The Lido de Paris Costume Designs contain 29 full color costume designs likely created for the Lido de Paris show in Paris, France which ran during the 1950s and 1960s. The designs are unsigned, but likely created by costume designer Louis Folco. Some designs match costumes worn in the 1956 "C'est Magnifique" show.

Oral history interview with Alice Key conducted by Claytee D. White, with Joyce Moore and two unidentified individuals on November 11, 2004 for the African Americans in Las Vegas: A Collaborative Oral History Project. In this informal interview, Key talks about her early education, sharing anecdotes along with more serious comments. She continues talking about her early activism, beginning with housing discrimination in Los Angeles, California, the work of President Lyndon Johnson on equal rights, her work on the Clark County Nevada Economic Opportunity Board, and the issue of hiring Black front-of-house employees at the casinos and hotels. She continues chatting about families who own or owned casinos in Las Vegas, different church leaders in the city, and ends talking about early Black entertainers, including Dorothy Dandridge and the Barry Brothers and her own experiences as a dancer.

The University of Las Vegas, Nevada Department of Dance Records include recordings of performances put on by the University of Las Vegas, Nevada Department of Dance from 1996 to 2004. The performances were recorded on both video tapes and optical discs.

Oral history interview with Claude, Buddy, and Skip Trenier conducted by Betty Rosenthal on March 10, 1978 for the UNLV University Libraries Oral History Collection.

In this interview, Claude, Buddy, and Skip Trenier, members of the musical group "The Treniers", discuss their experiences performing on the Las Vegas Strip as Black men. They share their group's history playing music at the Flamingo Hotel and Casino and other establishments in Las Vegas, Nevada beginning in 1948. Their discussion covers not only their performing careers but also their experiences with desegregation, racism, and discrimination in the city of Las Vegas.

Claude, Buddy, and Skip Trenier share their accounts of both being a popular act in Las Vegas, requested by out-of-towners from New York and Chicago, and also how they were nearly fired for refusing to play music when noticing customers of color being treated unfairly at their shows. The trio talk about how they could not enter casinos from the front entrance, how most casinos did not formally desegregate until after 1960, and how there were very few Black entertainers, musicians, or dancers during the mid-20th century with a few notable exceptions including Sammy Davis Jr.

African Americans in Las Vegas: a Collaborative Oral History Project event roundtable conducted by Claytee D. White on January 18, 2014 for the African Americans in Las Vegas: a Collaborative Oral History Project. In this panel event, Jean Childs, Joe Neal, Jackie Brantley, LaVerne Ligon, and Ramon Savoy discuss their early lives and explain how they arrived to Las Vegas, Nevada. Childs talks about her father’s business, the Penguin Club, and the history of African Americans in the gaming industry. She talks about her involvement with the Economic Opportunity Board (EOB) and the Head Sstart federal program. Savoy remembers the foundation of Las Vegas Sentinel-Voice and the challenges of distributing weekly publications during the late 1950s. Neal recalls his first political campaign, being a chairman for the EOB, and becoming a Nevada State Senator. Later, Brantley describes the 1971 consent decree, discrimination against African American workers in the gaming industry, and her career in hotel management. Ligon remembers her career as a dancer, being a part of an all-African American dance line, and integration in the entertainment industry.

The Pat McKechnie Collection on Casino de Paris (approximately 1963-1979) contains show programs, photographs, newspaper clippings, and ephemera on the Casino de Paris show at the Dunes Hotel and Casino in Las Vegas, Nevada from 1963 to 1981. The materials were collected by Pat McKechnie who was the ballet mistress for the show.