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Transcript of interview with Eva Garcia Mendoza by Elsa Lopez and Barbara Tabach, September 25, 2018
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Archival Collection
Description
On the corner of 7th street and Clark, and beside the tennis courts of Las Vegas Academy, stands the law office of attorney Eva Garcia Mendoza. Eva has worked in her office since 1982, and in this time she has helped the Las Vegas community work through civil and immigration cases besides aiding in a myriad of other ways. Eva Garcia Mendoza was born in 1950, in the town of McAllen, TX-an environment that perpetuated hatred of Mexican Americans. Eva recalls the racism she endured; for instance, being spanked if she spoke Spanish in school, and her family facing job discrimination because of her skin color or her last name. Being an ethnic and financial minority was difficult, and Eva remembers nights as a child when she would cry herself to sleep. Eva showed resilience in the face of adversity as she states, “you rise to the level of your teachers’ expectations.” With the encouragement of her band professor, Dr. L.M Snavely, she began higher education at Pan American College. She moved to Las Vegas in 1971 and began to work before being accepted at UNLV to study Spanish literature. She graduated in the class of 1973. In 1975, Eva applied to become a court interpreter, a decision that would drastically change the trajectory of her career. She earned the coveted position and began to work beside Judge John Mendoza who was the first Latino elected to public office in the state of Nevada. Several years later John and Eva would wed. Judge Mendoza passed away in 2011. Eva talks about how extraordinary his legacy is-from his professional achievements to a story about his v football days and the 1944 Dream Team, this true story even piqued the interest of Hollywood writers. Through her work, Eva began to notice how she was more than qualified to become a lawyer herself, so she applied and gained a full ride scholarship to the Law School of San Diego University. Eva describes the struggles of attending school in San Diego while her spouse and children were home in Las Vegas. Despite the financial difficulties, being one of few minority students, and becoming pregnant her second year, Eva was able to finish her remaining university credits by returning to Las Vegas and working with Judge Mendoza. Together, they started the Latin Bar Association. Eva began her own practice in 1981 and would later partner with Luther Snavely, who was the son of her band teacher that helped her to attend college so many years back. Today, Eva has a new partner at her office and hired her son to work as a secretary. Eva also tells of the office’s mysterious history, of which includes a ghostly figure many clients claimed to have seen in the reception room. Eva recounts many of her professional achievements, such as petitioning to start the American Immigration Lawyers Association, Nevada Chapter, representing celebrities, winning the unwinnable cases such as against the Nevada Test Site. Eva talks about current events, such as today’s immigration laws, the discriminatory practices of revoking birth certificates from those born in Brownsville, TX., and about the importance of the #MeToo movement. Eva and her family have a great fondness for Las Vegas. The support for the Latinx community in Las Vegas greatly contrasts that which she experienced as a child in southern Texas. She describes wanting to take her children and grandchildren to visit her old home in McAllen, TX where her family grew up on the “wrong side of the tracks.”
