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The collection spans the years 1965 to 2016 and consists of correspondence, writings, printed material, financial papers, photographs, audiocassettes, videocassettes, buttons, t-shirts, and other papers and realia relating to Jim Fouratt's life and involvement with political and counterculture activities, gay rights and AIDS activism, and nightclubs and the music industry. Papers relating to political and counterculture activism document Fouratt's involvement with movements and events of the late 1960s and early 1970s, including the Youth International Party (Yippies) and the 1967 Central Park Be In. Papers relating to gay rights and AIDS document Fouratt's activism and work with organizations including the Gay Liberation Front and ACT UP. Papers relating to nightclub management document his work at Hurrah!, Danceteria, and other clubs, and papers relating to band management document Fouratt's work with a wide range of musical acts. Band demos and video recordings document new wave, rock, and punk acts that performed or sought to perform at clubs managed by Fouratt during the early to mid-1980s. Buttons collected by Jim Fouratt span a variety of political causes and many musical acts active during the 1980s. T-shirts collected by Fouratt represent a range of musical acts, clubs, and political causes.

The Goddard Lieberson Papers highlight Lieberson's career at Columbia Records and his work in the record business more broadly. His work as a producer, vice president, and president of the label is documented by an impressive volume of correspondence, published writings, business files, recording projects, and a selection of audio recordings and interviews. Particularly notable is the variety of correspondence between Lieberson and Columbia's recording artists, whose work spanned classical and popular music, musical theater productions, and historical documentary projects. Collaborators whose correspondence are in the collection include: Leonard Bernstein, Eugene Ormandy, Aaron Copland, Dave Brubeck, the New York Philharmonic, Igor Stravinsky, Lehman Engel, Samuel Beckett, Noël Coward, Truman Capote, Stephen Sondheim, Cole Porter, Richard Rodgers, Mary Martin, Rex Harrison, Barbra Streisand, Groucho Marx and dozens of others, as well. Also notable is the array of publicity materials and news clippings collected from contemporary publications that feature stories or press releases about Lieberson's projects or his personal success in the industry.

Material collected and created by Gerald F. Galloway including maps, field notes, correspondence, and other papers related to mining and the development of real property in Park County, Colorado, circa 1872-circa 1970. The bulk of material in the collection relates to gold, silver, lead, zinc, and uranium mines, as well as the companies responsible for mining operations. The collection also documents the infrastructure of Park County, including roads and water works in the county seat, Fairplay, and the statutory town of Alma, as well as the communities of Bailey, Como, Grant, Guffey, Hartsel, Jefferson, Lake George, and Shawnee. It also details changes in areas that became ghost towns, including Antero Junction, Buckskin Joe (also known as Laurette or Lauret), Garo, Howbert, and Tarryall. The collection documents the surveying work of Galloway, as well as his predecessors in the regions, including Fred C. Morse, Lee Hayes, Hiram Phillips, and William H. Powless.

The papers and photographs in this collection document the history and customs of the Piegan Indians (also known as the Blackfeet Indians) in Montana, and their contact with Europeans and Anglo Americans. The collection provides detailed information about McClintock's photographic practice, as well as his public presentations about the Piegan Indians. A significant part of the collection records the development and production of Poia, an opera based on Piegan Indian legends, composed by Arthur Finley Nevin, with a libretto by Randolph Hartley (1870-1931).