking 226,000 for the deployment of the Atomic City project.

Um we believe that this will have a lasting historic cultural and educational impact on our community of the city of Las Vegas and beyond for uh all the the visitors that that our museum also uh brings, brings uh or uh serves.

And uh we'll place Las Vegas as one of the main characters in that narrative again.

Um we've uh just illustrated our our commitment to exhibits and our ability to be able to uh produce uh high quality exhibits as well, and uh something that I'm personally uh proud of for on this project, as well as that we hope to incorporate or we plan to incorporate uh interns, uh, student interns into this as well, to allow them into the curatorial process, the design process to see what it's like from start to finish to be involved in the museum process.

Uh but we thank you for your consideration and your time this afternoon and uh open to any questions you might have.

Thank you so much.

Before we have any questions or comments from members of the commission, Bob, did you want to make a statement?

I did want to declare for the record that uh I am a member of the board of the of the museum uh like the other members of the board where it's an unpaid position.

Um and so Brother Archer just wanted to make that announcement uh, but it will be voting.

I appreciate it.

Are there any questions or comments from any of the board uh the other commission members?

Um Louise.

Hi, Louise Helton for the record.

I was just curious looking at the uh budget that you've provided.

What salary expenditures are those?

So those are for the uh four key members of our museum uh staff that would be involved in that project.

That means it's your basic administrative costs for your museum, not for this project.

Okay, okay.

Commissioner Cynic, for the record.

Um I know we've covered this before, but are we limited since this permanent exhibit is not in the city limits of Las Vegas?

It's my understanding that we are not limited.

It's so much a part of the city of Las Vegas history that it is as much a part of us as anything else.

I would agree.

Bob.

Yeah, well, on this.

Thank you.

It's uh not precedent setting.

I mean, it's we have uh given people uh grants to be able to talk about Las Vegas at the rodeos, uh permanent semi-permanent fixtures to address the local issue.

And let's face it, uh we don't know exactly how many people live in the city limits that buy this plate because got a hunch that funding's coming from all over in big ways, so you know I'd like to think that they'll do a good job of naming us the city as a founding thing.

Now then I wanted to just make sure you guys are tapping the National Archives for anything related to atonic testing and or whatever is not secret these days.

I hope you're constantly bothering them to get more material.

Am I right?

Yes, we're constantly on search for new material uh and for uh new records and then partners as well.

Uh, even just recently on that last Miss Atomic Bomb exhibit.

That was our first true collaboration with the uh Las Vegas or L V C BA for their archive as well.

So yes, we we're uh constantly seeking.

How about the past presidential libraries?

Uh actually, yeah, one of our board members, uh Martha DeMar has a great connection with uh some of those libraries.

Okay, all right, thank you.

Any other questions or comments?

Mr.

Stoto.

Along the same lines, I like the title Atomic City, but I want to make sure that we are talking about uppercase C City and not the generic term Las Vegas, and that this is not going to show which is its own story, high rises being uh on on the on the Las Vegas strip.

So this is the growth of the city of Las Vegas as you referred to.

Um I think you can also mention Benny Binion, he put out a series of postcards.

Uh one of which I think said uh Las Vegas was the up in Adam City, uh, which was a which is a was a great part.

So you use the word and on page, well, of the board's page 67 of our packet, and at the end it says this is the installation of a permanent exhibit.

Define permanent in museum terms.

Uh permanent in museum terms is usually anything that's going to be uh longer than maybe a three to five year window.

So this is not something that's meant to be temporary, it's meant to be a more permanent fixture.

Uh and museums do need to evolve and change, and like I mentioned earlier, ours really hasn't gone through that much significant change in the main gallery in the past 20 years.

Um but yeah, there will be a window of time again where we revitalize again, I'm sure down the line, but but this will at least uh live within our museum for the next five years.

Okay, well that's that that's very helpful.

And then you talked about its location and size.

Could you go in a little bit?

Is it as you walk in?

Yes, it's in our uh it would be the main gallery of our museum area.

So as soon as you enter, there's a uh basically like a ramp that you walk up, this little U-shaped curve, and that will uh again dive into that history of the atomic city, and uh that'll be the primary focus.

And then it'll shift also to the test site and introducing the test site.

But again, Las Vegas as it stands right now, is not really introduced as a character in our museum, and we would like to change that.

And again, it's the city of Las Vegas.

One other line was in there that uh I just need some explanation.

You talked about uh uh Army servicemen that were uh sent to the Nevada test site.

How does that apply to the city?

Well, there's certainly photographs of them enjoying the city and being both home and and you know and taking advantage of what what our city had to offer at that point, and uh yeah, I think that we could make that connection.

Right.

Thank you very much.

Thank you.

Thank you so much.

And I'll now oh, yes, Louise.

Well, I wouldn't I would like to make a motion to uh proceed with this project, but I would like to remove the salary expenditures.

We're not accustomed to supporting nonprofits administrative costs, just the program costs.

I'm not sure now uh I I heard what your answer and uh this is uh are you using this money to supplement the salaries because they're going to be working on this project, so this is not to pay their um uh their salary as it currently is or is it I mean how would you well I think the answer could be is is there's figures in there specifically for each each staff member and what is the total amount that we are paying?

In other words, if we're paying 45,000 of a $55,000 salary, right?

Then there's there's an issue.

Uh I mean, right now it looks like 44% of the uh entire grant is for salaries.

That's correct.

Um so maybe a little more explanation.

Yeah, I'd appreciate that.

Diane, did you uh Seth?

Yeah, Mayor Seth Floyd for the record.

