The mention of that name, in the right circles, brings back a flood of associations.
Among them: a famous cabaret in Gay Paree, a Nicole Kidman movie rich in costume and set design and…well, a movie, anyway; or, if you really know your films, perhaps the association is with the 1952 John Huston “biography” film of the same name.
The one association that might not quickly come to mind, even though it should: ground zero in a battle that led to the desegregation of Las Vegas.
Today’s story will fill in the blanks that you might have regarding that association—and by the time we’re done, we’ll have covered, just as we promised last time, the 55-year history of a place that began in 1955, lasted for not quite six months, and ended just last week…maybe.
It’s another one of those American history stories you never heard before, and it’s well worth the telling…so let’s get right to it.
“Last year people won more than one billion dollars playing poker. And casinos made twenty-seven billion just by being around those people.”
--Samantha Bee, “The Daily Show”, March 10, 2005
For those of you who missed Part One, we better take a moment to catch up:
Las Vegas, as World War II came to an end, was very much a segregated city, with blacks, who by that time were roughly 3000 of the city’s total population of 20,000, literally forced to live on the Wrong Side of The Tracks (a problem that continues to create headlines even as recently as 2008).
(Irony number one: “The Tracks”, or at least 60 acres of the land upon which they used to sit, are now the site of an upscale redevelopment effort (“Union Park”) that Westside residents note has the potential to leave them even more geographically isolated than they were when The Tracks occupied the site. To further the irony, far more redevelopment money is being spent on the Union Park project then is being spent in the severely economically disadvantaged Westside.)
As the casinos began to become the major driver of the local economy, blacks were allowed to work on the properties, but they could not patronize the segregated casinos in which they worked.
This extended to the highest levels of worker, as even the entertainers who were brought in to work the showrooms were forced to seek accommodations in the Westside neighborhood…which is why the neighborhood’s rented cottages and hotels, such as the famous Harrison Boarding House, could count among their many famous guests Nat King Cole, Lena Horne, Sammy Davis, Jr. and Jack Benny’s “valet” and sidekick Eddie “Rochester” Anderson.
By the middle of the 1950s there had been unsuccessful efforts in Nevada to pass laws mandating an end to segregation in the casinos and elsewhere (oddly enough, there had never been a law requiring segregation); and it has been suggested that casinos were resistant because their customer base at the time was mainly Californians who had settled there from the Southern states, and who presumably brought their racial animus with them.
And it wasn’t as if blacks were not allowed in bars or casinos: there were several on the Westside that catered to a black clientele.
Want to see a product of Strip segregation history with your very own eyes? The New Town Tavern, who once hosted Redd Foxx and B.B. King on its now-closed showroom stage, has remained open on the Westside from 1955 to the present day at the corner of F Street and Jackson Avenue.
Which brings us to Frank Sinatra.
By 1953 Sammy Davis, Jr., and the other members of the Will Maston Trio, of which he was the featured player, were splitting $5,000 a week for their services…but they could not stay at the place they played. By 1954, Sinatra convinced Sammy to open for him at The Sands; and in November of that year The Will Maston Trio was not only making $7500 a week at the Frontier, the hotel “comped” their room, board, and drinks, and allowed them the run of the casino, making them the first black act to receive that sort of treatment from a Strip casino (although others report that Nat King Cole was actually the first, in 1955).
In May of 1955, in an effort to “change the rules of the game”, Alexander Bisno and Lou Rubin opened the Moulin Rouge Hotel and Casino on a site in between the Strip and the Westside.
Bisno and Rubin opened the property as a completely integrated facility, bringing blacks and whites in as guests and staff…and even as management and owners. Boxing great Joe Louis was both the official greeter and a partner in the venture. The great Benny Carter was brought in as musical director.
(Fun Fact: the distinctive neon signage for the Moulin Rouge was designed by one of the few women in the business at the time, Betty Willis, who also designed one of the most recognizable signs in advertising history, the “Welcome to Fabulous Las Vegas” sign.)
The hotel was an immediate and massive hit with visitors, who were treated to the best entertainment available anywhere: Sammy, naturally, played the room, along with The Platters, Harry Belafonte, Louis Armstrong, Nat King Cole, and Eartha Kitt, to name but a few.
