Hand written on the bottom corner of the image is a list of names and the words: "Male Dancer, Sketch #2, Part 1." The word "yellow" along with an arrow is also written next to each arm scarf.
Costume Details: A male dancer dressed in a cowboy costume. Shirtless, the dancer wears a white star on his chest and has on a white pair of polka dot pants decorated with fringe on the sides. His pants are held up by a white belt positioned high upon his waist. Red scarves are tied around this arms and a patterned white cowboy hat is positioned upon his head.
Show Name: Pzazz! 69
Performance Name: Las Vegas U.S.A. Today: Jazz, Baby, Jazz
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A costume design drawing of a male dancer in a blue jumpsuit. Across of the peaked lapel jacket are two rows of buttons down that line down the front of the suit, while white ruffles from a dress shirt underneath the jacket peak out around the wrists and collar of the costume.
Costume Details: Hand written along the bottom right of the image: "Jump suit; Jacket w/ center back pleat; Maybe pleat cape; Line cape same or lapels; Christian Cardin; Singer #62." Hand written along the bottom left of the image: "Fly flap."
Show Name: Pzazz! 69
Performance Name: To San Francisco and Love with Music: The Mood- Blue and Beautiful
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Hand written along the right side of the image: "(Illegible) trim; Velvet collar, cuff, tie, and pocket flaps; Jump suit; Jacket with center back pleat; Humberto D'Elia; Sketch #54 Dancer."
Costume Details: Male dancer wearing a turquoise blue jumpsuit that has pleated pants and is decorated with a slightly darker blue cheetah pattern on the left side of the suit. The collar, cuffs, bow tie, and pocket flaps are all made out of velvet. Underneath the suit the dancer wears a blue and white striped dress shirt with a blue bow tie and matching blue shoes.
Show Name: Pzazz! 69
Performance Name: To San Francisco and Love with Music: The Mood- Blue and Beautiful
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A costume design drawing of a female performer dressed in a sparkling blue cape and sheer blue chiffon gown. While the sheer gown drapes across the female's body and slightly hangs behind her, the blue cape of the costume fully covers her arms and acts like a hooded cover for her head. Dangling from her wrists and ears are sparkling silver pieces of costume jewelry.
Costume Details: Light pink and purple fabric swatches of the costume are attached to the upper left corner of the costume drawing. Although there is an abundance of handwritten words along the borders of the image, some of the most legible words lie in the bottom right corner of the image and read: "Kathy Landry; SG- Sketch #81."
Show Name: Pzazz! 69
Performance Name: To San Francisco and Love with Music: The Mood- Blue and Beautiful
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Hand written next to the male figure on the left: "242, 9 male dancers." Hand written next to the male figure on the right: "243, 9 male singers."
Costume Details: Two male performers wearing gold and white military-like costumes. On the left, the male dancer is wearing a short white jacket complete with golden designs, gloves, and fringed shoulder pads. For bottoms , the male is sporting white pants decorated with gold patterns across the thighs and a matching gold belt and pair of boots. He is also wearing a white, gold-lined cape and matching hat that has a yellow feather sticking out of the top of it. On the right is the design for the male singer, whose costume looks almost alike to the dancer, except for a few minor adjustments. For the singer, he is wearing white pants with a thigh high slit down the side, no gloves, and a matching white and gold hat with a feather sticking out of the top of it.
Show Name: Pzazz! 67
Performance Name: Salute to Beau Geste
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The Sands Hotel Public Relations Records document the history of the Las Vegas casino and hotel from 1952 to 1977. It is comprised primarily of photographs, mostly 8x10 black-and-white prints, color prints, and transparencies. Most were produced by the Las Vegas News Bureau. Also included are newspaper clippings, brochures, press releases, and inter-office memos relating to the advertising and promotion department. Materials also include reels of 16mm film of the Sands opening, various shows and events including Frank Sinatra and Dean Martin's "Summit Meeting" performances with the Rat Pack, and footage from various television productions filmed at the Sands.
