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The Aldemaro Romero Archive is comprised of the artistic and intellectual production of the Venezuelan composer from 1945 to his death in 2007. His collection is divided in two sections: concert and popular music. Aldemaro Romero's concert collection is made of one hundred original manuscripts and copies of scores with works for symphonic orchestra, chorus and orchestra, solo concerts for wind and string instruments with orchestra, and chamber music. The popular music collection contains 126 songs and 31 instrumental works (vol. 1 and vol. 20), manuscripts and copies of the lead sheets and/or lyrics and recordings.

The collection contains clippings from the 1960s related to homosexuality in Cuba and its place in the Cuban Revolution from publications such as Mella and Juventud Rebelde; political and cultural pamphlets; theater and art exposition programs; 60 posters from the Consejo Nacional de Cultura, ICAIC, and the Comisión de Orientación Revolucionaria; political posters from OSPAAAL; postage stamps from 1963 to 1978; and LP records.

The Antonio Arias Papers consists of circular letters, proclamations, statements, press releases, and other correspondence sent to Antonio Arias during the 1960s and 1970s by Cuban exile organizations. Some of these groups were paramilitary organizations engaged in subversive activities, such as Comandos Omega 7 and Joven Cuba Nacionalista. The collection also includes a copy of "Acta final de los diálogos celebrados entre el gobierno de la República de Cuba y personalidades representativas de la comunidad cubana en el exterior - los días 20 y 21 de noviembre y 8 de diciembre de 1978."

These materials were received and collected by Antonio "Cuco" Arias while a radio journalist at WFAB La Fabulosa, a Spanish-language radio station in Miami, Florida. Mr. Arias worked at various radio stations and went on to serve as an executive producer for television with Univisión, the Spanish-language media company.

The collection contains Cuban stamps from 1855-2000; materials related to José Lezama Lima, including a LP of his poems, a photocopy of "Coloquio con Juan Ramón Jiménez," and genealogical information; a typescript of "El mar que me circunda" by Juana Rosa Pita, and an invitation to the exhibition "Pablo Cano: The Toy Box" (2004). The collection also contains a VHS tape with footage of the donation of letters from José Lezama Lima to the Cuban Heritage Collection.

The Carlota Caulfield papers consist of personal and professional correspondence, literary materials including typescripts, manuscripts, poetry, video cassettes, DVDs, cassette tapes, and floppy discs, and various ephemera like clippings, pamphlets, flyers, postcards, photographs, and publications that document Caulfield's career as a poet, scholar, and cultural figure.

The materials consist of research papers and tapes used by Marta Pérez to write her Ph.D. thesis: "The Varela Centers: An Immigrant Education Entry Program."  Pérez uses for her dissertation documents found in two Varela Centers in Miami, which offered education to the students coming from Guantánamo Base.  The documents include correspondence, financial records, research notes, reports, students' school work and photographs.

The Coconut Grove Playhouse records contain playbills, promotional/marketing material, posters, press releases, news clippings, financial files, grant files, personnel files, show and production files, play scripts, and audio-visual materials (photographs, CDs, vinyl records, floppy disks, VHS, film reels, betacam tapes, audiocassette tapes) pertaining to the theater's operation from the 1970s to its closing in 2006.

The records contain legal cases, research files, correspondence, audio-visual materials (VHS, CD-ROM, audiocassettes, microcassettes), and trial notes from the Miami Community Justice Project. Topics covered include development for low income housing, gentrification, public housing, and privately run detention centers. In particular, the materials discuss the Scott Homes/Hope VI housing revitalization plan and the Reese v. Miami-Dade County court case; the Sawyer's Walk (Overtown) and Crosswinds (Overtown) redevelopment projects; the Manuel et al. v. city of Lake Worth court case; and the Miami Workers Centers Transit HUB. Other organizations mentioned in the files include Power U Center for Social Change and Florida Immigrant Coalition (FLIC).

The Daniel O. Graham papers contains a variety of materials from Graham's military career and his work in United States intelligence and defense. Included are Westmoreland vs. CBS trial papers, documents on Arlington politics, a series of drafts about Project High Frontier, materials on Soviet-American relations, materials on the Strategic Defense Initiative and the CIA, personal and official correspondence, press clippings and newspapers, manuscripts, articles, essays, awards, and other materials.

The David Ewen Collection consists of materials which pertain to several aspects of music, ranging from composers to opera houses and festivals, as well as his personal life and work. The papers follow the original order established by David Ewen.

