Introducing Ebook Central

Ebook Central is a new ebook platform that has replaced ebrary and EBL (Ebook Library). This platform has an improved user interface with easy-to-use tools for taking notes and making citations.

The login process works like it did for EBL books. The first time you access Ebook Central during a browser session you will need to enter your campus ID and password, even when you are on campus.

Your EBL bookshelf has been automatically migrated. The first time you access your bookshelf in Ebook Central, you will be prompted to log in with your ebrary username and password so that you can import your ebrary bookshelf. The process is simple and quick. After you have done this, you won’t need your ebrary account information anymore.

For more information visit the Ebook Central page on our Ebooks Research Guide.

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New Lost and Found Procedures – Atlanta campus

Lost items at GSU LibraryWe all lose things or leave stuff behind from time to time. This seems to be especially true at the University Library, where you may be using books and your laptop, scanning and printing, chatting with friends, studying, writing, texting and checking Snapchat on your phone – maybe all at the same time!

To ensure that lost property is better documented and secured – and hopefully returned to you more quickly – the Atlanta campus library will begin turning over all found items to our security officers on duty at the Library North 1 desk.

New Procedure

All valuables (wallets, purses, cell phones, laptops, bank cards, licenses, passports, keys, etc.) will be turned over to security staff at the Library North security desk for safekeeping.  Security staff will be responsible for turning these items over to the Georgia State University Police Department.


  • Library staff will continue to hold lost PantherCards for 24 hours and deliver unclaimed cards to the PantherCard Office the next business day.
  • The library will continue to hold less-expensive items (clothing, water bottles, etc.) and textbooks in our Lost and Found at the main service desk on Library North 1.  All items will be donated to charity or discarded if not claimed in 30 days.
  • Found documents containing personal information will be shredded by library staff. This includes checks, invoices, bank statements, etc.
  • Georgia State Police will not accept lost flash drives.  The library will keep these for 90 days and then discard.  The library will not check the content of flash drives.

If you ever have questions about this or any other library procedures or policies, just ask.  Library personnel are glad to help you via Live Assistance on our homepage or in person at any of our service desks.

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2017 Edition of Journal Citation Reports

The 2017 edition of Journal Citation Reports (JCR) is now available. 2017 data is for the previous JCR year, 2016, and includes 132 new journals. Journal Citation Reports data is extracted from Web of Science content.

Click here to download the 2017 Journal Citation Reports brochure.

Journal Citation Reports provides citation data on journals in science, technology, and the social sciences for evaluation and comparison. It shows the most frequently cited journals in a field, the highest impact journals in a field, and the largest journals in a field.


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Bill Gates Visits CURVE

So pleased to have Bill Gates and representatives from the Bill and Melinda Gates Foundation visiting our campus and the University Library’s CURVE: Collaborative University Research & Visualization Environment on June 12 to learn more about how Georgia State has leveraged technology and data to eliminate achievement gaps and become a national model for student success. Gates spoke with Dr. Timothy Renick, vice provost and vice president for enrollment management and student success, Dr. Allison Calhoun-Brown, associate vice president for student success, and a group of students and recent graduates who shared their success stories.

Bill Gates in CURVE

Bill Gates in CURVE 2

More images here.

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African American Music Appreciation Month: Negro Spirituals

As someone of color born and raised in the south, my introduction to Negro spirituals came very early. These were the songs that were sung in church by the Mother Board and Deacons. Or as I used to call them, the old-timey songs I dislike that they sing without music and seem so sad. As a youngster, I didn’t know of the significance these songs played in the lives of slaves. I knew they seem important to my grandmother, great-grandmother and other elderly members of the church, but they were old. So, what did they know?

As I got older, I slowly learned of the cultural significance and relevance of those just a generation out of slavery. Guenther says the “creators of Negro Spirituals were fiercely determined survivors of the largest forced migration in history [slavery]….The enslaved peoples’ frustration and anger at the oppression, torture, and control of body, mind, and soul are reflected in their Spirituals” (65-66). According to Sturgis, “Old Negro spirituals, the raw, fervent plantation songs that helped African Americans through slavery, Emancipation and Jim Crow are finding a rebirth in the era of hip-hop”(20). Sturgis further explains that Negro spirituals were almost extinct after slavery as former slaves no longer wanted to be reminded of their slavery past. But, thanks to the Fisk Jubilee Singers of Fisk University who in 1867 found that they could raise more money for the school by singing spirituals than any other form of music, spirituals were revived for future generations(21). Even today, many of the choirs at historical black colleges and universities perform Negro spirituals.