So on exhibit A of their grant agreement, uh the they list those salary expenses as part of the project, meaning those are salaries associated with this particular project, not just generally toward their staff.

I'll let them explain if that's accurate, but that's what they have put in the grant application, and that's the way it's reflected in our grant agreement.

Otherwise, that would be an ineligible expense under our rules anyway.

So I I think the clarification is that these are the costs, staff costs associated with this project.

That was my understanding, but uh uh we do need clarification for the record.

Yes, it's the staff costs associated with the project.

Okay, so it's just not randomly supplementing their current salaries.

Correct.

Okay, does that satisfy you, Louise?

Normally under nonprofit stuff.

I usually would not think that that was very great to have a program that was so heavily administrative cost.

But I will go along with whatever the group wants to do.

Thank you.

Um Senator, do you have something you wish to say?

Well, I'm sure I don't enlighten anyone, but having lived through this period of time, uh it is difficult to explain today how much excitement it generated.

We were on the cusp of a new age.

Uh and this is when uh nobody really gave any thought, at least to the communities.

Is there any radioactive concerns that we should have?

Uh uh for businesses, it was a great thing, and uh for Las Vegas.

I mean, we were national news and as uh has been portrayed.

We got up in the morning and watched it, and initially there was some seismic damage done, and there was a science class that uh asked uh how do you determine how far the point of detonation is from where we are and the speed of sound being one number and the speed of light another we could come up, so it's really quite exciting.

I think you've done a great job with it.

One point, and I can't recall whether it's an exhibit or not, but the 1953 Las Vegas High School annual, uh the only high school in town, uh it it don't with the atomic age, and there is uh picture of the mushroom cloud.

You probably have that there somewhere and it's being displayed, but I think it really kind of indicates to some extent how this whole event captured the entire community, and you know, we were 25,000 people in 1850 to put it in perspective by 1960, we'd become the largest city in the state.

Thank you so much, Ryan.

Uh thanks, Mayor.

Just a quick question with approval.

How long until that is a live installment?

A year is the time frame.

Thank you.

Okay.

Any other questions or comments?

I will entertain the motion.

Ryan move.

Ryan moves.

Is I don't think there's a need for a second, if I'm not mistaken.

Is that true?

That is correct, Mayor Jeff Dorcak City Attorney.

We don't keep track of the seconds uh at any of our boards and commissions.

It's been a uh practice of this commission, and we vote they've done it, so if you want them to do it, they can, but it's it we don't keep track of it.

Well, we have a uh live motion on the floor by Senator Bryan.

All those in favor?

Aye.

Aye, I second and we have a second, a belated second.

Uh the motion passes, and thank you very, very much.

Very exciting project.

Thank you.

Agenda item number eight, 25-0541-CLC one report by Jeffrey Carlson, website content development consultant regarding updates on the website content development for the commission for the Las Vegas Centennial Project.

Welcome.

Uh good afternoon.

I'm Jeffrey Carlson presenting the draft of the Las Vegas Historic Timeline.

I'll have to look.

I didn't get one for this particular item.

The uh slideshow?

It's it should be PowerPoint number um 10.

I don't know how to bring up these the slideshow in here.

I'm sorry, Jeff.

It's PowerPoint number eight.

It was okay.

I have 5679 and 12.

I'll have to look back.

Oh, me too.

He's dying to walk.

Amen to that.

This this is always the most interesting meeting I have.

Oh, geez.

Whose phone was that?

Yours?

I don't think so.

Probably Senators.

Oh.

No one knows.

Yeah, we're checking technology now.

Better be something impressive on that.

Yeah, right.

Or to use hand puppets and stuff.

Okay.

Good afternoon.

I'm Jeffrey Carlson presenting the draft of the uh Las Vegas Historic Timeline.

What I sought to do with this timeline is uh cover a little of everything possible in the first hundred years.

The usual milestones are there the land auction, the creation of the county, corporation of the city, the dam, hotel casino industry.

The timeline also touches on population, demographics, business and economy, government, education, infrastructure, social evolution.

There's no um standard of how timelines like these should be formatted or how long they should be.

This one is 78 individual entries, about 3600 words total.

It's a long one, longer than the City of New York's timeline, and theirs starts in uh the 1600s.

So what I've tried to do is create a clear and consistent format.

Um something that is simple enough to be used for quick reference and with a rich body of information, uh, just enough to make the timeline present itself as an authority.

In lieu of being able to show the timeline as it will appear online.

Uh this presentation gives us an approximate idea of how it would appear on the city of Las Vegas' current template in just a few slides.

It opens with uh an introductory paragraph and the 1905 land auction.

As you scroll down the page, the entries would appear uh left to right, left to right.

The entire thing is written in a neutral tone with uh only the uh concise essential details.

Uh 1935 and 1936 are examples of the timeline overall.

Each entry has the same format, the photo, the year, a single subject line in bold type, followed by the uh body of text in 40 to 60 words.

At the top of each decade, as we see in the 1940 entry, the we have the census data and the corresponding City of Las Vegas documentary.

1954 and 1955 are just an example of the scope of the timeline, touching on infrastructure to entertainment and civil rights.

Skipping forward to 1990, I've crafted a couple of these entries so that in coming years, the 1980s and 1990s documentaries can't replace the uh photos in these years.

The timeline ends at the centennial in 2005, including the centennial plate, which created a lasting fund for uh historic preservation in the city of Las Vegas.

Uh since submitting this draft, I've uh received a list of uh fact checks and suggestions from Commissioner Stodal, and I welcome any other questions and suggestions.

I have one question, Senator Bryan.

Uh that photo of Framework Street in 1935.

