Search

Democratic senator from Michigan, the longest-serving U.S. senator (served between 1979 and 2015). The collection documents Carl M. Levin's 36-year career in the U.S. Senate including his service on the Senate Armed Service Committee, Government and Homeland Security, Subcommittee on Oversight of Government Management, Permanent Subcommittee on Investigations, Great Lakes Task Force, among other leadership positions. Papers include correspondence, speeches, writings, newspaper clippings, legislative and committee files, campaign materials, photographs, audiovisual materials, and other records documenting his personal life and political career.

The collection documents the personal life and political career of Carl M. Levin including his 36-year career as U.S. Senator from Michigan (1979-2015). The papers include school activities, personal correspondence, materials from Levin's work on the Michigan Civil Rights Commission and Detroit City Council, and campaign materials such as speeches, interviews, platform and planning documents, constituent research, candidate research, financial documents, correspondence, photographs, and audiovisual materials.

The bulk of papers document Levin's tenure in the U.S. Senate including legislative and committee files, correspondence, memoranda, briefing books, background information, schedules, bills, printed materials, press clippings, speeches, writings, photographs, Levin's archived website, social media, and audiovisual materials.

Binkowski was a district judge from Warren, Michigan who collected extensively about Democratic politics and the Polish American community in Michigan. The collection includes materials collected by Binkowski on Democratic politics, the Polish community in Michigan, the cities of Detroit, Warren, and Hamtramck, Michigan, and collected letters, postage covers, and stamps.

The collection includes materials collected by Binkowski on Democratic politics, the Polish community in Michigan, the cities of Detroit, Warren, and Hamtramck, Michigan history in general, and collected letters, postage covers, and stamps. Digital materials include video files and an archived website. Photographs include images of strike violence, 1934-1938, at various Michigan firms; photos of Polish American public figures and organizations, also photos of political meetings and elected officials. Audio cassettes mostly contain recorded interviews with Polish American political figures.

The Edward C. Randall papers are largely correspondence and writings of Buffalo, New York, attorney E. C. Randall, who studied and wrote extensively on spirit mediums, spiritualism, and eschatological subjects in the first decades of the 20th century. The collection includes complete, partial, and drafts of essays and books by Randall, around 250 incoming letters (many with retained copies of responses attached), materials by or belonging to Virginia and Mai Randall, and other items.

The Edward C. Randall Papers are largely correspondence and writings by Buffalo, New York, attorney E. C. Randall, who studied and wrote extensively on spirit mediums, spiritualism, and eschatological subjects in the first decades of the 20th century. The collection includes around 250 incoming letters to Randall, most of them accompanied by retained copies of his responses, 1908-1935 (bulk 1917-1935). Also present is a bundle of documents pertaining to Delaware Laundry, Inc., including its articles of incorporation and stockholder minutes, as well as materials pertinent to E. C. Randall's resignation from the Board of Directors, 1930-1934. Other documents include a bundle of seven items related to the estate of Edward Porter as probated by attorney E. C. Randall (including Porter's last will and testament), 1931-1932.

The bulk of the papers is drafts, partial, and complete writings by E. C. Randall; and a few items by/belonging to Mai Howard Randall and Virginia Randall. E. C. Randall's typescripts and drafts include the following works:

• "Frontiers of the Afterlife" (1922)
• "Philosophic Discussions with a Living Dead Man"/"Coloquy with an Etherian" (1923-1924)
• "Told in the After Life" (1927)
• "Mission Work" (April-May 1928)
• "Heritage of the Dead : Biographical Sketches of the Living Dead in the Earthbound Zone" (1928)
• "Taps and the Dawn" (1931)
• "The Living Dead" (1931-1932)
• "Miscellaneous Essays" and "Miscellaneous Psychic Memorandum" (early 1930s)
• "Nero's Redemption" (early 1930s)
• "Drama – Nero's Redemption" (early 1930s)
• "Memoirs of an Eschatologist" (four volumes plus additional chapters, circa 1934-1935?)
• Additional essays, book chapters, interviews, and notes. Many or most of these appear to be drafts, typed copies, or extracts from works listed above.