Our library has a rich collection of sources on the history of spirituals with lyrics and scores. Here are a few examples.

Chenu, Bruno. The Trouble I’ve Seen : The Big Book of Negro Spirituals. Valley Forge, PA: Judson, 2003. Print.

Cooper, Michael L. Slave Spirituals and the Jubilee Singers. New York: Clarion, 2001. Print. Georgia Music Hall of Fame Library.

Dixon, Christa. Negro Spirituals : From Bible to Folk Song. Philadelphia: Fortress, 1976. Print.

Herder, Nicole Beaulieu., and Herder, Ronald. Best-loved Negro Spirituals : Complete Lyrics to 178 Songs of Faith. Mineola, N.Y.: Dover Publications, 2001. Print.

Johnson, James Weldon, J. Rosamond Brown, and Brown, Lawrence. The Books of American Negro Spirituals, including The Book of American Negro Spirituals and The Second Book of Negro Spirituals. New York: Viking, 1969.

Negro Spirituals Band 1 / Anonymous. 1926. Web.

Work, John W. American Negro Songs and Spirituals; a Comprehensive Collection of 230 Folk Songs, Religious and Secular. New York: Bonanza, 1940. Print. Georgia Music Hall of Fame Library.

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Photogrammetry at CURVE

During the spring semester, I acquired a clay whisky jug from the Phoenix Lab, which contains artifacts recovered from the excavation of MARTA lines in the 1970s. Dr. Robin Wharton has worked with students in her multimodel composition course to scan and model objects from the collection, and discussed the process in Atlanta Studies. In this case, the purpose was to experiment with photogrammetry for larger objects, testing the equipment and software that the Library has acquired. The jug is roughly 8 inches high and 6 inches in diameter, with a circumference of 19 inches.

image of whisky jug

Whisky Jug

The jug wears the story of its life. The outside is worn and pitted, and carries a few kiln drips, where the kiln bricks melted and dripped on to the jug as it was fired. These drips show as dark splotches on the outside of the jug. Stamped on the top shoulder of the jug are two names: T.W. Cofield and E.C. Brown.

Whisky jug with stamp showing T.W. Cofield and E.C. Brown

Stamp showing T.W. Cofield and E.C. Brown

To capture the entire jug in detail, I took images of the jug at 15 degree intervals on three elevations. I used Agisoft Photoscan to assembled the images into point clouds, meshes, and then textured models. I then pinned the three partial sections together, which resulted in a full model of the jug.

In the finished 3D model, you can manipulate the jug to see its details and textures, including the stamped inscription with the two potters’ names.

Click here to see the Whisky Jug on SketchFab

Thomas William Cofield and Edward C. Brown were cousins who lived in the Howell’s Mills area in northwest Atlanta, near present-day Buckhead. Edward’s father was Bowling P. Brown, a potter. His grandfather was Bowling Brown, also a potter, who had moved the family from Jugtown (an unofficial name) on borders of Upson and Pike counties.

Bowling’s daughter (and B.P.’s sister) Mary Jane Brown married Thomas B. Cofield from North Carolina while they lived in Jugtown. Their son, Thomas W. Cofield, became a potter and worked alongside his cousin, E.C. Brown, to produce jugs for Atlanta’s businesses from the 1880s through the 1910s. [Note 1]

In his history of Georgia’s folk pottery, John A. Burrison suggests that Thomas and Edward worked together no later than 1911, after which Edward “became a gardener (and later foreman) at Grant Park.” Based on this suggestion, we can infer that the whisky jug is at least 106 years old. The jug is in remarkable shape for its age, but I still wouldn’t recommend drinking from it.


  1. John A. Burrison, Brothers in Clay: The Story of Georgia Folk Pottery (Athens, GA: University of Georgia Press, 2008), pp. 71, 168, 191, 195, 199.
  2. Ibid., p. 195.

