Search Results
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 Horace Emery by Barry Sarles, March 2, 1980
Date
Description
On March 2, 1980, Barry Sarles interviewed river boatman and dam worker, Horace Emery (born 1911 in California) at his older brother’s farm in Nelson, Nevada. This interview covers the local area around Nelson and the early events that helped shape the area. Also present during the interview, Barry Sarles’s girlfriend, Diane Dobaj and Horace’s older brother, Merl Emery. Mr. Sarles also discusses his work as a river boatman on the Colorado River, working on the Hoover and Davis Dams, and employment as a factory worker in Clark County.
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Transcript of interview with Dennis Ortwein by Claytee White, May 6, 2009
Date
Archival Collection
Description
Dennis Ortwein arrived in Las Vegas in 1956. He shares many details about growing up in Montana, his parents and siblings, his education, and the moment in time when he was offered an opportunity to work in Las Vegas. He also lays out the path his singing career took, starting with school plays, duets with his sister, and high school quartets. Once in Las Vegas, Dennis taught for a while, served as principal, and was involved in creating programs that helped integrate schools. He also talks about his church choir work, entertainment in early Las Vegas, above-ground testing at the Nevada Test Site, and anti-nuclear protests. Dennis served as lab school and student teaching coordinator in Nigeria. He offers several anecdotes and stories about the time he and his family spent there. After retiring early (age 53), Dennis acted as consultant to the Esmeralda County school board, executive director for the National Conference of Christians and Jews, and wrote a book. He is currently enjoying his singing career by appearing at conventions, in musicals, and at weddings and memorials.
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Photographs of Desert Moon Motel sign, Las Vegas (Nev.), April 18, 2017
Date
Archival Collection
Description
Site name: Desert Moon Motel (Las Vegas, Nev.)
Site address: 1701 Fremont St
Sign owner: Jerzy and Celina Kosla
Sign details: The building was constructed in 1942 (Assessor). According to one commentator, the Desert Moon motel opened on the site in 1952 (Roadside Architecture.com). The cars on a vintage postcard of the motel appear to date from the late 1940's or early 1950's (Ebay). The same vintage postcard (Ebay) shows the motel as a member of United Motor Courts, an early motel referral chain founded in 1933 which published a travel guide until the early 1950's (Wikipedia). Based in Santa Barbara, California, United Motor Courts was made up of "a friendly group of independent owners of motor lodges..." (Historic Highways). The Quality Inn motel franchise was a spinoff of United Motor Courts (Wikipedia). The motel has been renovated by its current owner, Polish immigrant George (Jerzy) Kosla (Glionna, 2017).
Sign condition: The sign is Condition 4, good. The paint appears slightly faded but there is no flaking or peeling. The cabinets, reader boards, and fiberglass moon are all in good condition. The neon is intact.
Sign form: Pole sign
Sign-specific description: The sign pole and metal cabinets are painted pink. The design and lettering are the same on both sides of the sign. The trapezoid-shaped lower cabinet extends horizontally toward the street. It contains a rectangular white plastic lightbox which states "FREE ADULT MOVIES" in red sans serif letters and "FLAT SCREEN TV'S in smaller black san serif letters. To the left of the letters is the black silhouette of a female figure. On the metal below the plastic screen are clear sans serif neon letters which spell out, "NO VACANCY" in red when illuminated. The upper metal cabinet hangs from the street side of the pole. White painted san serif letters, covered by clear sans serif neon letters which glow red when illuminated, run vertically down the cabinet to spell out, "XXX MOVIES". Five metal cabinets attached to the street side of the sign run vertically to spell out, "M-O- T-E- L" in white painted sans serif letters covered by yellow sans serif neon letters. On top of the pole is a white p
Sign - type of display: Neon, Lightbox
Sign - media: Steel, Plastic, Fiberglass
Sign - non-neon treatments: Lightbox
Sign environment: East Fremont Street, surrounded by other motels.
