Collections

Teach-in organized by University of Michigan students. Held from November 2-4, 1975, this three-day teach-in investigated the role of technology in corporate and government "control." Specific topics included: assassinations, corporate manipulation, subversion of the forces of dissent, police repression, surveillance and dataveillance, and mind control. DVD and streaming files from original EIAJ 1/2" open-reel videotapes of speakers at all sessions.

The collection consists of nineteen original recordings on 1/2-inch EIAJ reel-to-reel videotapes of the teach-in and one folder with teach-in schedules and outlines as well as handwritten notes taken during the sessions (writer unknown). In 2009 preservation and use copies of the tapes were made including a Beta SP preservation master, a DVD copy and a streaming file. The original tapes were in relatively good condition, though there are occasional problems with audio and video levels in the recordings and occasional tracking and dropout problems during dubbing. The derivatives were created on a one-to-one basis with the original.

Only a selection of the streaming files are currently on-line. Others can be mounted by sending a request the Bentley Historical Library reference staff (bentley.ref@umiclh.edu)

Reminiscence of an officer in the 1st Michigan Cavalry describing the campaign in June and July 1863 centered on the Battle of Gettysburg. Fragmentary copy, including leaves 1-9, 12-19, 76-81, 85, and 2 unnumbered leaves.

The Civilian Conservation Corps (CCC), signed into law by President Franklin D. Roosevelt in 1933, was a federal unemployment relief program designed to put single young men to work during the Great Depression. The CCC employed over 2.5 million men between 1933 and 1942, including 250,000 African Americans, who served in segregated companies. This collection is comprised of 60 photographs, 48 photographic negatives, and digitized images of CCC African American enrollees assigned to work in Michigan companies, including Company 670, Camp Bitely, Company 2695, Camp Free Soil, and and Camp Wahalla.

The collection is comprised of images of the Civilian Conservation Corps African American enrollees from 1933 to 1939. Materials were received by the Bentley in 2016 and in 2018.

The 2016 acquisition includes portrait-style photographs of predominantly unidentified men, assigned to work in Michigan company/camps including Company 670, Camp Bitely, project F-22 and Company 2695, Camp Free Soil, most likely, project F-7.

The title of each photograph was taken from the photograph's inscription, when applicable. All photographs titled "unidentified" had no identifying information, but may have been labeled with a date. After the photographs were digitized and became available online, some of the people depicted on the photographs have been identified by the public.

In 2018, Ray Lyons Jr. donated additional materials that were collected by his father, Ray Lyons Sr., a former member of the CCC. Mr. Lyons Jr. donated additional 30 photographs, 48 negative images, and a small number of clippings to the collection. The images depict African American members of the CCC at a number of locations, including Camp Bitely, Camp Free Soil, and Camp Walhalla. The pictures also document CCC projects such as the building of a Fire Lookout Tower, the clearing of fields and woods, and the construction of a stump fence.

This collection includes recordings of interviews conducted by Cecil D. Eby for his book Hungary at War: Civilians and Soldiers in World War IIas well as photographic transparencies 3.5 in floppy disks with book files, and copy of the book.

The collection comprises 44 audiocassette tapes with recordings of interviews conducted by Cecil D. Eby for his book Hungary at War: Civilians and Soldiers in World War II, published by the Pennsylvania State University Press in 1998. Most interviews are in Hungarian, some are in English. The interviews are accompanied by an alphabetical list of names of interviewees and dates, which can be matched with the index at the end of Eby's book. A copy of the book is also included in the collection, along with 5 floppy disks with data relating to the project, and transparencies featuring photos dating from the war appearing in Eby's monograph.

Cassette tapes in Box 1 have been reformatted, and CD access copies are available.

