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Transcript of interview with Fluff LeCoque by Joyce Marshall, May 5, 1997

Date

1997-05-05

Description

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.

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University of Nevada, Las Vegas (UNLV) 11th commencement program

Date

1974-05-19

Description

Commencement program from University of Nevada, Las Vegas Commencement Programs and Graduation Lists (UA-00115).

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University of Nevada, Las Vegas (UNLV) 12th commencement program

Date

1975-05-18

Description

Commencement program from University of Nevada, Las Vegas Commencement Programs and Graduation Lists (UA-00115).

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University of Nevada, Las Vegas (UNLV) 14th commencement program

Date

1977-05-21

Description

Commencement program from University of Nevada, Las Vegas Commencement Programs and Graduation Lists (UA-00115).

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Nery Martinez interview, December 6, 2018: transcript

Date

2018-12-06

Description

Interviewed by Laurents Bañuelos-Benitez. Nery Martinez was born in El Salvador, he describes his childhood as one filled with war and violence. When Martinez was five years old, the small country of El Salvador erupted in civil war. Martinez describes the panic that he saw growing up, never being certain when violence could occurred. The 12 year war took up the entirety of Martinez's childhood. After the war, the country was left in runes, seeing little hope for recovery, Martinez left El Salvador for Las Vegas where his brothers had fled earlier during the war. In Las Vegas, Martinez was able to find work in the service industry, at the same time attending English classes at night. Martinez is currently working as a bartender within the Culinary Union. Interview conducted in Spanish.

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The Rebel Yell

Alternate Title

Rebel Yell (1954-2010); currently published as Scarlet and Gray (2010-present)

Description

The Rebel Yell and cultural identity at UNLV


The UNLV student newspaper, like the university itself, has gone through many changes not least, its
name. When the paper made its debut in 1955, what was to become UNLV was the Southern Regional
Division of the University of Nevada, in Reno, popularly known as Nevada Southern. The newspaper,
reflecting its identity with the southern part of the state as well as its ongoing opposition to the
northern-centric bias of the State Legislature in Carson City and the administration of the University of
Nevada in Reno, adopted the name “Rebel Yell” and flew a Confederate flag on its mast head. The
fledgling university took to its identity as “Rebels” which, in fact, continues as a brand for the university
and its students to this day. While administrators and students would later deny any conscious or
intended association of these historical Confederate symbols with the southern Confederacy, slavery,
and racism, they would, nonetheless cause embarrassment in the future when Black (and White)
students began to express their indignation with these symbols and demand that the university change
its image.
In 1962 the most flagrant symbol, the Confederate flag, was removed from the masthead to be replaced
by the only marginally less problematic “Beauregard” figure, a Disneyesque cartoon hound dog in a
Confederate uniform. In 1969 in the wake a national civil rights protests, Beauregard was yanked from
the masthead. In 1970 the student senate, the “Confederated Students” (which would change its name
to “Consolidated Students” in 1973) instituted a “Rebel Name-change committee” charged with coming
up with alternative names. The next year in 1971 the students voted to retain their nickname, the
Rebels, by which their sports teams had traditionally been known, but the newspaper decided to change
its name from the Rebel Yell to The Yell, but affirming on its front page “We’re Still Rebels”. In 1973
when the student senate changed its name, the students again rejected changing the Rebels nick-name.
Only in 1975 was Beauregard officially removed as the university mascot.
In 1982 artist Mike Smith created a new UNLV mascot, the “Hey Reb” trail-blazing pathfinder, in western
frontier garb, with mustachios that rendered him a look-alike for the cartoon character Yosemite Sam. In
1983 the Yell quietly resumed its old title Rebel Yell (briefly the Yellin Rebel) which persisted until 2016,
when, after months of deliberation and renewed calls to rebrand the university the Rebel Yell became
the Scarlet & Gray Free Press, adopting the school colors. According to then-Editor-in-chief Bianca Cseke
“a Confederate battle cry isn’t a great name for a newspaper.”

Essay Contributed by Peter Michel 

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Language

English

English

Frequency

Biweekly

Place of Publication

Andres Dominguez oral history interview: transcript

Date

2019-02-11

Description

Oral history interview with Andres Dominguez conducted by Marcela Rodriguez Campo, Laurents Bañuelos-Benitez, and Barbara Tabach on February 11, 2019 for the Latinx Voices of Southern Nevada Oral History Project. In this interview, Dominguez discusses his upbringing in Las Vegas, Nevada and growing up on the Eastside. He talks about the history of barbering in his family, and his path to becoming a barber. Dominguez describes the process of acquiring the barbershop at the El Cortez Hotel and Casino, and the significance of the location to his family. Lastly, Dominguez discusses his perspective on life, the importance of networking, and his decision in naming his shop Speakeasy Barbershop LV.

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Carole Fisher oral history interview: transcript

Date

2016-12-14

Description

Oral history interview with Carole Fisher conducted by Barbara Tabach on December 14, 2016 for the Southern Nevada Jewish Heritage Project. In this interview, Fisher discusses her family background and moving to Las Vegas, Nevada in 1979. Fisher talks about Nathan Adelson Hospice, programs that they provide for the Las Vegas senior community, and the increase of hospices in Las Vegas. She describes how Nathan Adelson Hospice is able to provide care for uninsured people, fundraising events they organize, and how their hospice differs from traditional hospital care. Lastly, Fisher discusses the significance of death in the Jewish religion.

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Robin Greenspun oral history interview: transcript

Date

2017-02-09

Description

Oral history interview with Robin Greenspun conducted by Barbara Tabach on February 09, 2017 for the Southern Nevada Jewish Heritage Project. In this interview, Greenspun discusses her family background and growing up in Las Vegas, Nevada. She talks about her early interest in the arts, working in television productions, and becoming a film director.

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