On March 3, 1980, David Alexander interviewed community volunteer, Ray Keith (born October 1st, 1911 in Montgomery, Alabama) in her home in Las Vegas, Nevada about her life and memories of Southern Nevada. The two discuss how Keith first arrived in Las Vegas and the addresses that she has lived at. The interview concludes with Keith explaining how she helped to charter the “Home of the Good Shepherd” housing facilities with local Las Vegas women in the sixties.

Kate Hausbeck Korgan was raised and educated in Buffalo, New York. In 1995, after receiving her doctorate in sociology from University of Buffalo, her job search brought her to the University of Nevada, Las Vegas. It was a great fit and she tells of falling in love with the school, the city, and the John S Park Neighborhood. Kate retells the story of the house where she and her family reside. It's original owners were the Gambles who built the house in 1936. It was the second house built in the neighborhood and is the only inhabited adobe house in the city. The house is located on the fringe of John S. Park Neighborhood, about a block off the Strip. Though the location creates traffic that she doesn't like, it is not enough to cause her to move. She describes the newer generation of residents and the changes as the number of school aged children increased. Kate's perspective includes what she describes as the ebb and flow of the community, the beginning of First Fridays, the

Oral history interview with Nancy Brune conducted by Monserrath Hernandez and Rodrigo Vazquez on August 21, 2019 for the Latinx Voices of Southern Nevada Oral History Project. In this interview, Brune recalls her childhood and her experiences growing up in Austin and San Antonio, Texas to a Mexican-American father and British mother. She often identifies herself as tejana. Brune has lived in Las Vegas, Nevada since 2007 and is the Executive Director of the Kenny Guinn Center for Policy Priorities. Brune is a graduate of Harvard and has a doctoral degree from Yale University. She and her husband, Richard Boulware, who is a born and raised Las Vegan, have three children.

Oral history interview with Martin Lopez-Castillo conducted by Nathalie Martinez, Elsa Lopez, and Barbara Tabach on January 11, 2020 for the Latinx Voices of Southern Nevada Oral History Project. Martin Lopez Castillo was born in a small town in the State of Mexico. He immigrated to Phoenix, Arizona in the early '90s where he worked in construction and landscaping. Eventually, he made his way to Colorado where he began working as a cook. He moved to Las Vegas with his family in the early 2000s where he arrived in Las Vegas' Downtown. He worked in the mine by Primm, Nevada before becoming a gardener. His work has allowed him to see the changes that have happened in Southern Nevada, and he recounts the changes that have happened in Downtown Las Vegas since the 2008 recession. He is a self-taught English speaker and an avid chess collector. Subjects discussed include: Immigration, Chess, Landscaping, Teaching, and Downtown Las Vegas.

Oral history interview with Donna Robinson conducted by Barbara Tabach on December 20, 2019 for the Remembering 1 October Oral History Project. Robinson begins by talking about her family and childhood in Pittsburgh, Pennsylvania. She talks about her family life and how she started working at the American Red Cross as a Disaster Program Specialist. Robinson describes her first disaster situation she worked through, later disaster situations, and the different training that is required in order to handle certain situations. Robinson then begins to talk about October 1, 2017, and how she tried to help as many people as possible that night. Then she talks about the long-term effects of the shooting and how it impacted the survivors and the community. She discusses the mental health aspect of the services Red Cross had and how it still continues to serve the community today.

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.