The Leo and Mary Sarkisian Collection consists of recordings of the Music Time in Africa radio program (1966-2021), the contents of the Leo Sarkisian VOA Music Library, and related contextual documents and artifacts, including the personal papers of its creator Leo Sarkisian and his wife Mary Sarkisian. The bulk of the collection is source material for the production and broadcast of Music Time in Africa, including copies of the radio broadcasts and scripts, recordings of African music compiled for use in the show, and original field recordings made by Leo Sarkisian between approximately 1959 and 1975. Other recordings include commercially produced content in LP, 45 rpm and cassette tape formats. The collection documents the public diplomacy exercised by the United States through Voice of America programming in Africa and the wide variety of musical styles of newly independent African nations.

The Leo and Mary Sarkisian collection (220 linear feet) consists of recordings of the Voice of America's Music Time in Africa radio program (1965–2021), the contents of the Leo Sarkisian VOA Music Library, and related contextual documents, personal papers, artifacts, and musical instruments. The University of Michigan Library established the Leo and Mary Sarkisian Collection in 2018 by consolidating previous gifts and donations from the Sarkisians, long-term loans of archival materials from the Voice of America, and digital reproductions created by the University of Michigan. In 2004, Leo Sarkisian formally donated musical instruments from his personal collection to the Stearns Collection of Musical Instruments. He followed up in 2012 and 2015 with donations of personal papers and artifacts collected during travels in Africa, documented by a signed deed of gift. In 2008, the University of Michigan negotiated a Memo of Understanding with the Voice of America to digitize and make available for teaching and research 360 rare and unique audio recordings made by Leo Sarkisian in sub-Saharan Africa. In 2015, the Voice of America transferred the entire contents of the Leo Sarkisian Music Library to the University of Michigan for purposes of research and teaching. An extended Memo of Understanding between UM and VOA governs the archival processing of the loaned materials as well as permissions to digitize materials and make them available for teaching and research.

The bulk of the collection is source material for the production and broadcast of Music Time in Africa, including copies of the radio broadcasts and scripts, recordings of African music compiled for use in the show. Because Sarkisian had no mandate from VOA to create and retain an archival copy of every broadcast show, the completeness of the surviving MTIA radio shows varies. The most complete representation includes the audio recording of the full broadcast and the full script. Some instances of the show include only the musical inserts (without the host's voice) and the script. A number of complete show audio recordings lack associated scripts. Some individual scripts are not matched with surviving radio show recordings.

Among the VOA Music Library materials are recordings from Sarkisian's prior work with Tempo records, where he trained as a recording engineer. This small group of materials dates back as early as 1949, when Sarkisian began traveling in Asia (Afghanistan, Pakistan, and Bangladesh) making field recordings for the Hollywood-based label. In 1958, Irving "Colonel" Fogel, the president of Tempo sent Sarkisian to Ghana, where he made over 100 recordings and donated the tapes to Radio Ghana. He and Mary established a Tempo office in Conakry, Guinea. There in 1962, Leo met Edward R. Murrow, who was then head of the United States Information Agency. Murrow invited Sarkisian to join the Voice of America (VOA) as Music Director of VOA's Africa Program Center in Monrovia, Liberia.

Leo and Mary traveled extensively to make field recordings and launch a new radio show focused on traditional African music. Leo recounted that the Music Time in Africa radio show first broadcast in May1965; the earliest recorded broadcast of MTIA in the collection is from May 22, 1966. The geographical coverage of the collection includes 46 African countries, the US, and other locations where Sarkisian worked. The African countries represented in the collection are: Algeria, Angola, Benin, Botswana, Burkina Faso, Burundi, Cameroon, Cape Verde, Central African Republic, Chad, Comoros, Congo, Côte d'Ivoire, Democratic, Republic of the Congo, Egypt, Equatorial Guinea, Ethiopia, Gabon, Guinea-Bissau, Kenya, Lesotho, Liberia, Libya, Madagascar, Malawi, Mali, Mauritania, Morocco, Mozambique, Niger, Nigeria, Rwanda, Senegal, Seychelles, Sierra Leone, Somalia, South Africa, Sudan, Swaziland, Tanzania, The Gambia, Togo, Tunisia, Uganda, United States, Zambia, and Zimbabwe.

