Stanley Mallin (1923- ) was a native of Kansas City, Missouri; the son of Bess and Louis Mallin. His mother was a homemaker and his father was an industrious immigrant from Ukraine who earned his US citizenship through combat in World War I. Stan was the middle child of their three. It was while Stan attended the University of Missouri that he met Jay Sarno. The two men’s fast personal friendship made them solid business partners. Their first endeavor was in Florida with a tile business. It was during a holiday stay at the Flamingo that the two dreamed a bigger, better hotel-casino. The result was Caesars Palace. He has lived and helped develop Las Vegas since 1968. In 1982, Stan married his wife Sandy (neé Jacoby) Mallin. Sandy grew up in New York and arrived in Las Vegas in 1977. She has provided dynamic leadership in the Jewish community. For several years she was President of the Women’s Division of Jewish Federation. She then followed this as the first woman to be President of T

Kim Bird's family moved to Las Vegas in 1955 when she was twelve years old. Pam Fogliasso arrived in 1954 with her family in 1954, when she was ten. Kim married and had a son and a daughter; she lives in Las Vegas. Pam married, had two children, and lives in Parumph, Nevada. Though Kim and Pam moved here in the mid-1950s, they had family members who had lived in Southern Nevada and worked on building Hoover Dam - Kim's grandfather and Pam's great-uncle. Both women remember growing up in a Las Vegas that was run by the mob and safe for teenagers; meeting friends in local hangouts such as the Blue Onion and attending sock hops, babysitting, and cruising down Fremont Street. They attended high school with black students but were also aware of the segregation that existed on the Strip. This interview focuses on Kim and Pam's experiences growing up in Las Vegas, and on their teenaged years attending Rancho High School.

Alan Clancy grew up in Sydney, Australia, the second son of famous ballroom-dancing parents. He recalls that he had incredible energy as a child, and, therefore, his parents enrolled him in the Shirley de Paul Studio to learn gymnastics, tap, ballet, and jazz. He also became a soprano singer. This training did well for him for as he went through high school he won trophies in sports and participated in musical productions. Eventually, because of a neighboring friend, Kay Dickerson, Alan moved to the Rudas Acrobatic Studio where he received further training and eventually contracted with Tibor Rudas to participate in an entertainment group called “The Las Vegas Dancers”. He was only seventeen when the group boarded a ship for Hong Kong in an enterprise which would eventually allow the dancers to entertain around the world for approximately two and a half years. When the group returned, Alan auditioned for the Tommy Leonetti television show and then for Les Girls in Sydney. Eventually Tibor Rudas appeared with a contract for Alan, when he had just turned twenty-one, to fly to Las Vegas to work in the Folies Bergere at the Tropicana Hotel and Casino. When he arrived in Las Vegas, he was surprised at the size of the city and the hotels but was overly impressed by the neon signs, the showrooms with their nude dancers, the costuming, magnificent sets, the choreography, and the dress of the patrons. He remembers his first night performing in the Folies and the amount of stars in the audience, for example, Elvis Presley, Liberace, and Zsa Zsa Gabor. Alan goes on to describe the many people that he met in Las Vegas, working in various shows, and the many friendships made over the years. However, he eventually became interested in opening his own vintage clothing store, Vintage Madness, near the Strip. He talks about his many customers, the stores around him, his creative ways of acquiring items to sell and the success that was made. Unfortunately, during the middle of one night the store burned to the ground which left Alan devastated. Eventually, however, he purchased three buildings on Fourth Street and opened an art gallery, a coffee shop, and a small stage. His mercantile interest allowed him to leave show business and briefly open a store in Laguna Beach, Southern California. It wasn’t long until Barclay Shaw asked him to work in “Splash” at the Riviera Hotel in Vegas and, therefore, he returned to show business. However, Shaw, his friend, died and so did his mother and he lost interest in his stores, renting them out. Consequently, he returned to live in California and began working with Aids patients. Alan returned to Las Vegas for the reunion of the cast of Folies Bergere and noticed the many changes made in Las Vegas from when he first arrived to perform at the Tropicana Hotel.

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.

In 1976, Gene Greenberg decided to accept a job transfer with Donrey Media Group and relocated from Laredo, Texas to Las Vegas. Las Vegas was comfortable fit and for the next 30 years, he primarily worked in television ad sales. He rose to become executive vice president and general manager of KVBC-TV. Significant to Gene’s ties to Las Vegas have been his ties to the Jewish community. This oral history includes reminiscences of connecting with the Jewish community and meeting many of the Jewish leaders through Young Leadership, Jewish Federation, and being on the board for Temple Beth Sholom. The most poignant aspect to his Jewish roots is the survival of both his parents during Holocaust. Both Helen and Abe Greenberg were from Lodz, Poland and interred in concentration camps. Gene is a frequent presenter of their story for his commitment to Holocaust education and as a member of the next generation. Gene and his wife Melanie both spent their childhoods in Kansas City, Missouri and are graduates of the University of Missouri-Kansas City. They married in 1970 and have three children: Sari Mann, Elissa Burda, and Jaron Greenberg.

Rabbi Felipé Goodman was born in 1967 and raised in an established Conservative Jewish community in Mexico City. This community would financially and emotionally support his seminary education was in New York City at the Jewish Theological Seminary. As a young rabbi eager for his own congregation, he became restless in 1998 and began his search for options which lead him to a listing for a rabbi at Las Vegas’s oldest synagogue, Temple Beth Sholom. During this oral history, Rabbi Goodman weaves a fascinating story of chance and good fortune of his interview process and visit to Las Vegas—including the generous parting gift of Snapple—and his surprising decision to take the position. Now, almost two decades later, he reflects on several of his accomplishments in addition to being Temple Beth Sholom’s longest serving rabbi to date. He mentions the opening of the synagogue’s move to a beautiful new building in Summerlin, where they were able to include a mikvah for conversions. He shares how he and Rabbi Jeremy Wiederhorn, formerly of Midbar Kodesh Temple, worked together to establish chevra kadisha for burying Jewish people. As a member of the Rabbinical Assembly he was especially please to help host the 2011 annual conference in Las Vegas after years of persuasion. Israeli political leader Tzipi Livni was the keynote speaker. Rabbi also speaks about his passion for Israel, AIPAC and the Conservative Movement in Judaism.

Until her passing in 2017, Millicent (Siegel) Rosen was the living link to Benjamin “Bugsy” Siegel, one of Las Vegas’ most notorious links to the Jewish mob. A steadfastly independent woman herself, Millicent recalls Benjamin as a loving father to her and her younger sister. She is proud of his status as a Las Vegas visionary, though she affixes a footnote that the city of today might not be to his liking. She includes a few anecdotes about common names of the early days, including Meyer Lansky who walked her down the aisle when she married Jack Rosen. They had three children: Benjamin, Cindy, and Wendy. Millicent moved to Las Vegas to be with her daughter and her family in about 2000 and cherished her role as a grandmother. Always an artist at heart, Millicent once painted canvases for needlepoint and in 2015 promoted her clothing line.