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Daily newspaper published in Owosso, Michigan. Formerly known as Owosso Weekly Press, Evening Argus, and Press-American. Materials consist of full newspaper issues spanning 1862-2016, assorted newspaper clippings, photographs, and research material for articles.

The records document newspaper issues and articles regarding Shiawassee County and national news published by the Argus-Press located in Owosso, Michigan between 1862-2016. Material includes microfilms of full newspaper issues, newspaper clippings, photographs, and research material related to select articles. Series and subseries may have overlapping subjects, and folders are arranged according to original order. The collection is divided into two series: Publications and Arranged Clippings.

Don Werkheiser was a teacher, writer, and philosopher-reformer active in the last half of the 20th century. He is best described as an individualist anarchist and libertarian. Most of his writings center on the philosophy of Mutual Option Relationship, which he developed and promoted throughout his life. It is multidisciplinary in its nature but based mainly on principles of equal rights and freedom of the individual. The eight linear feet of papers consist primarily of Werkheiser's writings (in the form of notes, drafts, and finished typescripts), correspondence with friends and colleagues, and related ephemera. A small number of photographs, materials documenting Werkheiser's interests and activities, and works by associates of Werkheiser are also present.

Don Werkheiser, like many of his peers, received little recognition for his ideas and efforts during his lifetime, even among the relatively small circle of individualist anarchists within which he interacted. The papers consist mainly of various iterations of his Mutual Option Relationship philosophy and methodologies for realizing it, as well as his thoughts on the numerous social, economic, and political problems that he saw in contemporary American society. There is also correspondence with friends and associates in his intellectual and ideological sphere. The ephemera in the collection--consisting of newspaper clippings; pamphlets; and extracts from periodicals, books, and monographs, are significant because of their subject area (mainly freedom of speech), their relative obscurity, and also Werkheiser's extensive annotations. These materials are supplemented by a very small number of photographs.

The Don Werkheiser Papers (8 linear feet) have been divided into six series: Writings, Correspondence, Other Activities, Works by Others, Photographs, and Ephemera. Originally included with the Don Werkheiser Papers was a large collection of books and pamphlets by Theodore Schroeder, an important influence on Werkheiser, as well as published works by other authors. These have been removed and cataloged separately.

There is a significant amount of material in the Don Werkheiser Papers having to do with Theodore Schroeder. In addition to championing free speech causes, Schroeder developed a system of psychological thought which he named "evolutionary psychology." He was also interested in erotogenic interpretations of religious practices, and his writings on this topic generated much controversy in his day. Werkheiser was profoundly influenced by evolutionary psychology and other areas of Schroeder's thought, especially his advocacy of free speech. This is indicated not only in Werkheiser's own writings, but also in his substantial files of material by and about Schroeder and in a small amount of correspondence between the two, and between Schroeder and others. (As a point of clarification, Schroeder's evolutionary psychology appears to be entirely unrelated to the discipline of the same name established by Leda Cosmides and John Tooby in the 1990s.)

There is also a substantial amount of material related to the School of Living (mainly the one in Brookville, Ohio) and the ideas associated with it: decentralism, cooperative living, monetary and tax reform, alternative education, permaculture, wilderness and farmland preservation, and the environment. Its founders, Ralph Borsodi and Mildred Loomis, are also well-represented in the collection--particularly Loomis, who was a close friend of Werkheiser's. (As another point of clarification, the School of Living's journal-newsletter, Green Revolution, is unaffiliated with--and even in direct ideological opposition to--the Green Revolution in agriculture begun in the mid-1940s that encouraged large-scale chemical applications as a means to boost agricultural productivity.)

Other important influences on or associates of Werkheiser represented in the collection are Georgism and Henry George (on which Werkheiser wrote extensively), Laurance Labadie, Ralph Templin, and Arnold Maddaloni. There is also some material by the science fiction writer Robert Anton Wilson.

The Gerald T. and Charlotte B. Maxson printed ephemera collection contains over 5,000 pieces of assorted ephemera, the majority of which were commercially printed in the United States during the mid to late 19th-century.

The Gerald T. and Charlotte B. Maxson printed ephemera collection contains over 5,000 pieces of assorted ephemera, the majority of which were commercially printed in the United States during the mid to late 19th-century.