The collection contains evidence of Sarkisian's work through VOA's Program Center in Monrovia, Liberia, to train recording technicians and program directors at radio stations in several African countries. Notable among these were Radio Tanzania, Radio Comores, Radiodiffusion Nationale Tchadienne (Chad), Radio Dahomey, Radio Rurale (Burkina Faso), Radio Burundi, and Radio Douala (Cameroon). The VOA Music Library Tape Recordings series includes tapes sent to the VOA from these stations.

The collection documents the production of Music Time in Africa as a pre-recorded analog program. Leo Sarkisian worked primarily with quarter-inch open reel magnetic audio tape. He assembled the musical selections for each Music Time in Africa program, and composed and typed the scripts for the host to read, almost verbatim. A recording engineer interspersed the musical selections on cue and simultaneously created a full recording of the 30-minute show. The show typically followed a format that book-ended field recordings of traditional music with several commercially recorded popular songs. Traditional musical content was drawn from Leo's field recordings and other sources.

The show's theme music was composed and performed by Geraldo Pino and the Heartbeats of Sierra Leone from an original recording that Leo made of the band. The shows are remarkable for the breadth of genres represented in the programming selections and the geographical coverage of the collection. Sarkisian collaborated with composers and scholars including J.H. Kwabena Nkeita, Duro Ladipo, Bai T. Moore, and representatives of the radio stations where he trained engineers and program directors. The Voice of America broadcast Sarkisian's pre-recorded shows on Sundays at 18:30 GMT across the African continent, via shortwave radio relays. Originally the VOA was broadcast only outside the United States. Legislation signed in 2013 made the broadcasts accessible to US audiences. Today the MTIA show is one hour long and encompasses a variety of social media content including blogs and videos of interviews with guest artists.

Four hosts gave voice to Music Time in Africa during the four decades that Leo Sarkisian produced the show. Bryn Poole, the spouse of a VOA station officer in Monrovia, Liberia, hosted the program between 1965 and 1967. Miatta Fahnbulleh, a Liberian musician, served as interim host in 1968 while the VOA broadcast facilities in Monrovia relocated permanently to Washington, DC. In 1968 VOA staff broadcaster Susan Moran assumed hosting responsibilities in Washington, DC and served continuously in this role until April 1978. Leo Sarkisian recruited experienced radio announcer Rita Rochelle in 1978 to be the host and public face of Music Time in Africa, a role she filled until April 2004. Occasionally, Leo Sarkisian, dubbed the Music Man in Africa, joined the formal host in the studio to narrate the context of particular musical selections or to regale the audience with stories of his recording trips to the African continent.

In addition to announcing the songs, the scripts provide contextual information. The hosts often explain the song lyrics and describe the places, peoples, and styles (e.g. dance, lullaby, or ceremonial), or musical instruments. The scripts also include announcements of birthdays, requests, and other responses to fan mail, especially during the height of the broadcast years coinciding with Rita Rochelle's tenure as host. The MTIA shows include occasional interviews with guest performers. Under the general direction of Leo Sarkisian, ethnomusicologist Matthew Lavoie assumed responsibility in April 2004 for producing and hosting Music Time in Africa. Recast as an hour-long program broadcast from Washington, DC to the African continent via shortwave and FM signals, Lavoie's MTIA also utilized digital recording technologies to assemble the audio portions of the program from the extensive analog resources in the Leo Sarkisian Music Library at VOA.