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Transcript of interview with Ruth Poirier by Joanne Goodwin, February 5, 2003
Date
Archival Collection
Description
In 1927, a sixteen-year-old girl from Rockford, Illinois moved to New York City to play trumpet with the all-girl bands common from the 1920s through the end of World War II. During this period, which spanned Prohibition, the Great Depression, and World War II, all-girl bands came into their own in America. They were especially popular during the war, when most men were off fighting but people still needed and appreciated music. This was also a time when jazz and swing became wildly popular in this country. All-girl bands were able fill a niche left empty by men at war. Doris Eloise Pressler was born in Jamesville, Illinois on January 17, 1911 to Bertha Hendrich Pressler and Louis Pressler. Almost immediately after her birth, the Pressler family moved to Rockford, Illinois. Bertha was a teacher, a homemaker and mother. Louis did auto body hand-painting and also managed a bar. In addition, he played baritone saxophone and taught his daughter Doris to play trumpet. They both performed with hometown bands, playing churches, dances, and other social events. In 1927 at age sixteen, Doris left school, moved out of the family home, and went to work for Walgreens in downtown Rockford. In her free time she played music. Doris began her professional music career in 1927 as a trumpeter with the Gypsy Sweethearts in Rockford. That same year, she moved to New York, where she played in the only women’s band that ever performed at New York’s historic Roseland Ballroom. During the early 1930s, Doris performed with the Red Dominos, an all-girl band that was part of a variety show produced by E. K. Nadel. However, it was tough for girl musicians during the Depression. Few managers wanted to hire female players when so many men were out of work. Doris persevered, and through the 1940s, she traveled and played with other all-girl bands such as Annette Demon and her French Dolls and the Hollywood Debs. While Doris pursued her music career, a little girl in Wisconsin was learning to play the piano and trombone. Born on April 13, 1917, Ruth Poirier came from a musical family: her father John played drums and French horn, her brother drums and bassoon. John performed with the local Elks Club group, while Ruth and her brother played for their high school band. Ruth’s mother Mary had been a nurse, so when she finished high school Ruth decided to attend nursing school in Chicago. After a year, she returned home to Wisconsin and trained as a beautician. In 1939, Ruth answered a local ad for girl musicians and signed on as a trombonist with an all-girl band. Her first gig lasted only a month, the band dissolved, and she left to tour with Annette Demon and her French Dolls out of Milwaukee. While playing down South, Ruth met a fellow musician who became her lifelong companion, Doris Pressler. In July 1939, Ruth and Doris took off for Southern California. While living in Long Beach, Doris performed with bands at the 660 Club on the Pike, a well-known waterfront amusement park, and at the Waldorf Cellar. She also played a gig at Murphy’s, across from the Showboat in Las Vegas. Girl musicians began getting more jobs because the men were being called into military service. Ruth, a “Rosie the Riveter” during the war years, helped to build Navy fighter planes for Douglas Aircraft in El Segundo, California. After the war ended in 1945 women, whether “Rosie the Riveters” or band members, lost their jobs to the hordes of returning servicemen. Realizing that all-girl bands were “gonna go nowhere at all,” Doris had decided in the early 1940s to return to school and pursue studies in her second love, mathematics. She took classes in math and engineering at the University of Southern California, and then joined the Los Angeles County surveyors’ department as a civil engineer. After two years there, Doris transferred to the road department, where she worked until her retirement in 1974. Ruth returned to work as a beautician, running a shop out of her home. The Greater Los Angeles area contained an active gay and lesbian community both during and after the war. Doris and Ruth enjoyed a social life that included girls’ clubs such as Tess’s and drag clubs like the Flamingo. According to Ruth, these were “sitting-down, drinking places…and visiting. We had one club where they had dancing…. But then they let everybody in.” After the war, everybody just wanted to have fun, and Doris and Ruth enjoyed getting together with all types of friends in clubs and in private homes. During these at-home evenings, Doris and others would play popular music for everyone’s enjoyment. After their retirement to Las Vegas in 1974, Doris and Ruth were active in their local senior center. Doris played with the Las Vegas Senior Band for ten years, and Ruth worked in support of the band and the center. According to Ruth, Doris loved playing with the band, and enjoyed it more because she was retired and could devote herself to her playing. Doris Pressler and Ruth Poirier lived together through six decades of radical social change in America. From the rise of women musicians and workers outside the home, through the return of women to more “traditional” roles after World War II, and finally the revolution in women’s roles from the 1960s to the present, Doris and Ruth experienced it all. And through it all, they maintained a relationship that lasted for 62 years, until Doris’s death. According to Ruth, “I enjoyed my life. I never found anything wrong with . ... I think Doris would say the same."