The Maxson collection provides a valuable resource for the study of 19th-century visual culture, commercial advertising, and humor in addition to the role of gender, ethnicity, and race in advertising. American businesses are the predominant focus of the collection, though many international businesses are also represented. While trade cards are by far the most prevalent type of ephemera found in this collection, an extensive array of genres are present including die cut scrapbook pieces, photographs, engravings, maps, serials, and manuscript materials.

The 23 binders that house the Maxson collection were arranged by the collectors themselves. Items are organized somewhat randomly in terms of topical arrangement. While pockets of related materials can be found here and there (for instance, the entirety of Volume 16 contains circus-related items while Volume 11 contains an extensive number of Shaker-related materials), for the most part any given subject may appear in any given volume. In some cases, items are clustered as a result of having been acquired together or due to a documented common provenance. Occasional typed annotations written by the Maxsons help provide additional context for certain items.

The Maxson Collection Subject Index serves as a volume-level subject index for materials found throughout the binders. The subjects indexed here are generally representative of both visual and commercial content. In addition to more general subjects, many names of specific people, places, buildings, events, and organizations that appear in the materials have also been listed. Researchers engaging with this collection should be aware that they will encounter numerous examples of racist caricatures, especially ones depicting African American, Native American, Irish, and Chinese people.

Holly Fine was a dancer and performer with the traveling vaudeville production, the Marcus Show, in the 1930s. The collection documents Fine’s relationship with entertainer Danny Kaye, as well as the Marcus Show itself. Includes correspondence, vaudeville programs and promotional material, photographs, scrapbooks, printed material and drawings. The correspondence includes approximately 0.5 linear feet of letters written from Kaye to Fine.

The Holly Fine and Danny Kaye Papers document the relationship between Fine and Kaye, as well as the 1930s traveling vaudeville production, The Marcus Show. The papers have been divided into six series: Correspondence, Vaudeville, Printed Material, Photographs, Scrapbooks, and Drawings and Artwork.

Naomi Long Madgett is a prominent poet, educator, and editor, recognized for her significant contribution to African-American letters. Since 1972 she has run, single-handedly, Lotus Press, which publishes poetry by African-Americans and others. The collection documents Madgett's career and the operation of Lotus Press, through correspondence, manuscripts (both by Madgett and by authors published by Lotus Press), ephemera, audiovisual material, and photographs.

The Naomi Long Madgett Papers document the prominent career of Ms. Madgett as a poet and a teacher, and her operation of Lotus Press, which Madgett has run single-handedly for more than 30 years. Thus, the collection makes a good source of insight both into Madgett's own writing and aesthetic sensibility, and into the cultures of lyric poetry and African-American letters in the latter decades of the 20th Century. The bulk of the material covers the 1980s, the 1990s, and the first few years of the 21st century, with Madgett's activities in the 1970s being fairly well represented as well. From the correspondence collected here a vivid picture emerges of Madgett's relationships with some of the authors whose work she published--such as James Emanuel and Gayl Jones--as well as with other authors, such as Gwendolyn Brooks. In addition, correspondence and ephemera evidence the growth of Madgett's own reputation, documenting her many professional activities, awards, and honors over the years. While manuscripts by Madgett herself do not comprise a large part of the collection, the fortunes of one of her most famous poems, "Midway," are documented in detail, and an unpublished autobiography ( Pilgrim Journey) provides an extensive synthesis by the author of her own influences and career (a section of which has been published by Gale's Contemporary Authors' Autobiography Series). Finally, the collection provides a close look at the daily operation, from its inception, of a small literary press.

The Naomi Long Madgett papers have been arranged into nine series: Personal, Writings, General Correspondence, Workshops and Events, Author Files, Business Records, Ephemera, Photographs, and Audiovisual. Books published by Lotus Press, as well as other books and periodicals from Madgett's library, have been catalogued individually and are shelved by call number in the Special Collections Library. Within the collection, however, much material is available from the production of certain Lotus Press books; see below Writings and Author Files.

Serves as media relations office and disseminates information about university programs, research, events, and faculty activities. Includes correspondence, press releases, newspaper clippings, and other papers concerning the activities and work of the University, notable campus events, research, and teaching.