Sign - date of installation: c. 1950s
Sign - date of redesign/move: The now pink or faded red sign cabinets were painted blue in a 2003 photograph
Sign - thematic influences: Desert, Space Age, Western
Sign - artistic significance: The current sign appears to have taken the Western/Lunar theme from the previous sign and transformed it into a 1950's/1960's Space Age/Lunar theme
Survey - research locations: Assessor's website
Survey - research notes: Ebay. Las Vegas NV Desert Moon Motel roadside Nevada vintage linen postcard ca 1940s. Retrieved from https://picclick.com/LAS-VEGAS- NV-Desert- Moon-Motel- Roadside-Nevada- 141923576051.html Glionna, J. M. (2017 April 23). Motel, once a haven, now a crime-ridden jungle in downtown Las Vegas. Las Vegas Review Journal. Retrieved https://www.reviewjournal.com/local/local-las- vegas/downtown/motel-once- a-haven- now-a- crime-ridden- jungle-in- downtown-las- vegas/ Historic Highways. (2007 July 14). Archive for the "Motel Associations" category: Looking for a motel in 1933. Retrieved from https://historichighways.wordpress.com/category/motel-associations/ Roadside Architecture. com (n.d.). Las Vegas Signs: Desert Moon Motel. Retrieved from http://www.roadarch.com/signs/nvvegas.html RoadsidPeek.com. (n.d.). Downtown motels Las Vegas: Desert Moon Motel. Retrieved from http://www.roadsidepeek.com/roadusa/southwest/nevada/vegas/lvmotel/lvdownmotel/index5.htm Wikipedia. (n.d.). Motel: 2.6 R
Survey - other remarks: A postcard circa early 1950's features a different sign with a saguaro cactus and quarter moon (Ebay). The current sign appears to have taken the Western/Lunar theme from the previous sign and transformed it into a Space Age/Lunar theme, which may indicate that the sign dates from the date from the late 1950's or 1960's.
Surveyor: Mitchell Cohen
Survey - date completed: 2017-08-22
Sign keywords: Neon; Steel; Plastic; Fiberglass; Pole sign; Light box; Sculptural
Mixed Content
Photographs of Boardwalk Holiday Inn signs, Las Vegas (Nev.), 2002
Date
Archival Collection
Description
Site address: 3750 S Las Vegas Blvd
Sign owner: MGM Mirage
Sign details: The Boardwalk Holiday Inn is one of the most distinctive front faces which incorporate an extreme amount of signage condensed into a replica version of an eastern sea board. Since it is designed to be reminiscent of a boardwalk, the pedestrian element is a wooden planked walkway lined with shops and establishments. The area is separated from the traffic by landscaping and concrete elements. All the shop fronts designs, some false and others functioning, are all linked into the casino. The structure is encrusted with raceways and incandescent bulbs, as well as a ridiculous amount of internally lit signage that advertising everything from hotel promotions, to prices of drinks. Headed from the south, headed north, the parking garage can be seen, set back from the street slightly west, adorned with signage on it's face. The casino begins at full throttle aesthetically, with raceways lining almost every edge, contrasting tones of paint, murals, advertisements, neon and incandescence all come together. Above the first main entrance of the property, is a vibrantly lit, gold clad entrance canopy. Above that a non-functioning skeletal mass of a roller coaster comprises the majority of the southern end of the property. Neon letters are located on the vertical plane created by the rise of the tracks. The carnival style treatments of raceways and propaganda run north until the path is interrupted by the vertical pylon sign which is integrated into the architecture of the Boardwalks facade. The tracks continue above the property, all along the length interrupted by the main pylon and addressed with replica's of Ferris wheels with actual mannequins, dressed and riding inside of them. Just pas the main pylon the facade is transformed into a giant three dimensional clowns head smiling joyfully. The facade continues a short distance past the clown's head, and rounds off just as it began.
