Interviewed by Irene Rostine. Hazel Hedges moved from Kansas City to Las Vegas with her husband and son in 1952. She worked briefly as a waitress in the dining room at the Thunderbird and then became a stay at home mom until her son was in junior high. Then after she went to real estate school, she went to work in commercial real estate at Bond Realty. After that, she passed her brokers exam and transferred to Parkway Realty where she sold land. Her primary success in real estate came from selling houses and investing in land and residential properties personally. After leaving Parkway Realty, Hazel went to work for the real estate office Deshoor, Fair, and Davis, which she eventually bought and renamed Southside Realty. Eventually her son joined her, and they operated Hedges and Wade Realty with two offices, one on each side of town. Hazel also did volunteer work including the Assistance League Las Vegas' Operation School Bell Program, which provides clothing for area school children in need.

Meet A Friendly Machine-Gun Crew! poster from the Las Vegas United Jewish Appeal asking for contributions to aid Jewish refugees. The text across the the front reads: "MEET A FRIENDLY MACHINE-GUN CREW! "America will lose the entire near East -- except for Israel! As long as ISRAEL is HELPED BY AMERICAN JEWRY, Israel can survive as our ONE FRIENDLY OUTPOST in the Near East!" - a statement made by General "Lightening Joe" Collins, former Chief of Staff, United States Army, at the Army and Navy Club, Washington, D.C., on July 1. 1958. TODAY IS AN EMERGENCY!! 80,000 persecuted Jewish refugees from Poland and Moslem lands must be helped to get to Israel - and quickly! Your contribution to the UNITED JEWISH APPEAL will help the emergency SPECIAL RESCUE FUND of $100,000,000 - and will help build up the newborn state of Israel - to remain strong - well-armed -- fiercely proud of its freedom - ready and able to remain YOUR ONE FRIENDLY OUTPOST IN A HOSTILE PART OF THE WORLD! -wouldn't you feel a little more secure with a friendly outpost guarding your freedom in the Near East? Las Vegas United Jewish Appeal Post Office Box 1981 Las Vegas, Nevada. Carl Cohen, chairman/Co-chairmen: Moe Dalitz and Jacob Kozloff/Nevada State Chairman: Edward Levinson"

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.