The News and Information holdings document how the university is portrayed in the media and the efforts of the university to promote itself. Although there is some correspondence from 1900-1903 and the 1930s, the bulk of the records date from 1946 to the present. The value of the files is as a source of ready information (on a yearly basis) about the activities and research accomplishments of university faculty and staff, departments, colleges and schools, libraries, centers, and other units. The records also chronicle notable events and visits by famous scholars and celebrities through yearly topical files, press releases, and correspondence. News and Information Service holdings also contain extensive photographic material (prints, negatives, slides, and transparencies) generated by the photography unit in addition to non-photographic records. The substantial photographic holdings are described in a separate finding aid.

The non-photographic News and Information Services records include some correspondence of the unit's administrators, although the bulk consists of news clippings, published materials, press releases, and other background information collected by NIS and arranged topically by year. The records are organized into eight series: CORRESPONDENCE, PRESS RELEASES, MISCELLANEOUS, TOPICAL FILES, GERALD R. FORD, UNIVERSITY PRESIDENTS, and ARCHIVED WEBSITES.

The Orson Welles – Oja Kodar Papers includes scripts, production documents, photographs, and other materials from Orson Welles's work in film and other media. General correspondence, topical files, papers related to Oja Kodar, and personal materials also make up a portion of collection. The bulk of the papers date from the 1960s to the 1980s with a smaller amount of material from the 1930s-1950s. The Additions to the Welles-Kodar Papers series, acquired in 2015, complements the scripts, correspondence and photographs already held, but also include annotated typescripts of drafts for a planned memoir, additional on-the-set photographs from films, television, and other projects, personal photographs, and documents from collaborations between Welles and Kodar.

The Orson Welles - Oja Kodar Papers primarily document the creative activities of Orson Welles during the last two decades of his life. The papers also contain a smaller amount of materials from the 1930s through the early 1960s. The materials in this collection were obtained from Oja Kodar, his companion and creative collaborator from the 1960s until his death in 1985. Additional papers were acquired in 2015 and are described below in the Additions to the Welles-Kodar Papers series.

The Welles-Kodar Papers have been divided into thirteen series: Theater, Radio, Film, Television, Other projects, Magic, Name and topical, Personal, Oja Kodar, Sound, Motion pictures, Realia, and Articles and clippings. Though much of the collection was loose and unordered, any parts of the collection that were grouped or organized by Welles, his assistants, or Oja Kodar have generally been kept in their original order. The loose, unorganized papers were then arranged according to the patterns that seemed exist in the material that was organized. Essentially, the current organization of the collection is an attempt to more fully implement the organizational schemes that Welles and Kodar were employing in the collection.

The first five series (Theatre, Radio, Film, Television, Other projects) represent the bulk of the collection and are arranged by project. For example, all materials relating to Citizen Kane including correspondence, photographs, and production documents, are kept together, physically and intellectually. The projects are then ordered chronologically. For example, immediately after the Citizen Kane (1941) materials are materials related to Welles' next project, The Magnificent Ambersons (1942). There are two exceptions to this project-based arrangement, where two groups of materials were kept together by production company (Astrophore and Roprama Film). Researchers should also note that Welles often worked on several projects at once so a memo filed, for example, under F for Fake (1974), may touch on Blind Window , which he was working on in roughly the same time period. Browsing through material from projects that occurred during the same general time period may therefore be a useful search strategy for researchers.

The Magic series, consists of a small amount of magic books, scripts for tricks, correspondence with magicians, and playing cards, reflects Orson Welles' strong, life-long interest in magic.

The remaining seven series (Name and topical, Personal, Kodar, Sound, Motion pictures, Realia, and Articles and clippings) contain material not generated during the making or distribution of Welles' creative projects. The Name and topical series consists of an alphabetical set of subject and name files material may range from correspondence with friends to posters from film festivals honoring or featuring Welles's work. The Name and topical series also includes correspondence with many famous filmmakers and actors and actresses. The Personal series contain photographs of Welles and materials relating to childhood friends, family, Welles's houses, and personal legal and financial matters. The Oja Kodar series includes material from her career as a sculptor, scripts she wrote, and some correspondence and personal material.

The final series: Sound, Motion pictures, Realia, and Articles and clippings, are relatively small (taken together they take up roughly 3 linear feet). Some material of note include cigar boxes on which Welles jotted various notes and a set of acetate records which seem to include a rare Welles radio performance.

