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Project funded by the W.K. Kellogg Foundation to document the health care experiences of African Americans in southeastern Michigan consisting primarily of oral history interviews with African American health care practitioners and administrators covering the period 1940-1969; background files relating to the project, and oral history interview transcripts and audio recordings. Interviews discuss biographical details, desegregation efforts in Detroit area hospitals, and social conditions facing African Americans.

The records of the Kellogg African American Health Care Project have been kept in the original order in which they were received and have been divided into two chronological series: Phase I and Phase II, reflecting the two separate accessions that were received. The interviews in the Phase I series were conducted in 1997 and accessioned by the Bentley Historical Library in 1998, while the interviews in Phase II were conducted from 1997 through 1999 and accessioned by the library in 2000. Both of these series have a similar order and arrangement, differing mainly in who was interviewed; in addition, there is some updating of administrative papers in the 2000 accession. Both series are divided into two subseries: Administrative Files and Interviews. A description of the subseries for both of the series is below.

The Administrative Files subseries contains the organizational and background materials for the project including copies of the signed consent forms. This subseries gives several access tools for the interview portion of the collection as well as detailed information regarding the interview methodology. A Master Index and a Tape Index allow access by topic to both the transcripts and the tape-recorded material. Material related to follow-up research and further studies is also available.

The Interviews subseries contains the transcripts and tape recordings of the individual interviews. This subseries is organized alphabetically by the name of each person interviewed. A biographical sketch is provided for each individual and in some cases, copies of publications, photographs or computer-generated images of the participant, resumes, and news clippings are also included. In the Phase I series, the cassette tapes containing the interviews are included within each person's file. In the Phase II series, the tapes are stored separately.

1. Anderson, William G.
2. Ayala, Reginald
3. Boddie, Arthur W.
4. Brakefield-Caldwell, Wilma
5. Bryant, Jr., Henry Clay
6. Burton, Alice
7. Cain, Waldo L.
8. Collins, James W.
9. Cooper, Claude H.
10. Cooper, Vivienne B.
11. Dillard, Gladys B.
12. Gaines, Jr., George D.
13. Gant, Leon
14. Glass, Herman J.
15. Goodwin, Della M.
16. Harris, Joseph B.
17. Iacobell, Frank P.
18. Jefferson, Horace L.
19. Jenkins, Sidney B.
20. Johnson, Arthur L.
21. Keith, Rachel B.
22. Lawson, William E.
23. Love, Josephine H.
24. McCree, Suesetta
25. Maben, Jr., Hayward C.
26. Mason, Berna
27. Mottley, Dorothy
28. Northcross, Jr., David C.
29. Northcross, Ophelia B.
30. Peebles-Meyers, Marjorie
31. Raiford, III, Frank P.
32. Roberson, Jr., Rev. Garther
33. Roberson, Rev. Dr. S.L.
34. Smith, Elsie
35. Starks, Fannie L.
36. Swan, Lionel F.
37. Tanner, Natalia M.
38. Todd, Oretta Mae
39. Webb, Irma Clara
40. Whitten, Charles F.
41. Wright, Charles H.
42. Young, Watson

Lawrence L. Witt was a Detroit native who served in the Army Air Force during World War II and was a prisoner of war (POW) for eleven months after getting shot down over Nazi Germany. His daughter Laura A. Edge later researched her father's story and wrote a book about his and other airmen's experiences as prisoners of war in WWII. Correspondence, various documents relating to military and prisoner of war experience, and audio-visual materials including oral histories of several WWII veterans.

The Lawrence Witt and Laura Edge papers document Witt's experiences during and after World War II, as well as his daughter's research on his and other airmen's experiences as prisoners of war in Nazi Germany. Most series consist of folders (both original and digitized copies) originally ordered and numbered by Laura Edge.

Organization dedicated to furthering "the art of playing the Hammered Dulcimer" founded in 1963 by Elgia C. Hickok in Michigan. Records include correspondence, minutes, newsletters, programs, event flyers, and oral histories, sound recordings of interviews and meetings, and photographs.

The Original Dulcimer Players Club records document the group's organization and activities from its founding in 1963. The records are arranged into six series: Administrative materials, Publications and events, Articles and newspaper clippings, Miscellaneous, Visual materials, and Audio materials.

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.

Papers of Pun Plamondon, activist, writer, and journalist who in 1968 co-founded the White Panther Party with John Sinclair. Papers include material related to Plamondon's political activism in the late 1960s-early 1970s, material related to the White Panthers Party, the Rainbow People's Party, and Plamondon's relationship with John Sinclair, as wells as material related to law suits against Plamondon and his trials, most notably United States v. U.S. District Court for the Eastern District of Michigan, et al. and the State of Michigan v. Craig Blazier and Lawrence R. (Pun) Plamondon. Also material related to his autobiographical writings.