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African American Music Appreciation Month: Hip Hop

My Adidas
Walked through concert doors
And roamed all over coliseum floors
I stepped on stage, at Live Aid
All the people gave and the poor got paid

That’s the opening verse to My Adidas by hip hop icons, Run-DMC. A song that’s partially responsible for this author’s continued wear (my friends would say obsession) of Adidas sneakers. Just shows that Hip Hop has always been about more than music. It’s a cultural phenomenon that includes fashion, language, politics and more. Over the years that culture has shifted with the music and the artists of a particular era.

When I fell in love with rap music, the first song that I remember is Sugar Hill’s Rapper’s Delight. Rapper’s Delight is a song with rap verses over Chic’s song Good Times, a funky R&B dance classic. It was all about having fun and dancing. Getting together with your friends to have good, clean fun. The trend of taking songs and rapping over them continued in the early days of rap music with quite a few songs and samples used from the catalogs of James Brown and George Clinton (of Parliament Funkadelic).

During my time as an undergraduate student (’88 -’92), the music was becoming less about dancing and more about the message. It was conscientious rap with artists like Public Enemy (Fight the Power), X-Clan (Funkin’ Lesson) and a future Academy Award nominee in Queen Latifah (Ladies First). It was about showing cultural pride as many of us wore African medallion necklaces, Kente cloth clothing, t-shirts with positive messages  and hoodies supporting HBCU’s (Historically Black Colleges and Universities).

These are just a couple of my early recollections of rap music and hip hop. Of course, to current undergraduate Panthers, my recollections may seem like ancient history. You can discover more about those early days with the sources below. But, in the comments, let me know some of your early recollections and experiences of hip hop music. Maybe your recollections can bring this old-timer up to speed.

Ogg, Alex., and David. Upshal. The Hip Hop Years : A History of Rap. 1st Fromm International ed. New York: Fromm International, 2001. Print.

Light, Alan. The Vibe History of Hip Hop. 1st ed. New York: Three Rivers, 1999. Print.

Chang, Jeff. Can’t Stop, Won’t Stop : A History of the Hip-hop Generation. 1st ed. New York: St. Martin’s, 2005. Print.

Rausch, Andrew J., and Ebrary, Inc. I Am Hip-hop : Conversations on the Music and Culture. Lanham, Md.: Scarecrow, 2011. Print.

Berman, Michael, et al. Hip Hop Legends. Letterbox.. ed. United States]: STS Media : Distributed in the U.S. by Warner Home Video, 2007.

Clift, Robert A., and Kanopy. Blacking up : Hip-hop’s Remix of Race and Identity. 2014.

Hurt, Byron, et al. Hip-hop beyond Beats and Rhymes. Northampton, MA: Media Education Foundation, 2006.

Hunte, O. D., and Extreme Music Library. Hip Hop. Princeton, N.J.]: Films for the Humanities & Sciences, 1998.

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The Library’s Early College Summer Program

Early College is a four-week program that gives students both social and academic skills that they will need to succeed in college. Early College Summer program students take college-level math, English and sciences classes. They also participate in four library workshops where  they will learn how to navigate the vast resources of GSU’s research library. Denise Dimsdale, Education Librarian, coordinates the library program for Early College. The four library sessions will teach students:

  • How to evaluate print and online resources
  • How to avoid plagiarism with proper citations and paraphrasing
  • How to find resources using the online catalog and online databases

The first sessions were held on June 7th and will continue on June 8 – 15 with Group 1 meeting from 12:40pm to to 1:40pm and Group 2 meeting from 1:50pm to 2:50pm. All sessions will be held in Classroom 1.

The Early College Research guide will be used to instruct students. The library has other research guides to assist new students adjust to campus and research life.

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African-American Music Appreciation Month: Jazz

June marks the beginning of African-American Music Appreciation Month, initially called Black Music Month when President Jimmy Carter issued a decree on June 7, 1979. In 2000, President Carter’s degree was approved in House Resolution 509. In celebration of African-American Music Appreciation Month, the GSU Library will have a weekly focus on the contributions of African Americans to musical genres such as jazz, rock and roll and hip hop. This week’s focus is on jazz. “Recently, President Donald Trump proclaimed the first African-American Music Appreciation Month of his tenure, honing in on the accomplishments and impact of artists like Berry, Dizzy Gillespie and Ella Fitzgerald.”