The Theater series consists of a few files (about .1 linear feet) with he contents made up primarily of photographs and some programs from relatively early in his career, including the Mercury Theatre, as well as some from after he started working in film. Dates span 1934-1960.

In 2015, the library acquired the remaining Orson Welles papers in the possession of Oja Kodar. The Additions to the Wells-Kodar Papers series has been arranged into eleven series, mirroring the arrangement of the papers in the original acquisition. The series are: Theater, Radio, Film, Television, Other Projects, Magic, Name and Topical Files, Personal, Oja Kodar, Biographical Works, Clippings and Articles, and Oversize Photographs.

The Radio series consists of a few files (about .1 linear feet), related to Welles' work in the late 30's and early 1940s, including photographs, scripts, articles, and correspondence.

The Film series is the largest in the added material, comprising ca. 3 linear feet of scripts, drafts, correspondence, articles and clippings, promotional materials, and photographs. Films represented include both those directed by Welles and those directed by others in which he acted or participated. The series is arranged chronologically by film, dated according to their first public showing or general release date. Unfinished or unreleased projects are identified with an approximate date range of the years in the work took place.

The material related to the earliest films from the 1940s and 1950s consists primarily of photographs. Later unfinished films of particular interest include The Deep, Because of the Cats, The Other Side of the Wind, Crazy Weather, Assassin/The Safe House, The Other Man, The Dreamers, Big Brass Ring, and King Lear. Also included is articles, promotional materials, correspondence, and photographs from Don Quixote, filmed on and off from the late 1950's to the early 1970s. Materials are primarily related to the version which was released in 1992 after a the footage was edited and finished by director Jesus Franco, but the photographs are from the original filming.

As with drafts in the earlier accessions, Welles typically worked on scripts in sections, producing successive drafts which he then amended. The collection preserves many pages of these working drafts, which sometimes also include Welles's typed or written notes about the story and characters, along with messages to and from his typists. Minimal reorganization of the papers was done in order to preserve evidence of the process, and there are many files of "drafts" which may contain repetitions and out-of-sequence pages, filed as they were found. As Welles often worked by inserting new pages into older drafts or blending together several different versions of a scene, page numbers may not follow a logical sequence. In many cases no information about the script material was recorded before it was filed away, so dating the drafts is difficult. The dates assigned to this material are approximate. Because of the lack of identifying information on some of the material, a miscellaneous sub-series is included at the end of the series, which includes unidentified photographs and drafts of scripts.

The Television series comprises about .4 linear feet, and includes scripts, photographs, correspondence, and other materials relating to projects that were originally meant for television. This includes The Orson Welles Show, a talk show that only ever shot one episode with guests Burt Reynolds and the Muppets. Aslo included are materials related to Orson's Bag, a collection of short films including Swinging London, Stately Homes, and the Merchant of Venice, the contents of which were eventually released in 1995 as part of The One-Man Band. Other materials reflect the initial stages of a Christmas TV movie and a special for NBC.

The Other Projects series (.1 linear ft.) includes materials related to Welles' non-film related work, including advertising and vioceover work, as well as correspondence about various job offers.

The Magic series (about .5 linear ft.) includes scripts, correspondence, photographs, and other materials related to Orson Welles magic performances, including the Mercury Wonder Show, and television specials The World of Magic and Orson Welles' Magic Show. Also included are collected printed magic tricks, drafts of trick patter that he used during performances, articles and clippings, and drawings of costumes.

The Name and Topical Files series (approximately 1 linear ft.) contains primarily correspondence and various other materials arranged alphabetically by the name of a person, place, event, or subject. The series includes letters from directors and film executives such as Martin Scorsese and August Coppola, actors and actresses such as Charleton Heston and Charles Fawcett, close friends such as Roger Hill and Peter Bogdanovich, and some fans of Welles's work. Also included are posters, programs, and other materials related to film festivals and tributes to welles, including the Cannes International Film Festival and the American Academy of Arts and Letters.