The Pun Plamondon papers mostly include material related to his political activism in the late 1960s-early 1970s, legal trials, and imprisonment.

Richard Solomon was a professor of political science at the Univerity of Michigan, a White House staffer who worked on "ping-pong diplomacy" under Henry Kissinger during the Nixon administration, and a scholar of Chinese history and politics. This collection consists primarily of interviews with Chinese refugees and subsequent computer data printouts and analysis of these interviews.

This collection is organized into two series: Interview Materials and Professional Materials, and primarily documents interviews conducted by Solomon and his associates, likely for Solomon's dissertation on Chinese political culture. The majority of the materials are written in Chinese, although there are some interview transcriptions, interview analyses, and reports written in English.

The Interview Materials series is divided into two subseries: (1) Interviews; and (2) Data and Analysis. The Interviews subseries is comprised of interview responses and transcripts; various tests, evaluations, and score sheets; and handwritten materials. The Data and Analysis subseries is comprised primarily of computer data printouts, although it also contains some reports authored by Solomon on changing Chinese culture, as well as a magnetic data tape.

Researchers may find the folder "Interview Materials, General," located in Box 3 of the Interviews subseries, helpful in understanding some of the abbreviations used throughout the papers, the reasoning behind the interviews, and how the interviews were written up. Some commonly used acronyms are: "RT," which stands for Rorschach Test; a T or H preceding a number stands for either Taiwan or Hong Kong; "Trad-Mod" stands for "Traditionality - modernity," which was an attitude scale used by Solomon to quantitatively measure degrees "of modernity."

The Professional Materials series is comprised of a single folder titled "Ping Pong" that contains handwritten notes and various newspaper clippings related to the Chinese ping pong team's visit to the United States in 1972.

University of Michigan Professor Emeritus of English whose area of expertise included Arthur Miller. Topical files containing correspondence, clippings, notes, and publications associated with various American figures. Also included are 14 sound recordings consisting of lectures delivered by and about, as well as interviews with, Miller.

The Robert A. Martin papers primarily consists of topical files containing correspondence, clippings, notes, and publications associated with various American figures, such as dramatist Arthur Miller and war correspondent Martha Gellhorn. Also, included are 14 sound recordings that include lectures delivered by and about, as well as interviews with, Miller.

Noted Michigan-based modern architect and former Professor and later Dean of the University of Michigan College of Architecture and Urban Planning. Metcalf's work includes over 150 buildings in Michigan and Ohio. The material in this collection spans the years 1942 to 2017, and includes architectural drawings, presentation boards, client files, photographs and slides, correspondence, newspaper clippings, journals, articles, and teaching material.

The Robert C. Metcalf papers include architectural drawings, presentation boards, presentation books, client files, photographs, slides, and negatives of Metcalf's work on residential, commercial, and community projects. The collection provides comprehensive documentation on virtually all of the projects undertaken by Metcalf. Projects are documented from design to construction and often subsequent additions and renovations. The materials in the collection are organized into three series: Project Files, General Files, and Visual Materials.

The General Files series includes personal material such as an audio interview with Robert Metcalf (2010), a date book (1974), and Metcalf's undergraduate student work from the University of Michigan (1942-1950).

This collection includes material regarding the activities of the Vietnam Veterans of America, Inc., Chapter 9 (Detroit, Mich.). Some members of this group have also been involved in the Vietnam Veterans of America (VVA) State of Michigan Council, as well as the Michigan Veterans Trust Fund and Vietnam Monument Commission so materials from these groups have also been included in this collection.

This collection has five series: Vietnam Veterans of America, Inc. Chapter 9 (Detroit), Vietnam Veterans of America, Inc., Michigan Veterans Trust Fund, Vietnam Monument Commission, and Audio and visual material. Records in this collection include administrative documents, Vietnam Veterans of American national convention materials, and VVA chapter newsletters and publications.

Professor of Fine Arts at the University of Michigan and widely exhibited painter with studios in Pinckney, Michigan and Gloucester, Massachusetts. Collection includes digital still images, video files, and promotional materials related to Castagnacci's classroom instruction, his artwork, and his personal influences.

The Vincent Castagnacci collection documents Castagnacci's dual careers as an Professor of Fine Arts and a widely exhibited painter. Teaching materials (lecture notes, handouts, and readings) provide access to his four decades as an educator and are complemented by video footage of his classroom instruction. Digital reproductions of artwork and video of Castagnacci in his studio suggest the range and extent of his creative pursuits. Additional video footage of interviews and conversations with colleagues along with depictions of the natural environs of Gloucester, Massachusetts further contextualize Castagnacci's approach to education and art.