Jazz has been defined as “America’s classical music.” In Jazzedited by Ronald Landford, jazz is described as one of the greatest cultural contributions by African Americans. Some of the prominent artists in jazz are Duke Ellington, Dr. Billy Taylor, Ella Fitzgerald, Dizzy Gillespie, Miles Davis, Charlie Parker and many more. Explore the library’s collection to learn more about jazz, and the artists that transformed this genre of American music. Some of the highlights from the collection are:

Blakey, Art, Dizzy Gillespie, Al. McKibbon, Sonny. Stitt, Kai. Winding, and Thelonious. Monk. The Giants of Jazz. Atlantic, 1972.

Burns, Ken, Keith. David, Lynn. Novick, Geoffrey C. Ward, Florentine Films, PBS Home Video, and WETA-TV. Jazz. Burbank, CA: PBS Home Video : Distributed by Warner Home Video, 2000. American History in Video.

Burns, Ken, Geoffrey C. Ward, Louis Armstrong, Fred. McDowell, James Reese Europe, James P. Johnson, Duke Ellington, Benny Moten, Coleman. Hawkins, Artie Shaw, Glenn Miller, Horace Silver, Clifford. Brown, Max Roach, Sammy. Rollins, Dave. Brubeck, Stan Getz, Charlie Byrd, John Coltrane, Miles. Davis, Jim Europe’s 369th Infantry Band, Original Dixieland Jazz Band, Bennie Moten’s Kansas City Orchestra, Jazz Messengers, Modern Jazz Quartet, and Rollins, Sonny. Ken Burns Jazz the Story of America’s Music. New York: Columbia/Legacy, 2000.

Ellington, Duke, Louis Armstrong, Paul Whiteman, Bix Beiderbecke, Bill Robinson, Charlie Wellman, Bessie Smith, Tessie Maize, Tommy Christian, Ben Bernie, Ruby Darby, Sherwin Dunner, Richard Nevins, Dana Heinz Perry, Dorsey Brothers Orchestra, Performer, Boswell Sisters, Performer, and Yazoo Video. At the Jazz Band Ball : Early Hot Jazz, Song and Dance 1925-1933. 2000.

Gioia, Ted., and Ebrary, Inc. The History of Jazz. 2nd ed. New York: Oxford UP, 2011. Web.

Levin, Floyd., and Ebrary, Inc. Classic Jazz : A Personal View of the Music and the Musicians. Berkeley, Calif. ; London: U of California, 2000. Web.

Williams, Martin T., Martin Gitler, and Gitler, Ira. Smithsonian Collection of Classic Jazz. Rev.. ed. Washington, D.C. : New York: Smithsonian Collection of Recordings ; Manufactured by CBS Records, 1987. The instrumental history of jazzThe instrumental history of jazz

If you have a favorite jazz artist, let us know in the comments and we’ll compile you a list of books, videos, and/or sound recordings (CDs).

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Workshop: NVivo for Qualitative Data Analysis

Need to make your qualitative data analysis process more efficient and manageable? Come to these NVivo workshops!

nvivo_logoIn this two-part workshop series, Dr. Mandy Swygart-Hobaugh, Team Leader for Research Data Services, leads participants in hands-on exploration of using NVivo qualitative research software.


NVivo 1 – Tuesday, June 13, 1:00pm-2:30pm, Classroom South 403 – REGISTER HERE

  • Getting to know the NVivo workspace
  • Exploring different types of Sources that can be analyzed
  • Basic Coding of Text and Multimedia Sources
  • Using Queries to explore and code your data
  • Recording comments and ideas

NVivo 2 – Tuesday, June 20, 1:00pm-2:30pm, Classroom South 403 – REGISTER HERE

  • Creating Classifications with Attribute Values and Sets to facilitate comparative analyses
  • Autocoding Sources
  • Coding queries
  • Matrix queries
  • Data visualizations

Questions? Ask Mandy Swygart-Hobaugh.

Learn more about upcoming data-related workshops and the Library’s other data services & support offerings here!

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