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Transcript of interview with Joan Massagli by Claytee White, August 19, 2010
Date
Archival Collection
Description
Joan Massagli spent her childhood in the Tacoma, Washington area, singing three-part harmony—a member of a musically talented family that included five children and an aunt and uncle who raised all the kids to enjoy music. By high school in the early 1950s, she and her two older sisters were regulars on a local TV show. In 1956, the Sawyer Sisters act was formed and they were soon obtaining regular gigs in Las Vegas. Their popularity continued form 1957 to 1964 and they played many of the major hotels, usually as a warm up act for headliners that includes a list of names such as Roy Clark, Louis Prima, Shecky Greene, and Delia Reece. At first the Sawyer Sisters included older sister Nanette Susan and Joan. When Nanette quit to raise her family, youngest sister Kate stepped into what was called a "lively and lovely" trio. Joan met her future husband and musician Mark Tully Massagli, while performing in the early 1960s. Caring for ailing parents while working mostly in Las Vegas, the couple made Vegas home. Even after the Sawyer Sisters name faded from the Strip's marquees, Las Vegas remained home to the Massagli's, who raised their children here. Today they live in the Blue Diamond Village area and recall the changes that have occurred on the Las Vegas Strip—especially from an entertainer's point of view.
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Transcript of interview with Joyce Marshall-Moore by Emily Powers, March 25, 2008
Date
Archival Collection
Description
Joyce Marshall-Moore came to Las Vegas from Chicago in December of 1953. Only eight years old at the time, she clearly remembers the road trip with her father Royce (known as "Mousie"), her mother Agnes, and her two brothers. They left Chicago, where it was snowing, and arrived in Las Vegas on a cold snowy day! Joyce attended school at Sunrise Acres ES until eighth grade and then went to Rancho High School, graduating in 1962. She recalls that her father worked for a time at the El Rancho Vegas and that her mother found work at Southern Nevada Memorial Hospital. Agnes Marshall (nee Rasmussen) took her nurse's training in Buffalo, New York, and then worked at Buffalo General Hospital and Millard Fillmore Hospital. Later she joined the army and was stationed in Memphis, Tennessee, working at Kennedy General Hospital where she met Royce and married him. They moved to Chicago where she found work at Ravenswood Hospital. After their move to Las Vegas, Agnes was hired at Southern Nevada Memorial Hospital. She became disenchanted with nurse-patient interactions at the county hospital and found employment at Las Vegas Hospital. She worked there until 1976 and then was hired at Las Vegas Convalescent Center. Agnes followed her dreams and traveled during this period as well. Agnes worked with Doctors Lund, Allen, Woodbury, Sulvane, and Hardy, among others. Joyce recalls that Dr. Hardy, a cousin and look-alike to Oliver Hardy, was one of her mother's favorites. She shares anecdotes and memories of these and other doctors. Joyce remembers many aspects of her mother's life, including the fact that she took care of neighbors as well as her family and patients. She often worked double shifts and the pay was nominal, but she loved her job because of the relationships with her patients. Agnes passed away in 2006 at the ripe old age of 91.
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Transcript of interview with Sandra Peña by Lada Mead and Stefani Evans, March 27, 2017
Date
Archival Collection
Description
Sandra Peña’s story begins in East Los Angeles, where she spent her first fifteen years with her parents (both from Michoacán, Mexico), and her younger sister. The father's managerial position at Master Products allowed the family to live rent-free in a company-owned house behind the main factory, because he collected the rents for the company's two other dwellings. In this interview, Peña recalls the family move to Porterville, in California's Central Valley, her return to Los Angeles at nineteen, and her work with Parson’s Dillingham, a contractor for the Metrolink rail system. She draws the link between the Los Angeles and Las Vegas construction communities by describing her husband's move to Las Vegas to find work; a chance Las Vegas encounter with a friend from Chino, California; her ability to gain employment in Las Vegas at Parson’s, a company that had joint ventured with Parson’s Dillingham, and her move from there to Richardson Construction, a local minority-owned company. As Peña says, "It's kind of all intermingled. Even if you go here and you go there, it's like everybody knows everybody." Throughout, Peña weaves her family story into the narrative as she describes her youth, the birth of her son, the illness and death of her father, and her family's participation in her current employment with Richardson. As she remembers the people, places, and events of her life, Peña speaks to the ways one woman of color built on her interstate construction connections and rose in a male-dominated industry.