The collection includes two volumes pertinent to E. C. Randall's daughter Virginia Randall, who died at age 21 on February 3, 1925, after a week-long illness. A two-ring volume contains cuttings of printed artwork depicting Biblical scenes with manuscript scriptural passages written beneath them. Virginia apparently created the volume while attending the Dobbs Ferry school or Mrs. Wickham's school in New York, around 1920. The other volume is a typed collection of "Virginia Randall's Letters" with added supplementary newspaper articles. The original letters [not present] dated between 1922 and 1927—both before and after Virginia's death in 1925.

Two manuscript volumes in the collection apparently belonged to Mai Howard Randall, containing manuscript writing dating between 1904 and 1915, and around 1921. The papers also contain two circa 1920s-1930s typescripts sent to E. C. Randall by William Smith titled "Philosophic Teachings of Spirit People" and stated to have been received through automatic writing by Smith. One printed item accompanies the collection: The Origin of Life; or Where Man Comes From. The Evolution of the Spirit from Matter, through Organic Processes; or How the Spirit Body Grows. Fourth Edition. By M. Faraday . . . T. C. Budington, Medium. Springfield, Mass.: Star Publishing Company, 1887. This item has a round hole all the way through it, middle left.

Papers of Dr. Jack Kevorkian (1928-2011), medical pathologist, social activist, advocate for the terminally ill patient's right to die and physician-assisted suicide (which Kevorkian called "Medicide"), author, artist, and musician. By his own estimation, Dr. Kevorkian assisted in the suicides of more than 100 terminally ill people between 1990 and 1998. Kevorkian was acquitted in three physician-assisted suicide trials, and a mistrial was declared in the fourth. In a fifth trial, he was convicted of second-degree murder after administering a lethal injection and served eight years in prison. The collection includes materials related to the Kevorkian family (personal and business records, correspondence, photographs, and audiovisual recordings); Jack Kevorkian's research files and files related to Medicide (files related to the physician-assisted suicides and recordings of Kevorkian's consultations with the terminally ill); and miscellaneous papers (his personal and professional correspondence, published works and manuscript drafts, records related to his court trials, photographs, recordings of news coverage and interviews, audio recordings of Kevorkian's music, and images of his art).

The Jack Kevorkian Papers are arranged into five series: Kevorkian Family, Research and Practice, Morganroth & Morganroth, Personal Interests, and Medicide Files.

The Kevorkian Family papers mostly include correspondence, recollections, photographs, and video and audio recordings of family gatherings. The Research and Practice series contains Kevorkian's correspondence on scientific subjects, his research files, and Kevorkian's articles on various medical, ethical, and bioethical topics. Also included are recorded interviews and media segments featuring Kevorkian as well as media reports about his activities and court trials. Materials in the Personal Interests series include sheet music of Kevorkian's musical compositions, recordings of Kevorkian playing music, reproductions of his paintings, publicity regarding exhibits of his art, and a sample of collected books. The Morganroth & Morganroth series includes materials used during the court trials, such as correspondence and Kevorkian's research as well as the script of the HBO film, You Don't Know Jack, annotated by Mayer Morganroth. The Medicide Files series contains the files of the terminally ill patients who had asked him assist in ending their lives and who he helped in doing so. Medicide files include correspondence between Kevorkian and his consulting "patients" and their families, photographs, and forms developed by Kevorkian as well as recordings of consultations.

Ann Arbor, Michigan attorney who spent her career fighting sex discrimination in education, sports, and politics. The collection contains oral history interviews, tribute statements, and photographs collected on the occasion of renaming the Women's Center of Southeastern Michigan after Jean Ledwith King and for the creation of a documentary, "The Power of One: Celebrating Jean Ledwith King," by John Owens.

The Jean Ledwith King Oral History Collection is composed of visual materials collected by John Owens to celebrate King's life and work in 2011, when the Women's Center of Southeast Michigan was renamed in King's honor.

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

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.