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.

Thomas discusses her family history and arriving to Boulder City, Nevada in 1930. Thomas describes housing in Boulder City and explains that people needed to build their own homes in the 1930s. She then discusses prostitution becoming illegal in Nevada, the Helldorado Parade, and the construction of Hoover Dam (Boulder Dam). Lastly, Thomas recalls how her musical career began and entertainment in casinos.

On November 24, 1975, collector P. Kohlman interviewed housewife, Ethel S. Hatch (born April 11th, 1914 in Valentine, Texas) in her home in Las Vegas, Nevada. This interview covers the history of Las Vegas from 1939 to 1975. Mrs. Hatch also talks about ranching in Nevada, Rex Bell, development on the Strip, the first hotels, and early local shopping culture. She refers to Block Sixteen as Block Thirteen when discussing the Red Light District. The interview concludes with discussion surrounding tree-lined streets, the Helldorado Club, and Fremont Street.

On February 27, 1979, collector Judy Laliberte interviewed local school teacher LaVaun Hendrix in her home in Las Vegas, Nevada. The two discuss how Hendrix originally came to Nevada, her occupational history, and differences between the school system in Las Vegas and other states that she’s lived in. Hendrix explains how a changing school system has affected her job as a teacher and her students. She goes on to talk about the above-ground atomic tests, Helldorado, changes to the desert, and Nevada during World War II. The interview concludes with Hendrix describing her travels through Nevada.

On February 21, 1979, Dan Buress interviewed Bernice Johnson (born September 13, 1919 in Los Angeles, California) in her home in Las Vegas, Nevada. The two discuss Mrs. Johnson’s personal history and her reasons for moving to Las Vegas. Johnson describes moving between Southern California and Las Vegas while her husband worked for the railroad company. The interview concludes with Johnson recalling her memories of the Von Tobel family and the rapid population growth in Las Vegas after the construction of the Nevada Test Site.

From the Roosevelt Fitzgerald Professional Papers (MS-01082) -- Unpublished manuscripts file. Presented to the National Social Science Association, Reno, Nevada.

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.