To supplement his hosting responsibilities, Lavoie wrote a blog, "African Music Treasures," for the VOA website. The 52 currently existing blog posts compare and contrast music from across the African continent, provide biographical background on musicians, describe musical genres and instruments, and highlight aspects of Leo Sarkisian's original field recordings. The blog posts also engage other contemporaneous bloggers from Europe and the US (e.g., Likembe, Awesome Tapes from Africa, Benn Loxo du Taccu, Worldservice) in a growing discussion on the topic of African musical recordings. The blogs represent Lavoie's areas of special interest. Matthew Lavoie's blog posts remain available through the VOA website and are preserved as fixed PDF files as part of this series. The Internet Archive preserves a small selection of Matthew Lavoie MTIA shows that were uploaded by an anonymous third-party user not affiliated with VOA.

In 2012, Heather Maxwell, an ethnomusicologist with a Ph.D. from Indiana University specializing in African music, took over producing and hosting the Music Time in Africa radio show. She continues to the present day. She has maintained the MTIA-VOA blog and expanded the format of the show to include video interviews (available on YouTube). Maxwell's shows (audio or audio/video only) since 2014 to the present and her blog posts are accessible through the VOA website.

Archival processing established thirteen archival series groupings on what was a richly organic working music library of audio recordings, program documentation, and personal artifacts. The organization of the collection reflects the processes that went into producing the Music Time in Africa radio show, the administrative functions and history of Leo Sarkisian's career, and the structure of the reference library that he built and maintained at the Voice of America's headquarters in Washington, DC.

The majority of the collection consists of audio recordings in analog and digital formats. Audio recordings include complete and incomplete copies of extant Music Time in Africa broadcasts, along with the audio source materials that Leo Sarkisian used to construct the radio broadcasts. The extant MTIA radio shows are compound objects of audio recordings and typed scripts, often existing in multiple copies and multiple versions. Source media range from a preponderance of open-reel quarter-inch magnetic tapes (acetate or polyester base) to LP and 45 rpm records, cassette tapes, digital minidiscs, and CD's. Complementing the extensive audio materials are small collections of supporting documents, personal papers, artifacts, and musical instruments.

The National Endowment for the Humanities supported the digitization of the most complete versions of Leo Sarkisian's MTIA broadcasts. MTIA broadcasts produced and hosted by Matthew Lavoie and Heather Maxwell are in born digital formats as separate parts of the collection. The University of Michigan digitized a selection of unique field recordings created by Leo Sarkisian during his travels in Africa, along with distinctive portions of the source materials that Sarkisian utilized in the MTIA shows. The Internet Archives contains a small portion of Matthew Lavoie's MTIA radio shows. Heather Maxwell's radio shows (also born-digital) broadcast since 2016 are available through the VOA News website. Blog posts on Music Time in Africa and its African musical heritage created by Matthew Lavoie and Heather Maxwell are available on the VOA website.

The A. Alfred Taubman College of Architecture and Urban Planning (TC; also referred to as Taubman College) was established in 1931 as the College of Architecture. However, courses in architecture have been offered at the University of Michigan since 1876, and a department of architecture, formed in 1913, preceded the creation of the college. Since its formation, TC has offered courses and programs in several areas, including landscape architecture, urban planning, urban design, real estate, and, of course, architecture. The record group includes dean's administrative files and correspondence, other administrator files, meeting minutes, department and program files, materials from the National Architectural Accrediting Board (NAAB), lectures and other documentation on the Raoul Wallenberg lecture hosted by the college, and several photographs and negatives of the college and TC-related events.

The A. Alfred Taubman College of Architecture and Urban Planning (University of Michigan), records document the teaching of architecture and design at the University of Michigan beginning in 1878. The records include administrative files, correspondence committee minutes, reports, photographs and architectural drawings. The records have been received in a number of separate accessions which may include material that continues or complements record series from a previous accession or may overlap chronologically with previous accessions. This finding aid reflects the intellectual structure of the records by bringing like material together across accessions. As a consequence, in the container listing box numbers will not necessarily be in consecutive order.

