This interview is compiled in the bound book version for OH-02270. Born Ffolliott Chorlton in Butte, Montana in 1923, Fluff Le Coque embarked on a career during World War II that would span fifty-five years. Le Coque’s experience as an entertainer started at the age of seven when she began dance lessons during the Great Depression. She expanded her interest in show business at the University of Washington. Attending on a drama scholarship, she performed in theatrical productions and supplemented the scholarship by teaching coordination to university athletes through dance. Le Coque toured as a dancer in a road company during World War II. After the war she came to Las Vegas for the first time. Although she did not consider herself a singer, she performed as a vocalist with the Chuck Gould Orchestra at the Last Frontier. After a brief excursion to Hollywood, she returned to Las Vegas to work at the Thunderbird Hotel as a dancer. It was at the Thunderbird that she became part of the glamour publicity that would help shape the image of Las Vegas. Crowned “Miss Thunderbird,” Le Coque took part in publicity photo shoots designed to attract vacationing customers to the Las Vegas resort casino. While performing at the Thunderbird, Le Coque learned of an opportunity to showcase her talents in a wider arena. She joined a touring company that was preparing to take the production of Hollywood Extravangza to Europe. In Paris, Le Coque took on additional responsibilities in the production end of the business. She served the Hollywood Extravaganza as principal dancer, choreographer, and ballet mistress. On her return to New York, she firmed up her career-long relationship with producers Donn Arden and Ron Fletcher. Le Coque’s association with Arden-Fletcher Productions proved beneficial for an already successful career. She performed as principal dancer for Arden and Fletcher beginning with a six-month engagement at the Lookout House in Cincinnati, Ohio, in the late 1950s Arden wanted her to return to Las Vegas and she accepted immediately. The Las Vegas Desert Inn opened a newly remodeled showroom with Fluff Le Coque as a featured principal dancer. Arden-Fletcher Productions kept a number of performers busy throughout the United States from California to New York. Le Coque, now a valued talent, appeared in the Arden-Fletcher production at the Moulin Rouge in Hollywood. She worked there as company captain and principal dancer for ten years. Following her extended engagement at the Moulin Rouge, she toured the United States and Europe before returning to Las Vegas for good in the late 1960s. Arden again asked her to open a renovated showroom at the Desert Inn and again she agreed. This time Le Coque made Las Vegas her permanent home. She danced until she was forty-five years old and during the later years worked both sides of the stage, as company manager and dancer. Fluff Le Coque retired from dancing in 1970 to enjoy leisure activities and volunteer work. She learned to paint and served as publicity director of the Las Vegas Art Museum. She was wooed out of retirement by Donn Arden, to become company manager of the production show at the new MGM Grand Hotel [later reopened as Bally’s]. At the time of the interview, Le Coque continued to serve as company manager for Jubilee at Bally’s Hotel & Casino. Le Coque’s narrative provides a vivid account of the history of the Las Vegas entertainment industry. In addition to the organization of club circuits during the post-war years, the narrative provides clues about white-black relations during the era. It also informs a wider historical context. Post-war American society underwent significant changes economically, politically, and socially. Expanded work opportunities for women were among those changes. Le Coque’s choice to complete a college education during the 1940s was atypical. Her successful dancing career and later move into production management provides an example of career achievement decades ealier than the majority of American women. By extending her career as a dancer into her forty-fifth year, she resisted the evolving publicity hype that only an ingenue could be a dancer. Her narrative provides a compelling description of both the glamour and physical demands associated with the Las Vegas entertainment industry.

Interview with Margo Mink Colbert by Barbara Tabach on November 11, 2014. Colbert discusses her upbringing in New York and her schooling at the High School of Performing Arts and Julliard. She is a choreographer and faculty member at the University of Nevada Las Vegas.

Margot Mink Colbert was born in 1935 in New York City, to parents of different economic backgrounds who shared a Jewish immigrant heritage. She attended Julliard and studied under modern dance pioneers like Martha Graham and Jose Limon. Margot honed her skill for choreography, and took her first job in academia as a Senior Lecturer in the dance department at the University of Wisconsin-Madison. In 1991, she moved to the University of Nevada, Las Vegas to take a one-year appointment as an instructor. A year later, she was hired into a tenure track position. Margot is now a Professor at the University of Nevada-Las Vegas, assistant chairperson of and Director of Ballet in its Department of Dance. In addition, she continues to direct Ballet Mink, a dance company she founded in 1970.

Randy Lavigne, Honorary AIA, has every reason to smile. Since 1995 she has been the Executive Director for AIA (American Institute of Architects) Las Vegas professional organization; she works daily with her daughter in a beautifully restored historic building in the heart of downtown Las Vegas; and the architects with whom she works so value her contributions they compiled and submitted documentation in order to surprise her with honorary AIA membership. In this interview, Lavigne recalls growing up in segregated Emory Gap, Tennessee, where her grandfather bought all the schoolchildren new shoes every year. She details the cross-country trip that brought her to Las Vegas in 1994 and eventually to the AIA in 1995. The bulk of the interview focuses on the building where the AIA is housed and the history of the organization. In 2008 the AIA moved from its former home at UNLV’s School of Architecture to the historic Fifth Street School in downtown Las Vegas. Lavigne discusses the history of the building and its significance to the City of Las Vegas. She reveals plans to examine the architectural history Las Vegas to celebrate the AIA Chapter’s sixtieth anniversary. She also talks about diversity in the profession, the process of licensure, publications, continuing education, organizational records, and the now-defunct auxiliary organization, the Architects' Wives League.

In the 1950s and 1960s, the Copa Room at the Sands Hotel and Casino featured glamorous showgirls. For a few years, the Houston Chronicle sponsored a contest that added the Texas Copa Girls to the line. In 1958, one of the winners was 17-year-old Judith Lee Johnson. For the "wild" but "naive" Judy, the experience was a period of funfilled freedom, followed by relentless encouragement of others to attend college, which she reluctantly did. To her surprise, she embraced the college life, took her studies seriously, and received an education degree. She also became Miss Houston. Four years later she returned to Las Vegas and the Sands. As she stepped into her role as a showgirl this second time, she was no longer the newbie. She experiences the lifestyle with more maturity. She talks about the celebrities she met, the lasting friendships she formed, performing in the Elvis movie Viva Las Vegas, and her trip around the world, a trip that included her personal dream of going to Paris. Judy shares details of her family heritage and she wonders to what extent she might have been living her mother's dream. Though her love of performance and theatre is keen, Judy channeled her passions into a 29-year career as an educator. She married a Marine in 1965, raised their children, moved with his career. She and her husband, Walter F. Jones, live in Virginia.