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Transcript of interview with Rosemary A. Vassiliadis by Stefani Evans and Claytee White, April 12, 2017
Date
Archival Collection
Description
“My very first car… Oh, boy, I can't remember the year. It was old. But it was a [Chevrolet] Monte Carlo. Oh, my gosh, I was so excited. . . . It was my pride and joy. I'm a teenager, right? It was freedom. That's what it was.” It might seem incongruous that the aviation director for the nation’s eighth busiest airport ranked by passenger volume would begin an oral history rhapsodizing over the freedom her first car represented. But despite the powerful role she occupies professionally, Rosemary Vassiliadis remains true to her Chicago upbringing in a tight-knit Italian family, in which she was the first female on both sides to go to a four-year college. Rosemary attended nearby DePaul University, where she earned her degree in accountancy. Shortly before she graduated she was a bridesmaid for an Italian friend whose Greek Orthodox groom had asked Billy Vassiliadis to be his groomsman. Over the three days of the wedding Rosemary and Billy became acquainted and began a long-distance courtship that continued for nearly nine years before Rosemary finally agreed to marry Billy and make Las Vegas her home. This oral history chronicles Rosemary Vassiliadis’s Las Vegas career from financial analyst with the City of Las Vegas under Myron Leavitt to working with Randy Walker at Clark County to working with him again as deputy director of aviation at McCarran Airport; she shares how both men mentored her, and how their teaching has in turn inspired her to mentor younger women leaders. She talks about managing the airport in the six days after the Nine-Eleven (9/11) Terrorist Attacks, during which time Walker, who had been attending a conference in Montreal, was grounded there when all North American airports closed; she talks about working cooperatively with the Las Vegas Convention and Visitors Authority to transport tourists once the other airports opened, and she confides her determination to get her New York passengers home first so they could learn the fates of, comfort, and draw comfort from their loved ones. She walks listeners through the process of planning for Terminal 3, including financing it during the downturn, selecting its art, and seizing the opportunity to thank President Obama in person for making Terminal 3 possible-a “thank you” that resulted in an autographed photograph of the aviation director with the President as they stood on the tarmac in front of said terminal. While Rosemary’s ideas of freedom and transportation have likely matured since she bought her first gas guzzler in Chicago, she has acquired a firm grasp on what it takes to run the eighth-largest passenger airport in the U.S., which in 2017 serves the second-most popular U.S. travel destination (after New York City, according to TripAdvisor). Las Vegas is lucky that Rosemary agreed to serve as her friend’s bridesmaid and to eventually say “yes” to the persistent (and patient) Billy Vassiliadis. In 2017, Clark County School District recognized the couple’s many contributions by establishing the Billy & Rosemary Vassiliadis Elementary School.
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Transcript of interview with Alan Clancy by Su Kim Chung, by February 12, 2015
Date
Archival Collection
Description
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.
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Transcript of interview with Fluff LeCoque by Joyce Marshall, May 5, 1997
Date
Archival Collection
Description
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.
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Transcript of interview with Susan Jones Watson by Claytee White, February 20, 2013
Date
Archival Collection
Description
A resident of Southern Nevada from the age of three, Susan Watson shares her memories of growing up and living in Las Vegas. After a year in Boulder City, Susan's father bought an old army barrack and converted it to a home in North Las Vegas; Susan remembers playing in the desert with her siblings and attending elementary and middle school before starting at Rancho High. Watching her mother design costumes for Strip performers and beautiful dresses for her own high school dances no doubt helped Susan develop her own sense of taste and style - something that she would put to good use over many years as an interior designer. Before that though, Susan shares her memories of what life was like in the Las Vegas of the 1950s and 1960s: cruising Fremont Street; movie nights; after-school work; favorite teachers; lunches on the lawn; and dance club. All combine to paint a vivid picture of a smaller town and a simpler time in the Las Vegas valley.
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