I mean, I'm gonna yield to your scholarship, but my gut instinct, that doesn't look like 1935 to me, but if you've checked that out, I uh I I accept that.

Yes, sir.

This one is actually uh 1952.

And um no, I'm talking about when you're talking about the various you've got 1935.

Yes, I I pulled up the uh 1935 uh entry right here.

In fact, you're right, that's not 1935.

Oh, okay.

I this is 1952.

One thing that we've added to the timeline here that is not on the current timeline is a uh uh line of small type with uh photo credit, which will include the year and um and the uh source of the photos on the timeline.

Thank you, so I understand uh that it is a 19, I'm not quite sure why a 1952 photo shows up on 1935, but there's a lot of things these days I don't understand, so again I'll yield to your explanation.

Um in most years there is a corresponding photo that that fits perfectly with the milestone.

Um this was merely an editorial choice where we have the um the uh photo of the El Dorado days that represents the parade overall.

Uh Jeffrey, I I think uh I would agree with the senator.

I mean that you you look at the photograph and and it clearly doesn't signify certainly with the neon, etc.

And um and I while I haven't seen any color photographs, the uh Union Pacific Railroad, uh I think you know all this Union Pacific Railroad work with the Las Vegas Chamber of Commerce and really promoted there were lots of promotional photographs that were that were sent out.

Um I think there's an opportunity there to potentially find a photograph that really represents that uh 1935 period uh uh but I mean I get a sense that's a that's a great photograph and it does represent the parade and so forth.

I'm sure I saw it.

You see it's 52.

I think it's just an opportunity.

Okay.

Yes, Bob.

Thank you, Your Honor.

Uh I uh a little curious.

Could you go back to the beginning photograph?

Uh the first one you have.

That is it.

Okay.

I don't know whether or not a decision was made maybe by the commission and and you were told, or if uh there was anything before Las Vegas, but you know uh Las Vegas would be nothing without the Native Americans that were here and then the families that stuck.

Um the Mormons came in in 55 and really solidified this location.

I don't understand why they're not part of it, because even though they were called back, you know, to fight their fight against the federal government, they thought was going to happen.

Uh for 50 years, they were the soul of the area.

Granted, there were individuals who we know in the history book, but I'm curious.

We in fact the Mormon Fort was the first thing we really really devoted serious money to in the legislature.

Bob, I think that the the request was for the night to the centennial starting uh I mean we could start back to uh Lost City and and and all that and prehistoric and and I think the two points you bring up are are critical to our history, but the focus I think we asked uh uh the applicant, not the applicant Jeffrey, was to start with 1905, our our centenal.

So I think the instructions were that, but as you say, there was plenty of history before that, uh uh, but it didn't fall into the hundred years that we're talking about.

Well, there's not a mention of how the name Las Vegas is chosen.

What does it mean?

That could be something I don't see that, but uh you see there's a lot of stuff that could go in, and I know you don't want to put the world in.

But just that there's a couple of things missing because it didn't start really.

Well, and we don't know who named Las Vegas Las Vegas.

We don't.

I mean, there is no documentation as to the springs.

We we had on one map there was lowercase Vegas, meaning the meadows, but the only time we officially became Las Vegas was in December of 1903, when the uh government uh through Senator Clark declared that our post office would be called Las Vegas rather than Los Vegas.

So and there are some any other rabbit holes you want me to go down.

I mean, that's a good that's a good one.

Any other questions or comments from commission members?

Yeah, I'm in a net Senator Bryan again.

You say in the commentary about the Fifth Street school that continued to provide uh services to students.

If you've checked that out, I'll yield to that.

But uh most of the buildings, the original buildings were destroyed except those that exist today that uh house various uh uh various functions that the city performed.

So if you've checked that out, and that's what you scholars have uh done, I accept that, but that that doesn't quite connect with my recollection, but that's you're referring to the uh 1936 uh historic history school.

No, yeah.

Uh as as I understand that there are original buildings there.

Still are, yes.

Yeah.

But what doesn't provide students?

Doesn't it say you provide it?

It served students until 1966.

Yeah.

Students, uh well, part of the structure was destroyed in 1966 because that's where the foley federal building is right now.

Yeah, exactly.

Right?

Yes and it was it was had been constructed by then, Bob.

Uh 1965, I think, wasn't it?

Right.

The building, yeah.

Okay, don't mean to take any more of your time, but uh I I just question whether they were performing a student education function.

Okay.

Uh just to also address uh uh uh Mr.

Coffin's uh point.

Um the the mandate here was was to cover 1905 to 2005, but um go back to the beginning.

Um similar to the the documentary uh the early years uh there's this introductory paragraph at the start of the timeline, which has a very brief um background before 1905.

Um so that is outside the mandate, but it does uh it is fitting to to start with a little bit of a background there.

Thank you so much.

Any other questions?

Oh, yes, Louise.

This is Louise Helton for the record.

I love the way that you start the timeline off with the documentary of Las Vegas in the early years.

As you proceed through the next decades, as we've as we funded different things throughout the century.

Do you plan on adding those hyperlinks as well?

Yes, for the um the there's a 1980 entry and a 1990 entry.

Those are set up so that we can simply uh uh replace the photos that I have there with the videos in the coming years.

Right, and you've done the 20s and 30s all the way through.

Yes.

Wonderful.

I think that's really clever.

Thank you.

Mayor one one quick question for Diane.

Uh does does Jeffree's contract call for him to add those additional documentaries, including the one that was uh authorized today for the early years, 1905, or is that something the city will be handling?

So uh see Brandt, for the record, that would be something that the city is handling, but what we would do is within the documentaries working with um communications or within the timeline, we could add links to say here's the link to the 1905 land auction, here's the link to the 1911 documentary.

