Interviewed by Claytee White. Mario and his six siblings were reared by a single mother who taught him all of the family recipes. Moving to Las Vegas at four years of age Mario remembers moving into a black neighborhood where the family was not welcomed. All windows in their home were broken into the first night. The family moved the next day. Though the new house was still in an African American neighborhood, they were protected by Vera, their black babysitter. Mario developed the intense work ethic of his mother, and after working in several strip casinos, found his home at the Horseshoe, today's Binion's. He has been there for 33 years; first as a busboy and then becoming a waiter. He is a Culinary Union trained shop student who picketed his beloved work place for ten months during a 1980's labor dispute. His work in life and union benefits have made his a very good life.

On February 15, 1979, Andrew Levy interviewed Isabella Jessie Curtis (born 1922 in Monroe, Wisconsin) about her experiences in Southern Nevada. Curtis first talks about her career in waitressing at several restaurants and casinos in Las Vegas before describing some of the early businesses in the Downtown Las Vegas area. The interview then moves to discussions on Curtis’s involvement in politics, her early recreational activities, and the atomic testing. The two later discuss the first telephones in Las Vegas, the Helldorado celebration, and her work at the Tropicana Las Vegas. The interview concludes with Curtis’s description on living in Sandy Valley, Nevada, and some of her first memories of the Union Pacific train depot in Las Vegas.

Lori provides a wonderful narrative of her Judaism, her love of teaching children and her devotion to family and music. She talks about growing up in Las Vegas and becoming a bat mitzvah, a rarity for girls in 1973. Throughout her life, including the period where she moved around with her Air Force husband, she sought Jewish connections to help her feel at home no matter where she was.

Jane Radoff?s sophisticated eye and creative energy follow her wherever she goes. Her interior designs have anonymously touched most all who have walked through many of the Strip casinos and hotels. Her working partnership with interior designer Roger Thomas for Steve Wynn properties are among the most iconic of recent era. Born 1940 in Pittsburgh, PA, to Adelaide and Meyer Sachs, Jane was destined to lead a colorful life. Her mother was a local radio/TV personality with her own show and her father was successful real estate entrepreneur. Jane attended the University of Michigan where she honed her design skills. Before moving to Nevada, Jane?s career path included Restaurant Associates, a short stint as a girl Friday for Johnny Carson, and freelance product design while starting a family. Then in 1978, her husband William ?Bill? Radoff accepted a purchasing director position from Billy Weinberger and Neil Smythe at Caesars. With her signature wry humor, she reflects on her early observations of Las Vegas, and eventually working with Roger Thomas. In time, the duo worked together to bring groundbreaking interiors to the Strip, primarily with Steve Wynn. As most Jewish transplants, the Radoffs first belonged to Temple Beth Sholom. Later she was the interior inspiration for Congregation Ner Tamid where Jon Sparer did the architectural design. She is a quiet icon of Las Vegas?s turn to elegance and warmth in design of public spaces.

Oral history interview with Diane Orgill conducted by Claytee D. White on March 30, 2018 for the Remembering 1 October Oral History Project. In this interview, Diane Orgill, a volunteer with Red Cross, discusses her experience on the night of the October 1, 2017 mass shooting in Las Vegas, Nevada. She speaks of her role as a Red Cross representative at the Emergency Operations Center and the efforts of the Red Cross command center to provide a sense of order in the chaos. She describes some of the support provided to the survivors through the Family Assistance Center and the Disaster Action Team, giving an in-depth explanation of how these sections of the Red Cross function.

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.