The records are organized in the following principal series:

1. Minutes of Meetings
2. Dean's Administrative Files
3. National Architectural Accrediting Board
4. Miscellaneous (correspondence and select files)
5. Raoul. G. Wallenberg
6. Dean's Correspondence
7. Doctoral Program Files
8. Topical Files
9. Administrative Files
10. Architectural Drawings
11. Photographs and Negatives
12. Art and Architecture Building Renovations
13. Department of Urban Planning
14. Audio-Visual Material
15. Articles, Reports and Speeches
16. Artifacts
17. Archived School of Architecture Website

The Abbot family papers consist of letters written to Charles Abbot from his wife and family members in Warren, Rhode Island, describing their lives and the development of Abbot's daughter, Grace.

The Abbot family papers consist of letters written to Charles Abbot from his family in Warren, Rhode Island. The majority of the letters are from his wife Marcia, but letters from his parents and friends are also part of the collection.

The letters primarily describe the lives of Marcia and others living in Warren, including news and events, parties and entertainments, and social gatherings with friends and the local elite. What is best documented in this collection is the development and education of the Abbots' daughter Grace. Marcia writes about her involvement as a parent (such as what to read to Grace), and Grace's activities, and sends her daughter's drawings or short notes with many of the letters. Abbot's service and the news about the United States Army are occasionally mentioned.

Included with the correspondence in this collection are numerous drawings by Grace, a few newspaper clippings of local interest, and 6 cyanotypes. The theme of most of the photographs is a Fourth of July parade, two of which include Grace (with letters of Apr. 11, 1903 and July 10, 1898). Also included are two faded images of Grace with a violin (with letter of May 29, 1903).

Letters to relatives discussing his studies at the University from 1857 to 1859, and his subsequent service in the Ninth Michigan Infantry during the Civil War. In the latter six letters, he describes the train trip from Fort Wayne, Detroit, to Kentucky, with special mention of the good treatment accorded the soldiers by Jackson, Mich., residents. He tells a bit about camp life, especially how Christmas, 1861 was spent.

The Abbott family papers consist primarily of the correspondence of Bessie Abbott, an aspiring singer and stage performer, written to her family during the early 20th century.

The Abbott family papers consist primarily of the correspondence of aspiring vocalist Bessie Abbott, written to her parents and other family members in the early 20th century.

The Correspondence series makes up the bulk of the collection, and covers the years 1881-1922. The earliest letters in the collection originated from a variety of Abbott family members and acquaintances. Of particular interest is an item describing Bessie and Stanley's time in a tent city in Coronado, Mexico (June 19, 1907). After 1912, Bessie was the primary correspondent, and in her letters she discussed aspects her life during her late 20s. In the personal, richly detailed letters from 1912-1914, Bessie described her time in Brooklyn, New York, where she studied with a vocal coach. In 1913, she took a vacation to Washington, D. C. for the Wilson inauguration, and, while there, injured her hand and, as a result, initiated an unsuccessful insurance dispute. After her return to California in 1914, Bessie wrote more frequently about her health and, after a subsequent move to Hawaii, her continued professional success. Following her stint in Hawaii, Bessie's correspondence focused more heavily on business interests, and, in a late series of letters written in the early 1920s, she wrote about her travels throughout southeast Asia, including visits to the Philippines and to Saigon.

Other correspondents represented in the collection include Will Abbott, Bessie's brother; Stanley Howland, Bessie's husband; and Tracy and Linnie Abbott, Bessie's parents.

• A photograph of an unidentified man, taken by Eduard Glaubach in Greifswald, Germany, on March 10, 1880
• A Christmas card, signed by Billy Warren
• A program from a music recital in Honolulu, Hawaii

Soldier from Big Rapids, Mich., member of 339th U.S. Infantry who served in the Allied intervention in Russia, 1918-1920, the "Polar Bear Expedition." Collection includes photocopies of clippings, certificates, and miscellanea.

The collection consists of photocopies of clippings, certificates, and miscellanea.