So we would add links in there.

So it's not up to Jeffrey's contract to do that.

That would be on us in communications.

One last question, either for Jeffrey or Dr.

Siebran.

What's the filter that the city would be using to add additional things?

Either things that would pop up that we oh, that's we should have included that or any fresh things that occur in uh well 2004, 2005, the later.

Do we have a sort of a written filter?

No, uh Crent for the record.

So as you mentioned, Commissioner, the um contract is only to um do the timeline 1905 to 2005.

Okay so you're saying if there's something that occurs or we want to highlight something between 2005 and now is that your question?

Well, no, it's more what what we would those documentaries we would need to add for 80s, 90s and and whatever.

The other thing is the possibility that Jeffrey missed something, and and uh 1907 or there's uh an error that needs to be corrected or expanded.

How how is what would be the process somebody would use uh updated so to speak?

So that would be on us.

And I just wanted to make clear that these documentaries, um, Commissioner Helton, they're already on the website and they're already on the start of the timeline.

So those are already there.

Um as of today, that our communications put them there.

Um and then we will add, but also there we'll add the other ones.

But there's also we do have that page dedicated to all of our documentaries.

Um but once Jeffrey's contract is completed, um, then it's completed.

So any updates are either create uh new contract, um, or it's the responsibility of staff.

Well, don't mess up, Jeff.

Thank you.

All right.

This is uh this item is information only, so we will now move to agenda item number nine.

Thank you, Jeffrey.

Thank you very much.

25-0542-CLC one final report by staff from the Mobb Museum regarding the completion of the digital archive of the Mobb Museum's collection of historic materials funded by the Commission for the Las Vegas Centennial Ward 5.

Summers Armstrong.

Welcome.

Commissioner Mowbray, I have a disclosure to make.

Okay, thank you.

Thank you very much.

I would also like to declare that I'm on the board, a non-paid member of the board of the Mob Museum.

The declarations are welcome.

That it there will not be a vote on this item, though.

Add my name too if you would.

Yeah, I'm on the board.

Add my name.

I've been to the speakeasy.

But I'm voting anyway.

Okay.

Welcome, and would you state your name for the record?

Yes, thank you.

This is Jonathan Allman.

I'm the president and CEO of the Mob Museum.

It's a pleasure to be here presenting to the commission.

Thank you very much.

I'm here with several colleagues.

So to my left is Jackie Apoyan.

She is our senior director of digital marketing.

To my right is Jeff Schumacher, our vice president of exhibits and programs, and then to his right is Claire White, Senior Director of Education.

We are the uh the same team that was here back in January when we first came and uh made this request of the commission.

And so we are back here today to update all of you and to express our our excitement and our gratitude for all of the progress that you enabled us to make on our digital archive management system.

So a uh reminder of what this project was all about.

So we've we've been at this for uh roughly 15 years, the uh collecting of images and documents and videos um and our collection of um digital assets.

So the uh imagery uh that we're able to collect continues to grow.

I mean, this is uh uh we we are actively collecting.

Uh we also are actively creating ourselves, so we uh uh continue to generate more and more uh video content that is original uh on behalf of the museum.

Um and so when we came before the commission uh with this project, uh it's largely about how this collection of ours has continued to blossom and uh requires better organization.

Um so as you might imagine, there are all sorts of ways in which we put the uh imagery and documents and video that we have to use, uh whether it's through exhibits um or uh showing in public programs that we have or video that we create, things that we put on our website and push out to the world.

Uh and more and more uh outside organizations also wish to make use of um items that are in our collection.

So our ability to understand what we have to easily access it.

Um so for example, if we need to do a social media post about something, we want an image for that post, knowing where it is uh and being being able to search uh through our collection in an efficient way, and also understand the rights that we have to various images so that we're only using things in uh uh in an appropriate fashion is extremely important.

When we came to you uh with this proposal, uh another key component was not just to get this digital asset management system started, but also to uh uh create a partnership with UNLV and to have some interns uh come learn with us and work with us.

And we uh we did hire two interns who were actively involved in uh beginning to populate the uh the archive system as well as to help us with the online exhibits, which were another key component of this, which we'll get into in a little bit more detail in a moment.

And long term, we are also hoping that this becomes something that uh others outside of our organization can easily access through our website uh if they wish to uh download or purchase an image that is in our collection and um be able to use it for other uh educational means.

Um so in terms of the timeline, we we were back we were here in January with this proposal initially.

We've had a number of kind of concurrent efforts.

So first and foremost, starting in February after we were awarded the grant was the uh the task of selecting uh and contracting with a software provider for the uh digital archive management system.

Uh during the March through September time frame, we uh that's when we uh went to enlist the help of interns uh with UNLV and they began doing the work of scanage scanning uh photos and documents and starting to create the metadata that was uh to be used uh to tag the various assets within the system, and then the beginning of the development for the online exhibits.

Uh April through September, there's a lot of learning involved.

You know, once we identified the uh the system that we were using, there was an onboarding process for us to uh uh understand how to use and how to integrate it uh within uh our systems internally and with the new storage system that we uh we purchased.

And then the latter half of the year uh has been really devoting to building that collection in the archive and working on the online exhibit.

So uh we're extremely excited that the first of the two online exhibits uh will be launched on December 4th.

Uh and the uh so that's the one that focuses on the federal building, this building of ours, uh, and then the second uh online exhibit, the battle for Las Vegas uh will be launched before the end of the year.

And we uh we do have an event scheduled for Tuesday, December 16th.

