LEADERS OF THE NEW SCHOOL: HIP HOP LIBRARIANSHIP | A COMPREHENSIVE BIBLIOGRAPHY

The Hip Hop Librarian Consortium
Presents

The Leaders of the New School:
Hip Hop Librarianship

A Comprehensive Bibliography

The Hip Hop Librarian Consortium
Alonzo Avila, Kai Alexis Smith, Genevia Chambee-

Smith, Forrest C. Foster, Dave J. Ellenwood,
kYmberly Keeton, Max Macias, Damon McGhee

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Copyright © 2017 by The Hip Hop Librarian Consortium. All
rights reserved. This book or any portion thereof may not be
reproduced or used in any manner whatsoever without the express
written permission of the publisher except for the use of brief

quotations in a book review.

Publisher: kYmberly Keeton

Editor at Large: Kai Alexis Smith

Cover designed by: Karen Cheung

Designed in the United States of America

First Printing, 2017

ISSN 2572-0627

The Hip Hop Librarian Consortium
www.hiphoplibrarianship.wordpress.com

“Since hip hop emerged from the South Bronx in the
1970s, it has become an international, multi-billion-
dollar phenomenon. It has grown to encompass more
than just rap music. Hip hop has created a culture that
incorporates ethnicity, art, politics, fashion, technology
and urban life. This debunks the widely accepted
argument that the genre is inherently divisive. With so
many factors converging to create such an intricate,
informative and multi-faceted genre, whose history and
impact have bridged barriers between artist and society,
it is not too complicated an endeavor to understand that
its relevance repudiates its notorious reputation.”

― Carlos Wallace, The Other 99 T.Y.M.E.S: Train
Your Mind to Enjoy Serenity

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The Leaders of the New School: Hip Hop Librarianship

By kYmberly Keeton

Hip Hop is an ever-changing art form birthed out of the
Black Arts Movement. It encompasses dance, writing,
technology, graffiti, and the performing and visual arts.
Artistic concepts bred from Hip Hop are the guiding
forces in the 21st century that are interactive learning
tools transformed as scholarship and research to reach
the millennial generation in an academic setting. Using
the library as an institution for higher learning by
designing creative scholarship in a collaborative
environment for critical thinking, utilizing digital tools
to acknowledge information, and creating incubator
spaces for research is how libraries can be change
agents in the future. Hip Hop Librarianship is a newly
recognized form of scholarship in the academy.

In October of 2016, a group of academic librarians from
various institutions within the United States founded
The Hip Hop Librarian Consortium. Each member of
this group is an expert in their scholarship about Hip
Hop as an art form and its impact on higher education.
Their goal as a collective was to create a free
downloadable mini e-book in bibliographic form with
over 50 resources for librarians that teach in academia
to use at their home institutions. The premise behind the
project is to inform our colleagues about Hip Hop
Librarianship in academia through scholarship in
information literacy, digital curation, archiving,
collection development, event planning, and creating
spaces for artistic environments.

All resources compiled in the e-book are ones that the
entire team used in their own academic environments.
In like manner, this publication is a research guide
about Hip Hop for students, faculty, and life-long
learners. The project features a website, an e-book, and
a information/archive about the consortium’s panel

presentation about their body of work at the ACRL
Association of Colleges and Research Libraries
Conference in Baltimore, Maryland, March 22-26,
2017. Hip Hop Librarianship: Leaders of the New
School a Comprehensive Bibliography is a must-have
resource for your library and personal use for research
and further knowledge about the art form in its various
mediums through education and culture.

Visit and download the e-book and learn more about
The Hip Hop Librarian Consortium here:
www.hiphoplibrarianship.wordpress.com.

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Hip Hop Bibliography
Compiled by The Hip Hop Librarian Consortium

Hip Hop & Lifelong Learning
563, Mark. HIP HOP COLORING BOOK. Dokument

Press, Clr Csm edition. Dokument Press, 2016.
Berger, Alyssa, and Dave Ellenwood. “Fresh

Techniques: Hip Hop and Library Research.” In
Critical Library Pedagogy Handbooks, edited by
Nicole Pagowsky and Kelly McElroy, 2:280.
Chicago: ACRL, 2016.
Brown, Ruth Nicole, and Chamara Jewel Kwakye, eds.
Wish to Live: The Hip-Hop Feminism Pedagogy
Reader. Vol. 3. Educational Psychology. New
York, NY: Lang, 2012.
Davis, Angela Yvonne, and Frank Barat. Freedom Is a
Constant Struggle: Ferguson, Palestine, and the
Foundations of a Movement. Chicago: Haymarket
Books, 2016.