The bulk of the collection contains information and some correspondence pertaining to American and foreign composers and serious and popular performers such as George Gershwin, Charles Ives, Igor Stravinsky, Gustav Mahler, Maria Callas, Bing Crosby, and other notable 20th century composers and performers.

Contains one phonograph of Eisenhower presidential campaign spots and newspaper clippings regarding World War II.

Born in New York City, Evan H. Rhodes (1929-2010) is a noted Key West-based author who penned many novels over the course of his lifetime, including the novel, The Prince of Central Park, which had been adapted into both a feature-length film and a musical. He graduated from New York University with a Master of Arts degree and then worked as a screen reader for Columbia Pictures and Universal International before settling down in Key West to write novels. He was also a member of the Author's League of America, the NYU Alumni Federation, and the Library of the British Museum and had exhibited his own sculptures at the Washington Square Gallery in New York City.

His papers contain a wide arrange of material documenting his noteworthy literary career, including manuscripts, playscripts, drafts, notes, research files, promotional materials, news clippings, reviews, correspondence, poetry, audio-visual materials, photographs, and ephemera.

The Finlay B. Matheson collection includes more than 2,411 photographs; 112 maps, surveys, and architectural plans; and 13 books related to William John Matheson and his immediate family. Estate documents and other documents containing historical and biographical information pertaining to the Matheson family and their various business ventures can also be found within this collection, as well as drawings, postcards, and some of the first aerial view photographs of Key Biscayne, Coconut Grove, the Miami River, and the Florida Keys. Florida's landscape during the early 20th century is captured throughout the various albums and scrapbooks and attests to a more leisurely lifestyle before the advent of skyscrapers and multi-lane highways. Furthermore, the collection provides an in-depth glimpse into the burgeoning social life of early inhabitants who gathered at the Biscayne Bay Yacht Club.

"Focus: America" radio talk show was created by Richard (Ric) Arenstein and Larry Wallenstein, both juniors in the Communications Department, University of Miami in 1975.  The show originally started as a local program "Focus: Miami" and was produced at the UM's campus radio station WVUM-FM where Arenstein interviewed local personalities and celebrities visiting Miami.

After the successful first season, the tapes of the talk show were mailed to more than 70 college stations across the country under the name "Focus: America."  In his senior year, Arenstein and his new associate, Chuck Bortunick, traveled under a grant from the Burger King Corp. to tape interviews of celebrities in other parts of the country.  The show ended because of Arenstein's graduation.

The Fort Chaffee Collection brings together two sources of materials relating to Cubans who arrived in the U.S. during the 1980 Mariel Boatlift and were detained at refugee camps at Fort Chaffee, Arkansas.

Barbara Lawson was director of the Cuban-Haitian Task Force from 1980 to 1981, and she donated reports, correspondence, memoranda, artwork by Cuban refugees, and recordings of news interviews she gave during her tenure with the Task Force. These materials document the operations and policies of Fort Chaffee from 1980 to 1981, discussing, among other topics, security issues in Fort Chaffee and difficulties in placing entrants who were considered not suitable for sponsorship. Lawson donated additional materials in 2018, including correspondence, postcards, newspaper clippings, greeting cards with artwork by Cubans held in Fort Chaffee, and press and Army Public Information photographs related to the Boatlift.

Gastón A. Fernández donated the research materials he collected and used for his book The Mariel Exodus Twenty Years Later: A Study on the Politics of Stigma and a Research Bibliography (Miami: Ediciones Universal, 2002).  These materials consists primarily of photocopies of reports and interagency correspondence of the various U.S. government agencies responsible for the processing and settlement of Mariel refugees and for administering Fort Chaffee and other camps.  The Fernández donation also includes photographs by the U.S. Army and snapshots of refugee activities at Fort Chaffee. The photocopied documents seem to have been obtained by Fernández primarily from the Jimmy Carter Presidential Library, although they are not clearly identified as such.

Issues of La Vida Nueva, a newsletter published by the Cubans detained at Fort Chaffee with the support of the 1st Psychological Operations Battalion of the U.S. Army, and Crossroads, a newspaper published for Fort Chaffee personnel were transferred to the CHC Exile Journals collection.

Professor Gregory Bush (History Department) and the Institute for Public History (IPH) have recorded a series of interviews around the issue of public spaces in South Florida. Participants, who are representative of the diverse cultural milieu of the region, reflect and provide insights on migration, gentrification, the history of individual neighborhoods, housing, and community services.

These voices help to articulate the ongoing discourse on public space as it applies to South Florida’s History of development. The recordings and accompanying transcripts of the oral history collection document the unique experiences of the region’s inhabitants. In addition, the collection serves as a repository of primary source materials for students, faculty and the general public.