Uh you all should have received an invitation for that, and we hope that we will have uh many members of the commission joining us for that.

Just to remind uh the commission on the budget for this project.

So uh we were awarded a grant of 55,150.

Um we had made a commitment to uh a contribution of our own, which we have actually exceeded, and that's the 31,826 of museum funding for the total just under 87,000 dollars.

And again, um, you know, this is a long-term commitment.

We've um we're we're extremely uh excited uh about where we are, but we've we've really only just begun uh building out this archive, and so the um the software platform that we have, we're in the first year of a three-year lease.

We uh we have every expectation that we're going to continue to renew this lease indefinitely and investing the uh staff time that it takes to continue to populate the archive with uh items in our collection and continuing to make use of those um uh digital assets uh in our online exhibits and and other uh all sorts of other ways.

So I'm gonna now pass to Jackie.

Thank you, Jonathan, and good afternoon, Jackie Poyan, Senior Director of Digital Marketing for the Mob Museum.

Um we are so thrilled for what this digital asset management system can do for our organization.

As Jonathan mentioned, it improves accessibility, efficiency, and ease of use of our uh digital assets for our staff from our exhibits and education teams to our marketing and social media teams.

Um, this screenshot on this slide is um of our internal system, which is live and actively being worked on.

We really took the time to uh learn the system and establish the um proper protocols, permission levels, metadata fields, we set up automated workflows and advanced system settings.

Um we also establish processes around uh how we will be uploading assets into our system and the ongoing maintenance and editing of information so that the team is really set up for long-term success here.

In terms of how this will benefit the public, um, our reach online is already substantial and growing.

Um, and we develop digital content on a regular basis for our channels.

Um in the last 12 months, we've seen two million two million annual visitors to our website, uh, 29 million views of our social media posts, one million views of our uh YouTube videos.

So by having better access to our digital assets, we're not only able to develop even more unique content for our feeds, but we're able to expand on the type of stories that we tell as well, going beyond the museum's four walls.

So as we continue to add to the archive, we'll continue to make assets available to the public online.

When we presented um to the commission in January, we had various vendors that we were vetting for a digital asset management system.

Ultimately, we landed on a solution called NetX.

This system is utilized by some of the nation's uh leading organizations.

It had the most comprehensive and robust onboarding and training program, which the team has completed.

It also supports our desire to integrate the archive with our main museum website through a custom plug-in that the museum's web developers created.

Our archive can be pulled into our main website, the mommuseum.org, and displayed in a custom designed layout, which we'll preview for you in this presentation.

Um, and in time, this setup will also allow our team to develop a point of sale system for the public to view and license images in the future as well.

Um, one of the reasons we chose NetX is that it allows us to host our digital archive on our own servers locally.

Uh, gives the museum control over data access, security, and long-term preservation of our database without having to rely on a third party.

With the funding from the Centennial Commission grant, we were able to purchase the hardware and software necessary to host our archive with room to continue tagging, uploading digital assets, and the room for scheduled backups of our data and infrastructure.

Thank you for your time.

I will now pass it to my colleague Jeff Schumacher.

Thank you, Jackie.

Um good afternoon.

I'm Jeff Schumacher, Vice President of Exhibits and Programs at the MOM Museum.

Um, the the museum started its collection efforts several years before the museum actually opened to the public.

Uh, since then, we've gathered a vast array of photographs, artifacts, documents, and audio and video recordings.

And they've come to us in just about every format you can imagine.

I mean, we have VHSs, we have Betamax, we have all kinds of things.

And we're intention, the intention is eventually to bring all of this into the modern age where it can be accessed.

Uh, to date, we have 638 items in the digital archive, meaning we have already exceeded our goal of 500 for this year.

But as you can imagine, uh, we still have a lot of work ahead of us to get the bulk of the collection into the archive.

In time, I imagine we'll have as many thousands of items in the archive, tens of thousands ultimately.

My favorite part of this project is that it helps us to curate online exhibits for public education.

In other words, we share our collection with the world.

That's how we want to do it.

And to this end, we committed to producing two online exhibits this year.

The first online exhibit focuses on the history of the federal building uh in which our museum is located.

Uh, one might consider this a companion project to our documentary, also funded by the Centennial Commission in large part, about the building, and it's titled This Building of Ours.

This online exhibit uh tells the building's story through photographs, documents, and artifacts.

And uh the exhibit can be navigated in two different ways.

One can scroll continuously from the beginning to the end, um, or you can use a navigation bar across the top uh that separates the exhibit into sections or chapters.

I want to note that um all the photographs and documents in the exhibit are credited, so you'll know exactly where everything came from.

And many of these things obviously came from our collection, but they also come from other sources.

The exhibit includes maps such as this original town site map.

The town sites come up a lot today.

Um then if uh if you click on the map, a box pops up that provides more details about the image, information that is drawn directly from the digital archive.

The exhibit also explores the cultural history of the federal building, including the naturalization ceremonies that were held there, such as this one where the Kim sisters became citizens in 1968.

Of course, the exhibit touches on one of the most historically significant events in the building's history, the Key Faber Hearing, Key Foffer Committee hearing of November 15th, 1950.

Interestingly, this iconic photo of casino operator Gus Greenbaum was taken in the hallway outside our second floor courtroom.

Uh Greenbaum was subpoenaed by the committee but was not called to testify.

They wanted to go see Hoover Dam, I think, so they let him go.

Um the exhibit includes several video clips, some pulled from the documentary and some that did not make it into the final documentary.

So that's an opportunity for us to share some additional video content that we that we created.

Um section of the exhibit explores former mayor Oscar Goodman's first federal case, which took place in the building.