Archival Collection
Diana Saunders was born Diana Salshutz in the Bronx, the northern most borough of New York City. She was raised in a Jewish neighborhood and recalls how her maternal grandparents pickled pickles, tomatoes and other traditional Jewish delicacies for Wolfie?s Deli. By the time she was twelve years old, Diana was bustling through the city to pursue her dream of becoming a professional dancer. Encouraged by her mother Rose?her father Sidney was not as eager for this pursuit?Diana was accepted into High School of Performing Arts in Manhattan. In addition, she was accepted at the School of American Ballet where she studied classical ballet during the leadership of renowned choreographer George Balanchine. Her first professional performance was in the Nutcracker for American Ballet. At the age of seventeen, Diana was on her own, confident in her dancing potential, and eager to study jazz dancing. This led her to Matt Mattox and to her important mentor, Luigi (Eugene Louis Faccuito). In time she was a featured dancer for Steven Lawrence and Eydie Gorm?s show Golden Rainbow. This was soon followed by a position on Sammy Davis Jr.?s television show in the 1960s. Diana also studied musical acting and showed talent for comedic performance. In the 1970s, Diana crossed paths with Las Vegas venues. She relocated to Las Vegas in 1974 when Donn Arden offered her a dancer position in Hallelujah Hollywood at the MGM. She met and married musical theater actor/singer Joe Bellomo, whose career spanned four decades. He passed away of complications of early onset Alzheimer?s in 1996. Always true to her personal mantra?Wake up; Dress up. Show up?Diana maintains a busy schedule. At the time of this of this interview, she is currently a manger of gondoliers at the Venetian. She brings to life that career and also talks about being a part of the former Star Trek Experience at the Las Vegas Hilton. Diana shares stories of long career as a dancer, from substituting in the black dancer line to continued study of dancing with Anglo Moio. She also talks about the AIDS fundraising event Golden Rainbow, having dinner at Rabbi Shea Harlig?s home and observations of local theater.
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For nearly two decades between 1950 and 1970, only one dentist of Jewish ancestry was known to be licensed to practice in Nevada. That was Dr. Joe Chenin. Finally, in 1971, the steadfast and easy mannered Dr. David R. Wasserman (1944 - ) broke through the barrier to become the second Jewish dentist serving the Las Vegas community. Over the following years, Dr. Wasserman built a sizeable following and immersed himself in the Jewish community of Las Vegas. Among his achievements is his participation and leadership in the formation of Las Vegas’ first Reform Jewish synagogue, Congregation Ner Tamid. He also would be active in the Jewish Federation. In 1992, as the HIV-AIDS epidemic affected dental offices throughout the nation, Dr. Wasserman saw an opportunity to get ahead of the infection. With the help of his wife Juanita Davis-Wasserman and his father-in-law Warren Davis, he developed, patented, manufactured and distributed a disposable tip for a treatment instrument commonly found in dental offices called a tri-syringe. This disposable tip brought sanitary options and great financial fortune to Dr. Wasserman and his family. In this oral history, Dr. Wasserman reflects on his joy of living in Las Vegas. He is a highly regarded dentist and leader in the Jewish community.
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Anne Kellogg's paternal family came to Las Vegas in the 1950s. Then in the late 1960s, her mother arrived to teach school. After her parents married, they set up their first home in John S. Park neighborhood and whenever they moved to a larger house it was within the John S. Park neighborhood. And her father's business office was always nearby. Childhood memories include John S. Park Elementary School being a "hub" for all the neighborhood children no matter where they attended school. There was jumping on the Schofield's trampoline, roller-skating to Odyssey Records, and using Strip hotel tennis courts to practice her game. The Strip was not important in daily life, but if she got good grades, she got to play the Midway at Circus Circus Casino. As an adult, Anne still sees John S. Park as a nice neighborhood that holds an important spot in Las Vegas history. In addition, she offers thoughts on the so-called Manhattanization of Las Vegas, Downtown rehab and the birth of the Arts District, and about retail and being a business owner in the community.
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