But here’s the thing: a major reason the place was so popular was because Sinatra, Dean Martin, and the rest of the Rat Pack would head over to the Moulin Rouge, either to put on impromptu performances or to just hang out in this newly swinging atmosphere—and suddenly, the Moulin Rouge, after the other shows on the Strip had ended for the evening, became possibly the hottest joint in the world; with everybody, and I mean everybody, heading over to see and be seen with Sammy, Sinatra, Dino, and the rest of the Pack…and of course, the “Tropi-Can Can” girls.
Things got so crazy that the Moulin Rouge added a 2:30 AM “Third Show”—but within six months, the Moulin Rouge had closed its doors; possibly the victim of mismanagement, possibly the victim of an oversaturated market, possibly the victim of policies designed to make blue-collar black patrons feel less welcome…and possibly the victim of “The Mob”, who had a hand in several of the Strip hotels that were suddenly losing significant amounts of gambling business to the new hotel.
"We don't think that we, or any other hotel, should give away a $30,000 show for a Coke and two straws."
--Former Riviera Hotel Chairman Morrie Mason, in “Time” Magazine, September 19, 1955
And with that, you’d think the history of the Moulin Rouge had come to an end.
In fact, there was quite a bit more history yet to come.
“A friend to me has no race, no class, and belongs to no minority. My friendships were formed out of affection, mutual respect, and a feeling of having something strong in common. These are eternal values that cannot be racially classified. This is the way I look at race.”
By 1959, the Rat Pack was in town filming “Ocean’s Eleven” and going after segregation in their own unique way. They would show up at a casino, and if the casino would not admit Sammy Davis, Jr. to the gaming floor, then they would move on to the next one. Since no one wanted the bad publicity…Sammy usually got in. (That same year, blacks and whites in Nevada were legally allowed to marry.)
Because so many people were pushing for integration, segregation was beginning to be bad for business, and something had to be done.
Even Nevada’s Governor, Grant Sawyer, was trying to change the culture of segregation…and as 1960 rolled around, the NAACP was applying its own pressure.
Dr. James McMillan, leader of the local NAACP chapter, announced that he would organize a series of “sit-down strikes” in the restaurants of the Strip casinos. The day before the strikes were to begin, Oscar Crozier, representing the hotel interests, met and negotiated with NAACP representatives, Hank Greenspun, the publisher of the “Las Vegas Sun”, and some assorted politicians at…wait for it…the abandoned Moulin Rouge, where the Moulin Rouge Agreement was struck, which immediately desegregated the patronage of casinos on the Strip.
“When these fellows realized that they weren't going to lose any money, that they might even make more, they were suddenly colorblind.”
(The new colorblindness, oddly enough, did not extend to the Downtown casinos, and Binion’s Horseshoe was among of the last of those casinos to desegregate.)
Over the next few years, employment on the gaming floors was also desegregated, and in 1971 the State Legislature passed a law barring racial discrimination in the housing market.
Even after all that, the Moulin Rouge wasn’t through making history. The property and buildings and…casino license…passed from one owner to another, and eventually one of those owners, Sarann Knight-Preddy, became the first black woman to hold a Nevada gaming license.
The property did operate as a sort of “apartment-motel” for a number of years, and even reopened as a casino during the 1990s, but a 2003 arson fire destroyed the casino/showroom building and removed it from Preserve Nevada’s list of 11 most endangered historical sites in the State.
Even then the remaining “hotel” buildings became low-income housing…until they became too dilapidated for that purpose.
And even then plans continued to float around, including an effort that seemed to be gaining momentum in 2008 to build an entirely new project on the old site…until a bad economy and bankruptcy brought that momentum to a crashing halt.
In an ending reminiscent of something that might have happened in the movie “Casino”, on May 5th of this year, Olympic Coast Investments of Seattle took ownership of the Moulin Rouge through foreclosure…and on May 6th, another fire took out the remaining buildings on the site. Olympic Coast reports they intend to sell. (Luckily, the neon sign had been removed in the weeks before the fire to the Neon Boneyard.)
We have come a long way with this story, but here we are at last.
Las Vegas, we’ve learned, has had to deal with a history of racial segregation, and was able to break the back of that segregation through the efforts of people as diverse as local neighborhood organizers, Jewish financiers…and the Rat Pack.
That history was forever changed because one casino, for not quite six months, showed what Las Vegas could be—but as we said at the beginning of Part One, even though the casino was only open for those few months, the history it represents continues to unfold, more than 50 years later.
What happens next, no one knows…but in Las Vegas, with a piece of land and an available gambling license to work with…I wouldn’t be too quick to bet that the history of the Moulin Rouge is over just yet.
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