If you've heard him tell that story, it's uh it's a good one.

Um after the Moulin Rouge's Hotel Casino's short existence in 1955, it was the subject of extensive bankruptcy hearings in our courtroom, if you didn't know.

And uh there was one where more than 400 creditors showed up trying to squeeze into the courtroom, and they there wasn't enough room, so they had to relocate that mirroring hearing to another another place.

Toward the end of the online exhibit, we provide a link to watch the full-length building documentary.

So, much like the timeline linking to the city documentaries, we want to do something very similar.

And then uh importantly, uh we close the exhibit by acknowledging the financial contributions of the Centennial Commission.

Now, the second online exhibit we will complete this year, focuses on the true story behind the movie casino.

This exhibit will relate the battle between the mob and law enforcement in the 1970s and 80s.

Um we will continue to create online exhibits in the future.

The topic is topics could include Mo Dalitz, Benny Binion, Meyer Lansky, uh Herbert Asbury, the author of Gangs of New York, uh, the gangster squad in Los Angeles.

Um these are just some of the collections that we have at our disposal.

And we're open to ideas.

Uh for the course, the key is that we have a healthy amount of material on each topic that we uh that's in our digital archive.

That's the connection.

So thank you, and I will turn this over to my colleague Claire White.

Thank you.

Uh Claire White, Senior Director of Education at the Mob Museum.

And I want to talk first about the UNL V students uh who we recruited to assist us with this project.

So uh thank you to your support.

We were able to hire two 100-hour paid UNLV interns.

Uh so we work directly with the UNL V History Department and the College of Liberal Arts to identify uh students who needed internships and had interests in uh digital archives and uh digital museum collection access.

Uh the two selected were on the left, uh, graduate history student Alexandra Garcia, who has since graduated, as well as recent undergraduate graduate history major uh Kalea Corpus.

And both of these young women provided vital assistance in the early process by not only scanning and digitizing materials that we had not yet digitized, but also creating metadata for the image files and conducting research into the collections as well as specifically for the online exhibits.

And so, in order to uh introduce this to the public, uh the museum has already begun implementing a comprehensive marketing and public relations strategy to publicize these online exhibits and uh uh make people aware of the publicly accessible elements of our archive.

Uh so this will include email marketing, including invitations to the uh public event, which I'll mention in a second, um, as well as featuring engaging content uh in the museum on our digital screens in the future, as well as uh uh developing press materials that we can use uh to uh pitch stories to media outlets as well as generate uh digital content.

So, as a part of this strategy, uh two of the things that we will be doing is hosting events to introduce uh vital stakeholders to these projects.

Uh so on December 16th, the museum will host a program in our courtroom to explain the digital archive project and present the online exhibits uh with myself and Jeff as well as our colleague Zach Jensen speaking about the project.

Uh those invitations have already gone out.

And then in early 2026, we have not uh identified a date yet, but I will be leading a teacher workshop for CCSD teachers uh to introduce them to the digital archive as well as assist them in uh creating curriculum support and lesson plans for using uh the digital exhibits and the digital archive more broadly in their classrooms.

So with that, I'm going to pass back to Jonathan.

Jonathan Allman again.

Uh so just in conclusion, uh want to express our uh great appreciation for the commission for making this possible.

And if there are any questions, we'd be happy to take them.

Is anybody yes, Louise?

I am so enthusiastic about your project.

And I cannot applaud you enough.

I mean, I think you've carried this out beautifully.

I love the way you streamlined your expenses by using interns and know the value that it gave the interns to have that opportunity.

That was just brilliant, in my opinion.

I just think it was so smart.

I love that you have this wonderful archive, and obviously it's something we should link on our website so that we can have bigger impact for you through that synergy of having it on our uh site as well.

And I think this is an effort that can really serve as a model for this commission.

We have talked four years about making sure that we have archived what we've done and made sure that all of the work that's been accumulated, the different projects, are something that can be accessible.

And I think this is a brilliant way of doing it.

I mean, obviously, we're starting off with a website, which I'm grateful that we've got it that far, but this could really be something that we can do in the future.

And I I hope that you also have one of the things that we've done in the past and funded is the searchable content of the Las Vegas H newspaper and also UNLV special collections.

And it just seems that if we can get synergy around that as well, think of all of the knowledge and information that could be available.

I think it's brilliant, and I'm thrilled we funded it.

Thank you so much.

Bob, did you want to say just this uh first of all keep up the work on social media?

I followed it closely.

I am only patrol on Facebook, and I'm sure you do a lot of the other things.

But it's important to keep up, and uh Jeff, I like your stuff that you put out, and yeah, I hope you're keep keeping track of the people that actually do chip in so that you have a way to also recruit them for whatever it is you might want to raise from them like money.

And uh I just have one more thing, it's security.

I always very concerned about how materials are archived, and just because you've taken originals and you've put them in putting them into a computer somewhere doesn't mean they're they're secure for life, so there has to be an additional backup.

I hope that you have backup elsewhere.

Uh me in fill me in on that.

Hi, Jackie Plan for the record.

Um, I'm certainly not part of our IT team, but just on a high level, um, that's part of the reason we did the local storage uh versus going with a cloud solution because cloud solutions are hosted um in third-party locations that are completely outside of your control.

So you're uh susceptible to um outages that are out of your control, whereas we are hosting our database locally, and so we have control over where we back up, how often we back up multiple copies of backups not in the same place, so that we can feel safe in knowing that we um if anything ever happens, we're not only backing up the database, but we're at backing up the infrastructure that we set up so that if anything ever were to happen, we could put the solution right back up from one of our backups that we've created.

Okay, I appreciate that very much.

