Meeting minutes include reports from committees of the board, correspondence, and balance sheets.

Jan Kennedy was born (1924) Janet Parmelee, the daughter of a Connecticut physician and a homemaker. In high school she met Norman Kennedy, who she would marry after both had attended college and to whom she was married for 64 years. Until 1963, their roots seemed to be taking hold in the Seattle area. That is until Norm was offered an attractive career opportunity as a weather man at the Nevada Test Site. They settled in and enjoyed a zest-filled life with their four sons and a dynamic group of friends who they often entertained at their cabin in Mount Charleston. In addition, Jan managed to volunteer for a list of organizations including UMC Hospital/Southern Nevada Memorial Hospital; Clark County Museum Guild; Salvation Army Women's Auxiliary; church deacon; Assistance League; Red Hats—keeping herself ever busy and joyfully satisfied.

When looking back on his legacy in the Latinx community of Las Vegas, Otto Merida (1945 - ) takes great pride in being a Latin Chamber of Commerce [LCC] co-founder with Arturo Cambeiro. With the LCC, they forged a powerful economic entity that continues to provide the local Latino community with social and political influence. Growing up during the 1950s in Havana, Otto Merida fondly remembers his childhood despite living under the dictatorship of Fulgencio Batista. There were the murmuring sounds of explosions from afar on the way to baseball games, but also the warm Sunday family meals of Cuban soup with fideos. In this interview, he talks about the rising communist powers inspired by revolutionary Fidel Castro and the events that led his family to place him in the Peter Pan Program in 1961. The Peter Pan Program sent unaccompanied Cuban children to the United States to avoid potential instruction by Castro’s government. Merida still holds on to his mother’s final request upon leaving Cuba-“I want you to remember the address where we live and the phone number: Josefina 68-entre primera y segunda-La Víbora, Havana con el teléfono X4304.” As a part of the Peter Pan Program, Merida experienced a nomadic childhood living in barracks in Miami and a three-story home in Wilmington, DE. The only connection he had to his family were a series of letters he exchanged with his mother, until they reunited years later in Miami. For Merida, life on 79th Street and Biscayne Boulevard in Miami was defined by the values of his family and other Cubans and African Americans in his neighborhood. v Merida earned his bachelor’s degree in Political Science from the University of Florida. He credits his sister-in-law with a pivotal role in his decision to pursue a higher education. His engagement in politics continued through his involvement with the Cuban Circle, the first Hispanic community to be involved with politics in Las Vegas. He describes the migration of Cubans to the casino scene of Las Vegas and the presence of Cubans in the community. His work with the Cuban Circle inspired him to develop a political presence for Hispanics in the community. While travelling across the United States before settling in Las Vegas, Merida made many significant relationships while working with associations such as the Fitchburg Chamber of Commerce and Volunteers in Service to America [VISTA]. Living in Las Vegas, Otto Merida worked as an educator and community organizer. In the late 1970s, Merida and Arturo Cambeiro collaborated to create the Latin Chamber of Commerce of Las Vegas. For Merida, the Chamber consistently goes above and beyond the vision he and Cambeiro had created when they first opened their doors. From the creation of the Latino Youth Leadership Program at UNLV to their work alongside political figures such as Senator Catherine Cortez-Masto, Merida is extremely proud of the various accomplishments of the Chamber. Now as President Emeritus, Otto Merida continues to dedicate himself to the Chamber as a volunteer and serves as one of the many Latinx Voices of Southern Nevada that have shaped the greater Las Vegas community.

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.