Sign condition: Structure 4 Surface 4 Lighting 4
Sign form: Pylon; Fascia
Sign-specific description: Upon the eastern face of the parking garage signage is created upon the top edge of the outside wall. The top edge of the wall is fashioned into a sculpted entablature of signage, complete with rising crests and swooping scrolls, which match the fashion of decoration for the facade as well. On each side of the surface possess a pair of internally lit signage. One is square, and the next is rectangular, brandished with black text. The center portion of the sign is closed in with a pair of half columns which rise out of the surface of the entablature to flank the main text. These half columns are laced with an outline of an orange and yellow neon tubing. The Text is spelled in two different lines of channel letters lined with red neon on the interiors. The First line reads "Boardwalk Casino" the second line reads "Free Parking." The two lines span the length of the space provided and are separated by a sculpted dividing line. The tower just to the north of the parking garage is suited with channel letters that spell "Boardwalk' and are filled with red neon. Roller coaster: The sign which resides over the first entrance is similar that of the paring garage, for it is placed in a raceway bordered fascia. The large channel letters are placed in the center and spell " Casino." The first and last letter are the smallest in size, and gradually climb up toward the middle. They are filled with incandescent bulbs and outlined with a border of red neon. Pylon: The rest of the facade is necessary for the theme to really work, but the tallest and brightest piece is the main pylon sign. The pylon sign is essentially a triangular shape which rises straight up into the air. If a unilateral triangle, then one point is facing east with the two sides meeting at this eastern most point, being designated for the main signage. Three visible posts support the sign, glowing with the reflectivity of the gold polished underside which is striped with rows of incandescent bulbs, running perpendicular to the entrance. Three bands of pink neon wrap the two visible sides, just above the pedestrians head. Just above that there is a narrow LED message center which scrolls text, which also wraps the two sides. The majority of the sign occupies the space between this small border and the main marquee. This rectangular portion each one of the pylons sides can be broken down into four horizontal sections. The bottom two comprise the bottom 1/3 of the sign, and are internally lit advertisements ninety-nine cent offers and the Surf buffet. The middle section, being the tallest, contains a large LED message center, flanked on both sides by multi colored neon tubes crafted into the shapes of stars. The stars vary in size and spread up the small wings of the reader board with surprising fluidity. Compared to the rest of this section, the top remainder is rather plain. A plain surface is accented with a pair of words spelled in channel letters. The word hotel is spelled on the left and filled red neon. They are separated by a small, circular, channel filled with green neon. The word on the right is spelled in the same lettering except it is filled with green neon. The space above that is occupied by the main logo for the establishment. A black field supports large white channel letters that are filled with white neon. Then black field is closed in on all sides by scrollwork shapes created out of incandescence and neon. The white and yellow luminescence, takes the form of a double arched section resembling an "E" or a sideways "M" or "W." The top sweeps upward creating an arched top. A top the main array of signage there are three smoke stacks arranged in a triangular formation, with one at the very front of the edge of the sign and two flanking them in the distance. When looking at the sign directly at the face, it appears as if there are a pair for either side. Spanning the distance between the two smoke stacks is an LED reader board lined on both the top and bottom edge with blue neon. An arch of raceways lined with incandescent bulbs loops over the reader board. A large pylon is designated for the Surf Buffet as well. On the northern end of the property a tall pylon sign faces north/south, and stands lined with red neon. The vertical post supports three internally lit cabinets. The post itself, if viewed directly from the top, would be in an "X" or cross formation. Vertical bars of red neon run up the length of the pole, creating a striping effect. The three cabinets are arranged sitting one on top the other, with a small space in between each. The group all differ in size to an extent, with the two lower cabinets being similar sized, horizontal rectangles, and the top cabinet being the largest. They all have raceways lining the exterior faces with chasing incandescent bulbs. The faces are brightly illuminated colored plastic, with the main cabinet being an advertisement for the Surf Buffet. The others advertise for similar amenities.
