Tucson, Arizona, native David Ober moved to Las Vegas twice. He arrived reluctantly the first time in 1978 with his parents as a high-school student, when his father, Hal Ober, came to Las Vegas to begin building and marketing the U.S. Home (now Lennar) brand. While the elder Ober soon left U.S. Home to open his own home-building business, R.A. Homes, his youngest child left Las Vegas shortly after his high school graduation to return to his native Tucson, follow in the footsteps of his siblings, and attend the University of Arizona. After graduating from the University of Arizona David Ober opened his own mortgage company and began building a life in Phoenix. In the late 1980s he agreed to take a large pay cut, return to Las Vegas, and learn his father's business from the ground up. At the time, Hal Ober was developing his award-winning, master-planned community, Desert Shores. David Ober, the youngest of the five children of Hal and D'Vorre (Dee) Ober, agreed to participate in the

Oral history interview with Emilia Marquez conducted by Maribel Estrada Calderón on July 5, 2019 for the Latinx Voices of Southern Nevada Oral History Project. Claytee D. White and Emily Lucile are also present during the interview. Emilia Marquez was born in the United Stated and raised in Alexandria, Virginia, where her father worked as a bricklayer, until the age of twelve, when her father decided to move the family back to Uruguay. She describes acclimating to her new life in middle school and her shift from being perceived as an outsider in Uruguay to accepting Uruguay as home. She describes life in Uruguay and the positions that her family held while living there. After meeting and marrying her husband they trained to work in a casino. She trained as a slot machine operator, and her husband trained as a dealer. This eventually led them to leave Uruguay for the U.S. After the encouragement of her father and mother, she moved with her mother to Las Vegas to work in the casino industry. She describes working as a change person at the Luxor before moving to the newly opened Palms, where she worked until she left it to work at the Wynn. She ends the interview talking about various Uruguayan dishes and traditions, and a brief history of Uruguay. Subjects discussed in this interview: Uruguay, immigration, Las Vegas Strip, Latinx, Luxor.

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.