The Personal series (1 linear ft) includes a variety of materials related to Welle's personally, rather than his screen work. This includes drafts of his writing including essays and articles about various topics, including Shakespeare and tributes and remarks about others in the film business, as well as untitled, unidentified drafts. Also in this series are works by others given to or collected by Welles including poems, short stories, and tributes. Most significant is the material from Welles' unpublished memiors, both in draft form and shorter more organized versions, along with notes, correspondence, and photographs meant for the book. Additionally, there are miscellaneous personal documents, including the notes he would write himself with lists of things that needed to be done, and notebooks with similar content as well as several doodles, one a self protrait. Correspondence with his daughters and Oja is also found in this series, as well as personal and family photographs, some from very early in his life.

The Oja Kodar series (approximately .75 linear ft.) consists of materials related to Oja Kodar's work both with and Without Orson Welles, as well as correspondence, and personal matters. The series is divided into subseries for film, writing, name and topical files, and personal. The writing and film subseries both include unpublished drafts of scripts and stories. The personal subseries included several topics related to Orson Welles' estate after his death, including real estate, legal papers related to the dispute over film rights, and Oja's eulogy for Welles. Also included are materials from her sculpture work and photographs.

The Biographical Works series (about .25 linear ft.) includes published and unpublished works about Welles written by others, including a collection of annotated correspondence, "Orson!:An Original Play", drafts of biographies by Jonathan Rosenbaum and Barbara Leaming, and a copy of The Unknown Orson Welles.

The Clippings and Articles series (approximately .5 linear ft.) is a collection of articles and clippings about Welles from various publications including magazines and newspapers. Materials are mainly arranged chronologically from before 1970 to 2014, but also included are folders of undated materials, undated clippings from Croatian/Yugoslavian publications, and photographs clipped from articles.

The Oversize series comprises two oversize boxes with oversize photographs that correspond with materials in the Film, Television, Magic, Personal, and Oja Kodar series and follows the same order. The magic subseries includes pages from a scrapbook with images from vintage magic ephemera together with images of Welles performing magic.

The collection includes business and personal correspondence, production materials, scripts, photographs, motion picture, and sound recordings related to Richard Wilson and Orson Welles's work in radio, theater, and film from the 1930s to the 1950s. Also included are materials related to each man's later solo careers and personal life.

The Richard Wilson-Orson Welles Papers document many aspects of the two men's creative collaboration in radio, theater, and film for the Mercury Theater and Mercury Productions. Material related to several moments in Welles's post-Mercury Productions solo work and life form part of the collection. Richard Wilson's post-Mercury Productions work is also represented. The collection includes business and personal correspondence, production materials, scripts, photographs, and audio and motion picture recordings.

Materials relating to classic films such as Citizen Kane , The Magnificent Ambersons , The Lady From Shanghai, and Macbeth are included in the collection. The original filming and 1980s-1990s reconstruction, led by Richard Wilson, of the suddenly-terminated Welles film, It's All True (1942) is particularly well-documented.

The Wilson-Welles collection has been divided into seven series: Orson Welles; Richard Wilson; Mercury Theatre/Mercury Productions; Sound; Motion Pictures; Realia; and Bill Krohn: It's All True (1993).

The three primary series: Orson Welles, Richard Wilson, and Mercury Theatre/Mercury Productions have been largely organized by production type (e.g. Theater, Radio, and Film) and then chronologically by project. Completed films, theatrical productions, and radio broadcasts are dated according to their first public showing or general release date. Unfinished or unreleased projects are dated according to the year in which most of the work on the project took place.

Correspondence and business papers for each project are located together under the project name. An important exception to this organizational scheme was necessitated by the fact that Welles frequently worked on several projects simultaneously and a single letter or memo may address several projects. Sets of memos and correspondence are filed with the project to which they are most closely related. Notable examples of overlapping projects and sets of memoranda that address at least two films are Macbeth and Othello (much of the information related to Othello is actually in correspondence in the Macbeth files), and The Magnificent Ambersons and It's All True (much of the information related to The Magnificent Ambersons is contained within the It's All True files).

The Richard Wilson and Orson Welles series also contains material related to both men's families and personal lives.

The Russell C. Shaul photograph album contains images and ephemera related to the life and career of photographer Russell Clifford Shaul, who owned a studio in Chicago in the 1930s and 1940s.

The Russell C. Shaul photograph album contains images and ephemera related to the life and career of photographer Russell Clifford Shaul, who owned a studio in Chicago in the 1930s and 1940s.

