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Transcript from interview with Mike Unger by Barbara Tabach, January 21, 2016

Date

2016-01-21

Archival Collection

Description

In this interview, Unger reflects upon his long and successful career in hotel management in Las Vegas and also in Arizona and Pennsylvania. He shares stories as a local celebrity, particularly in the 1970s and 1980s when he worked at Caesars Palace, as well as the big projects he oversaw, including organizing the first big fight nights, World Series of Tavern Poker and Grand Prix race. He talks about working with Morris Shenker, Moe Dalitz, Cliff Perlman and Billy Weinberger, and the role of the Jewish community in the city, and specifically in the gaming industry. Unger also discusses his non-gaming industry ventures which have included a satellite communications business and a bagel business.

Mike Unger was born in Queens, New York in 1947, and spent most of his childhood in Long Island, growing up in a predominantly Jewish and Italian community. As a young adult, Unger was already working hard, running one of his family?s restaurant after school. When he was in high school, his family moved to Los Angeles to accommodate his father?s health needs, and eventually end up in Las Vegas by 1967. Over the next two decades, Unger would work at nine properties in the city. Unger is one of the University of Nevada, Las Vegas? first hotel management graduates, and started his career with Summa Corporation in its management training program at the Frontier Hotel and Casino. After a brief stint at the Airport Marina Hotel in Los Angeles in 1972, Unger returned to Las Vegas, serving in management capacities at the Aladdin Hotel and Casino, Summa Corporation headquarters and Landmark Hotel and Casino. In 1978, he joined Caesars Palace Hotel and Casino management team, and was integral in creating the city?s first large boxing events, the World Series of Tavern Pool, and the Grand Prix race. Unger also ran properties for the White Mountain Apache and Colorado River Indian Tribes in Arizona, as well as the Showboat Hotel and Casino. In this interview, Unger reflects upon his long and successful career in hotel management in Las Vegas and also in Arizona and Pennsylvania. He shares stories as a local celebrity, particularly in the 1970s and 1980s when he worked at Caesars Palace, as well as the big projects he oversaw, including organizing the first big fight nights, World Series of Tavern Poker and Grand Prix race. He talks about working with Morris Shenker, Moe Dalitz, Cliff Perlman and Billy Weinberger, and the role of the Jewish community in the city, and specifically in the gaming industry. Unger also discusses his non-gaming industry ventures which have included a satellite communications business and a bagel business.

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Transcript of interview with Courtney Mooney by Suzanne Becker, July 30, 2007

Date

2007-07-30

Description

Courtney Mooney is the Urban Design Coordinator for the City of Las Vegas. Her job description includes a knowledge of historic preservation, which is her passion. In this interview she shares her professional and personal thoughts about John S. Park Neighborhood. She moved to John S. Park in 2002. As a professional she explains that "how I look at preserving neighborhoods or buildings, is more of a community preservation, not saving the individual building for the individual building's sake..." Courtney offers a big picture of the neighborhood's past, present and future. John S. Park, like so many other Las Vegas neighborhoods, was built during World War II and has been affected by history of segregation and the wave of changing demographics, and the work that went into the plan and requirements to be designated a historic neighborhood. Courtney provides a summary of the story about the land, its ownership and what lead to the foundation of the neighborhood: from John S. Park to George Franklin and John Law, to Mary Dutton and explains how the proposed development of the land differed from other communities being built to FHA standards and specifics that declared Las Vegas a Defense City in the 1940s. She lists the factors that made the neighborhood a logical and important target for the historic designation, a small neighborhood tucked away, that is "a snapshot of the types of people that were coming here," filled with community leaders, entrepreneurs, blue-collar and casino workers. She also mentions about the missed opportunity of the Las Vegas High School neighborhood for preservation while supporting the John S. Park designation.

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University of Nevada, Las Vegas (UNLV) 45th commencement program

Date

2008-05-17

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) Spring 2021 commencement program

Date

2021-05-13 to 2021-05-15

Description

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

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Dr. Deborah Kuhls oral history interview: transcript

Date

2017-12-29

Description

Oral history interview with Dr. Deborah Kuhls conducted by Barbara Tabach on December 29, 2017 for the Remembering 1 October Oral History Project. In this interview, doctor Deborah A. Kuhls describes the preparation and procedures implemented at the University Medical Center of Southern Nevada (UMC) during the night of the October 1, 2017 mass shooting in Las Vegas, Nevada. She describes her experiences from that night and into the next morning, starting from when the trauma center first learned about the shooting to when patients began arriving. She goes into detail on the hospital's Military-Civilian Trauma System Partnership, which allowed for the installation of a second trauma area to treat the large volume of patients. In addition to the events at the hospital, Kuhls talks about the flurry of activities during the week of the shooting, including interviews with various media, the statewide meeting for surgeons, fellows, and residents where "stop the bleed" training was provided, and general meetings with various government officials, including Donald Trump. Deborah Kuhls also discusses the emotional impact of the shooting and its aftermath as well as her goals for the future of trauma in the medical field.

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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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