Thank you, ma'am.

I I just want to know that we still don't know the outcome of all of the uh little things, bugs that are put here and there from that out outage that started in May.

We didn't really find out about it until oh September or something like that.

It's the state stuff.

So you have to watch out that something didn't come in and and it'll be there.

We just don't know where and when, so it's important.

Thank you so much.

Any other questions?

Just a quick one.

Uh the uh councilman, excuse me, Commissioner Coffin certainly dated himself by using the word Facebook.

Um I'm wondering uh, do you have a presence on TikTok?

We're working on it.

We have um a slight presence on TikTok, but one of the things that this will enable us to do is to move quicker in creating video so that we can have more of a presence on TikTok.

I think that's important, thank you.

Uh I do uh commissioner if I if I may, Jonathan Allman.

Uh just to uh Jackie is very modest, so she oversees our social media.

Um it's true, we're not on TikTok yet, and we we did make a decision as an organization uh some time ago when when many of us were under the oppression impression that TikTok was going to go away.

Uh that it was not something that we're we were going to invest in in the time, but we have done uh we do a considerable amount, not just on Facebook, uh, but on Instagram in particular.

Um, and so a lot of that is is going to be easily transferable over once we are up on TikTok.

Very cool.

Any other questions or comments?

So this is a great advancement for the online presence for the mob museum.

You know, $55,000 well spent.

I would have said every penny, but now I gotta say every nickel.

Right?

Jonathan, a question.

Yeah.

Uh earlier today we had a proceeding with the museum in town.

It's been around for over 20 years, and they had 60,000 visitors.

Can you give me a rough estimate on a calendar basis of what has gone through the old post office now, the mob museum?

Sure.

So we're we're talking about physical on-site visitors.

Uh we we uh consistently uh welcome over 400,000 guests each year.

Yeah, that puts things in perspective about the impact you're making on our town and preserving our history, and I just wanted that to be part of this record.

If if I may also just add, you know, we um we talk about these online exhibits.

The Ma Museum does have a robust um blog posting section on the website, which is another area where we make use of imagery uh in our collection.

Uh just over the last quarter, we had uh just under 290,000 visitors to the blog section.

So reading blog posts of that 230,000 roughly were unique visitors.

So these are people that aren't even searching for the mob museum.

They go on Google and are searching for information that they are then being directed to the mom museum as a source uh of that information uh on our website.

So more and more it's uh um, you know, our we're we're very very proud of the on-site visitation and always want to grow that.

Uh, but the extent that we can be a resource for people that aren't physically here uh is really important to us, and this project is going to help us a great deal.

Well, let me echo my fellow commissioners' um applause, uh applause of your uh your activities.

I think it's great.

I'm a great fan, and thank you so much.

Thank you.

You're very welcome.

This is informational only, so no vote is required.

So we will move to item 10.

25-0544-CLC one discussion for possible action regarding approval of the 2026 commission for the Las Vegas Centennial Meeting Schedule.

Uh C BRAM for the record.

So this is our 2026 agenda.

The only um anomaly in this one is uh May 11th is our meeting date, and that is the second Monday of the month rather than the fourth.

Um, other than that, we're status quo and just need uh vote so that we can post this online.

Make a motion to approve.

Second.

Thank you for that second.

All those in favor, aye.

Uh motion passes.

They're they're on the second page.

Uh look at your agenda.

Oh, maybe you don't get the same agenda I do.

No, they're not on the agenda.

So the I'm sorry, uh for the record.

It's in the backup.

If everybody's able, it should have been able to read the backup, but Teresa will send everybody the agenda as well, so that you um have a hard copy or a digital copy of it.

Or how about reversing the PowerPoint, going back, everybody take their cell phone out and do a screenshot.

Next case.

If you want to do that, Jeff, can we get that slide back up?

On the website right now.

No, it's not on the website yet.

Well, it's it's in the back, but it's not on our um commission website yet until it's voted approved by this commission.

So if anybody wants to take a picture of that, but like I said, Teresa will be sending that today this afternoon or tomorrow morning, depending on when we get out of here.

Okay, has everyone taken their picture?

No.

No.

Slow.

Okay, item number 11.

For the record, I've number 10 did pass.

Yes.

That was announced.

Yes, of course.

Yes, unanimously, I believe.

Um, item number 11, 25-0545-CLC 1 discussion for possible action regarding approval of a request by staff for funding of up to $13,000 to host the premiere of the premiere of the documentary film, the city of Las Vegas, the 1980s at the Beverly Theater located at 515 South 6th Street, which is in Ward 3, Miss Diaz.

Uh CBR for the record, and this will be the last decision you have to make for today.

Um so as you know, um we've always had a well, the exception of the COVID year, um, we've always had an in-person premiere.

Um we have spoken with uh Beverly Theater, and I thought we had a slide for this, Jeff.

We don't, oh, okay.

Um sorry, we don't have a slide for this one.

Um it's up to 13,000, and that would include the rental of the theater as well as the reception food and beverage.

Um if the commission once wishes to go forward with doing the in-person premiere, we would just need an approval on this item so that we can work with the theater personnel on securing that space.

Thank you very much.

Are there any uh questions or comments by the commission members?

Seeing none, I'll entertain the motion.

All right.

Um, all those in favor of uh approving uh the funding of up to $13,000 to host the premiere of the documentary film, uh please say aye.

Aye.

Motion passes.

Thank you.

Thank you very much.

I've attended many premiers at the Beverly Theater, and it's a very nice touch before you go in and see the actual documentary to have a little social hour beforehand.

So I think that'll be absolutely lovely.

Agenda item 12.

