Lovee Arum is the Chief Financial Officer of the Morris A. Hazan Family Foundation and Director of Hospitality for her husband Bob Arum?s boxing promotion company Top Rank. She holds a Nevada Real Estate Broker Sales License and was a partner in Western Linen (a Las Vegas linen rental and laundry company) for many years. Arum is a volunteer and philanthropist in the Las Vegas, Nevada community and works with organizations such as Temple Beth Sholom and the Nathan Adelson Hospice. In this interview, Arum reflects upon her childhood in Beverly Hills, California, and first experiencing Las Vegas after her father, Morris Hazan, established Western Linen. She discusses adjusting to Las Vegas life after moving to the city with her first husband, Larry duBoef, in 1963, and raising her daughter and son within the local Jewish community. Arum also talks about meeting her current husband, Bob Arum, and her various philanthropic activities, including Junior League, United Jewish Appeal, Keep Memory Alive and establishment of the Lou Ruvo Center for Brain Health.

On October 25, 1979, collector Carol A. Semendoff interviewed bartender, Stanley Goldstein (born on December 5th, 1933) in his place of residence. This interview covers Mr. Goldstein’s personal historical profile as a Las Vegas, Nevada resident. Also during this interview, Mr. Goldstein discusses the Strip, gambling, prostitution, and the history of the major casinos.

On March 4, 1975 collector Gregory T. Hafen interviewed his father, Kent (Tim) Hafen (born April 17th, 1932 in St. George, Utah) at his ranch home in Pahrump, Nevada. This interview covers the history and development of Pahrump from 1951 to 1975. Kent relocated to Pahrump, Nevada in 1951, after living in Mesquite, Nevada from 1932 to 1951. Kent was a local farmer.

Oral history interview with Jolie Brislin conducted by Barbara Tabach on April 21, 2017 for the Southern Nevada Jewish Heritage Project. In this interview, Brislin discusses her family background and upbringing in Redwood City, California. She remembers moving to Las Vegas, Nevada in 1991, her involvement in the Jewish community, and going on a trip to Israel. Brislin talks about joining the Anti-Defamation League, becoming the Regional Director of the organization in 2015, and her mentors at the time. Lastly, Brislin discusses the rise of hate acts towards minority groups across the country, and the issue of cyber-bullying.

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.