The album (36.5 x 28 cm) has string-bound brown covers with the words "Scrap Book" and a depiction of a boy and girl wearing wooden clogs embossed on the front; the covers and pages are in poor condition. The structure of the album is roughly chronological, with material from the 1920s appearing towards the beginning and material from the 1940s appearing towards the end. However, candid snapshots and studio portraits made in Milwaukee, Wisconsin, in the early 1930s are scattered throughout and mixed in with photos from other periods. At least one page includes dated photos from the early 1930s and late 1940s that appear side by side. Certain names and people reappear often, but exactly how they relate to one another is not entirely clear. Many photographs document people drinking as well as posing in a humorous manner.

Photographer Russell Clifford Shaul appears to have been the compiler of this album. Shaul’s name appears on numerous images as the credited photographer, including portraits taken in Milwaukee in the early 1930s and a Chicago cityscape view from the mid-1940s. Several photos are also inscribed with messages to “Russell,” while snapshots arranged on a page captioned “The Shauls” show him and his third wife Sarah visiting various U. S. tourist destinations between 1944 and 1949. At some point during the 1930s it appears that Shaul relocated from Milwaukee to Chicago and set up a new photography business. Several pages in the album suggest that Shaul and his colleagues practiced door-to-door operations.

Two pages document a man’s World War II service. He is pictured driving a Jeep and wearing a uniform bearing an “Official U.S. War Photographer” patch, training on a shooting range, interacting with people on the streets “In India,” and taking photographs with both still and motion picture cameras. This man appears throughout the album (identified elsewhere as “Carl”), including in the earliest Milwaukee shots in 1927. He may have been Shaul’s friend and/or business partner.

Items placed toward the end of the album include some scrapbook materials including letterheads advertising a company called Chicago Thrill Tours and Chicago-based radio host called “The Nitehawk,” as well as business cards identifying a fellow photographer in Chicago named Charles Lonk and a trailer park in Eau Gallie, Florida.

In addition to the album there is also an envelope containing several loose photographs and ephemeral items including portraits of various people and groups; pictures of people drinking at bars; photographs of the man elsewhere identified as Carl drinking at a Milwaukee bar in 1927 as well as posing in a bathtub while another man bathes him; an image of a photo supply storefront with a cutout of an unidentified man pasted over the front door (possibly shop owner I. Dobkin); photography-related clippings; aerial images of Baton Rouge, Louisiana, taken in 1938; and a portrait by Acme Newspictures of a man in the radio studio of “The Nitehawk - WBBM” captioned “J. W. Clark.” Also present is an enveloped typed letter signed by “The Nitehawk” written to Shaul in 1948 asking him to be on the lookout for early copies of Reader’s Digest.

Stew Albert, a founding member of the Yippies, was a political activist, writer, journalist, and unindicted co-conspirator in the "Chicago Seven" case in 1968. The Stew Albert and Judy Gumbo Albert Papers offer insight into the lives of two activists who were involved in anti-Vietnam war protests, members of the Youth International Party (Yippies), and had ties to groups such as the Black Panther Party and the Weather Underground. The collection contains a variety of materials, including manuscripts, FBI files and court documents, photographs, slides, and negatives, artwork, audiovisual material, realia, scrapbooks, and posters.

The Stew Albert and Judy Gumbo Albert Papers offer insight into the lives of two activists who were involved in anti-Vietnam war protests, members of the Youth International Party (Yippies), and had ties to groups such as the Black Panther Party and the Weather Underground. This collection contains a variety of materials, including manuscripts, FBI files and court documents, photographs, slides, and negatives, artwork, audiovisual material, realia, scrapbooks, and posters. Besides documenting their lives and activities, the collection also offers a glimpse into an aspect of American activism in the 1960s and afterwards, including antiwar protests and the women's liberation movement. The Alberts had close ties to other prominent figures in the movement, such as Abbie Hoffman and Jerry Rubin, who are well-represented in this collection through writings, correspondence, photographs, and audio interviews.

With roughly 28 linear feet of materials, the Stew Albert and Judy Gumbo Albert papers are divided into 12 series: Manuscripts and Writings; Name and Correspondence; Personal; Topical Files; FBI Files; Court Documents; Photographs, Slides, and Negatives; Artwork; Audiovisual; Realia; Scrapbooks; and Posters. Researchers should note that books have been separated from the collection and cataloged individually.