Sign - type of display: Neon; Incandescent; Backlit
Sign - media: Steel; Plastic; Fiberglass
Sign - non-neon treatments: Graphics; Paint
Sign animation: Chasing, flashing, oscillating
Sign environment: The environment created by the Boardwalk is an effective use of the theme on the pedestrian to create the environment. The Boardwalk is located next to a CVS Pharmacy to the south, which was erected during the course of the survey. When the pedestrian walks upon the Boardwalk, it is busy and noisy, and very attraction getting. When passing into the front side of the property, a pedestrian is assaulted with sounds and noises that are difficult not to pay attention to. This feeling created by the conglomerate of signage and utter blazing advertisement, is almost like a roller coaster. Person comes out the other side noticeably aware of the silence and darkness contrasted to the presence of the property.
Sign - thematic influences: The theme surrounding the Holiday Inn Boardwalk is that of a seaside boardwalk. Most preferably it is modeled to be representative of the eastern seaboard Coney Island. The facade therefore is most logically themed after the environment experienced on such property, amusement rides, and boisterous circus type lighting loom overhead, while wooden planks exist under the foot of the pedestrian. The walk is lined with coin-operated gadgets and games, while store fronts are found spaced between glowing advertisements. A faux Ferris wheel and roller coaster create an overhead arena of stylized representation that can best be suited as one of the more unique on the strip. It is not often that you see mock people lined up inside of a non- functioning Ferris wheel. Oddly enough, this phenomenon can be linked to couple of still existing Las Vegas Strip properties. When Caesars Palace completed its initial main pylon sign, actual life sized replicas of Centurions and Romans were placed at the base of the statue. They were painted to appear as life like as well. This is one example. The next is the living embodiment of this representation of figures, and their role as evolved on the strip as well. Madame Tussaud's wax museum can be said to be the incarnation of the use and fascination with such a medium. While the exteriors of such properties have shifted toward classic statuary, the life like figure has assumed the role of art form, as an elevated attraction in today's strip community. The noisy facade finds a place for three dimensional sculptural elements, such as the clowns face, which further adds to the "Coney Island" "Atlantic City" theming. Event though, the theme, and very nature of the construction of the Boardwalks facade are dictated by its name, it set early precedence for this interactive miniature city facade as present in many of the major player among the strip. e.g. The Paris, NY NY, Bellagio, Aladdin, etc.
Surveyor: Joshua Cannaday
Survey - date completed: 2002
Sign keywords: Chasing; Flashing; Oscillating; Pylon; Fascia; Neon; Incandescent; Backlit; Steel; Plastic; Fiberglass; Graphics; Paint
Mixed Content
Marie and James B. McMillan Papers
Identifier
Abstract
The Marie and James B. McMillan Papers (1928-2010) primarily contain documents pertaining to the families and careers of Marie and James B. McMillan. Included in the collection are photographs, biographical materials, newspaper clippings, award certificates, programs, obituaries, scrapbooks, trophies, legal and military documents, and political campaign documents. Marie McMillan is a former Las Vegas, Nevada flight instructor and one of the first women to work at the Nevada Test Site in Nye County, Nevada. James B. McMillan was the first African-American dentist to practice in Nevada, as well as a prominent Nevada civil rights leader.
Archival Collection
Raymond Germain Professional Papers
Identifier
Abstract
The Raymond Germain Professional Papers (approximately 1960 to 1970) contain material and photographs related to California Post Offices.
Archival Collection
Celesta Lowe oral history interview
Identifier
Abstract
Oral history interview with Celesta Lowe conducted by Patrick W. Canlton on February 06, 2002 for the Boyer Early Las Vegas Oral History Project. Lowe begins by discussing her early life in Baker, California and her father’s role as a station agent for the Tonopah Tidewater Railroad during the 1920s and 1930s. Lowe then describes her family moving to Las Vegas, Nevada in the 1940s. Lowe chronicles the process state legislatures took to open Nevada Southern University in 1957 and her role as an administrative assistant in the main office of the school. Lowe recounts her career at Nevada Southern University, the expansion of the campus, and renaming it University of Nevada, Las Vegas. Lastly, Lowe talks about her switch from an administrative assistant to a librarian at UNLV.
Archival Collection