Report by the I think you might as all right, report by the executive director of the committee.

Yeah, I was wondering why you were leaving us quite so soon.

No.

Right.

Run away.

Item number 12.

Would you report to the commission?

My apologies, uh Crant for the record.

So for the projects that are in progress, the Paul R.

Williams documentary.

Um, I uh need to do an administrative extension on that.

The um uh applicant and producer had a personal um delay um so that um he's going to have to do the editing um later than originally expected, but by having this documentary done in January, he will have it ready for February, which is African American History Month for the rodeo.

Um it was uh a couple weeks ago, I can't remember now.

Um, and they will give their report on the 2025 rodeo at our January meeting, and then remember they are they did have the multi-year grant where the other next rodeo next year is November 6th and 7th.

Um for the city of Las Vegas, the 1980s premiere that we just discussed and just received approval for.

That premiere is on May 16th.

Um, hopefully everybody can make it.

Um we will be sending out the invitations um soon as possible, but make sure you keep that evening clear.

Which one give you the date again?

Uh May 16th, Saturday, May 16th.

Uh the reception will start at 6, and then the film starts like 710, 715.

Uh, then we do have uh again another multi-um-year grant with home and history.

They've already given their last report uh for this year, so next year is 20 uh 26 and is their April 16th to 19th.

The UNL V Sports Oral History Project, they're supposed to be wrapping up at the end of this year, and they'll be in to give their report after that.

And then we do have the 1911 um and free month documentaries that are both in progress.

Um, and those the final on that one is December 2027.

So any happy to answer any questions.

Anyone have any questions or comments?

In that case, thank you very much.

Now I can leave.

Okay.

Agenda item 13.

Discussion regarding topics for future agenda items, comments uh made during this portion of the agenda by individual members shall refer solely to proposal for future agenda items, and any discussion shall be limited to whether or not such proposed items are within the purview of the commission and or whether such proposed items shall be placed on a future agenda.

No discussion regarding the substance of any such proposed topic shall occur, and no action shall be taken.

Do any members of the commission have anything?

Yes, Louise.

This is Louise Helton for the record.

I want to add that we need to do something about a strategic plan.

Does that sound familiar to anybody?

So death play for the record.

So what we are doing step one was we are updating and making some changes to our bylaws, and that's something we've been working on with Commissioner Stodal and Commissioner Bryan.

So that's gonna be step one, and then I think that will lead us right into the conversation on the strategic plan.

Any other questions?

That was uh let me just clarify that, uh, not clarify but expand a little bit.

Would like to see the update, proposed update on the bylaws and the operating agreement uh possibly at our January meeting.

Uh there's some work to be done, and and maybe that may be too soon.

But uh I think it's important enough that if we don't make it after the January meeting that we call a special meeting to update uh the the bylaws and and the and uh the operating agreement between the city and the uh uh commission.

Uh some real positive work has been going on to update uh uh or prep propose to the to the commission uh updated elements that would be uh both for the city and and the commission.

So there's uh it was it's a 2003 document.

The bylaws are are that old, as well as the operating agreement uh with the city is back to 2007.

They were great at that time, but uh we need to uh we need updated that and and the city staff is has really been helpful to uh move that forward.

So uh look look forward to getting that done as soon as possible.

So thank you.

Thank you.

Any other questions or comments?

Mayor, thank you.

Bob Coffin for the record.

I really appreciate the way the agenda has worked today because we had a report from um the gentleman who's putting on the uh oh I'm sorry, the uh 1905 the land and yeah, the Gold Creek films people.

And this is a good time to just say I hope we are not entertaining or considering asking for any kind of additional lock documentaries past the 80s.

I think it's the 80s as far as we have gone, staff.

Can you say yes?

90s.

See right for the record.

No, we've we're doing the full hundred years, so uh Boyd Productions is right now finishing up the 1980s, they're working on the 1990s, and then the last one is the beginning of the 2000s until the centennial of 2008.

It just makes me nervous because you're getting into the area of history, and who decides what history is, and the people that are covered in the history frequently are the ones who want to write it.

So that means trying to keep some distance between current affairs and your history, historical documentaries.

I passed that on as a caution that was taught to me many years ago.

So I hope that we consider well we need to remember that 2005 was 20 years ago.

That's all.

How is that possible?

Well, thank you very much for that admonition.

Um there is something uh I'm not prepared to discuss it, and obviously we can't discuss it under this agenda item.

Um I attended a uh uh an event at uh the county building uh regarding the Holocaust, the history of the Holocaust.

And I have to say it was uh uh very moving and I think a very important exhibit, especially now with the rise of anti-Semitism throughout our country.

Uh but uh that will be coming to the city in 2027.

Along with that, a number of members of the Jewish community have asked, knowing that the uh centennial uh commission is doing uh documentaries if there was any appetite for a documentary on the on Jewish history in uh in the city of Las Vegas from 2005 until um uh two thousand well from uh 1905 until uh current time.

Not prepared to discuss it now, but it's something that has tweaked my interest, and I think I'll be presenting it at uh uh later uh meeting.

Point of reference is a book uh already that's been written that would be uh provide a guideline for it's called Jews in Nevada.

I've read I I'm in it.

Okay.

There you go.

Heavens knows.

So anyway, that's for future discussion.

And now we will go to uh agenda item 14.

This is citizen oh well, I don't see much of a citizen.

Uh as we often do.

Um if anybody from the public wishes to speak um at this time, uh address the uh Centennial Commission, please come forward.

Seeing none, I will adjourn this meeting with my thanks to everybody.

Thank you.

Okay.

Thank you.

Oh gosh, oh gee.