Dyson, Michael. Holler If You Hear Me: Searching for
Tupac Shakur | Pomona. New York, 2003.

Dyson, Michael Eric. Know What I Mean?: Reflections
on Hip-Hop. New York: Basic Civitas Books,
2010.

Emdin, Christopher. For White Folks Who Teach in the
Hood ... and the Rest of Y’all Too: Reality
Pedagogy and Urban Education. Boston: Beacon
Press, 2016.

Freire, Paulo. Pedagogy of the Oppressed. New York:
Continuum, 2000.

Hill, Marc Lamont, and Petchaue, eds. Schooling Hip-
Hop: Expanding Hip-Hop Based Education across
the Curriculum. New York: Teachers College,
Columbia University, 2013.

Kruse, Adam J. “Toward Hip-Hop Pedagogies for
Music Education.” International Journal of Music
Education 34, no. 2 (May 1, 2016): 247–60.
doi:10.1177/0255761414550535.

Macias, Max. “Hip-Hop and Web 2.0 (Something I
Wrote a Long Time Ago and Haven’t Done
Anything with).” Lowrider Librarian, February 2,
2009.
https://lowriderlibrarian.blogspot.com/2009/02/hip
-hop-and-web-20-something-i-wrote.html.

———. “Tags, Tagging and Information Diffusion.”
Lowrider Librarian, August 6, 2014.
https://lowriderlibrarian.blogspot.com/2014/08/tag
s-tagging-and-information-diffusion.html.

———. “The Information Transfer Process in Hip-
Hop: A New Academic Field Emerges.” Lowrider
Librarian, September 28, 2014.

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https://lowriderlibrarian.blogspot.com/2014/09/t-h-
e-i-n-f-orm-ati-o-n-tr-n-s-f-er-p-r.html.
Malone, Christopher, and George Martinez Jr., eds. The
Organic Globalizer: Hip Hop, Political
Development, and Movement Culture. New York:
Bloomsbury Academic, 2015.
Marvel: The Hip-Hop Covers Vol. 1. Marvel, 2016.
Peterson, James Braxton. Hip Hop Headphones: A
Scholar’s Critical Playlist. Bloomsbury Academic,
2016.
Rowland, Danielle. “Fresh Techniques: Getting Ready
to Use Hip Hop in the Classroom.” In Critical
Library Pedagogy Handbooks, Vol. 1. Chicago:
ACRL, 2016.
Travis, Raphael. The Healing Power of Hip Hop. Santa
Barbara: Praeger, 2016.

Hip Hop Information Literacy & Scholarship

Berger, Alyssa. “Can’t Stop Won’t Stop: Seeding
Library Instruction with Hip-Hop.” Presentation,
Prezi, November 11, 2015.
https://prezi.com/59pl_6l3et1w/cant-stop-wont-
stop-seeding-library-instruction-with-hip-hop/.

Ellenwood, Dave, Michelle Witherspoon, and Lisa
Whittington. “Session 18: Panel Presentations.”
Presentation presented at the TUPAC AMARU
SHAKUR COLLECTION CONFERENCE: HIP
HOP EDUCATION & EXPANDING THE
ARCHIVAL IMAGINATION, Atlanta University
Center Robert W. Woodruff Library, September
29, 2012.
http://digitalcommons.auctr.edu/tascc/24.

Georgetown University. A Conversation with Nas and
Michael Eric Dyson. Video. Georgetown
University, 2014.
https://www.youtube.com/watch?v=vli5YcY5zNQ
.

Keeton, kYmberly. “Hiphoplibguide.” Hiphoplibguide,
2017. https://hiphoplibguide.xyz/.

———. “The Blueprint for Hip Hop Information
Literacy.” ACRL Framework for Information
Literacy Sandbox, November 9, 2016.
http://sandbox.acrl.org/library-collection/blueprint-
hip-hop-information-literacy.

Light, Alan, and Greg Tate. “Hip-Hop: Music and
Cultural Movement.” Britannica.com.
Encyclopedia of Britannica, November 12, 2012.
https://www.britannica.com/topic/hip-hop.

Walker, Dara. “Report on Information Literacy and the
Mic: Teaching Higher Education Students Critical
Research Skills Using Hip Hop Lyricism.” McNair
Scholars Research Journal 1, no. 1 (February 12,
2010): 17–33.

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Hip Hop & Identity
Alsalman, Yassin. The Diatribes of a Dying Tribe.

Montreal: Write or Wrong/Paranoid Arab
Boy/Stereotypes Incorporated Publishing, 2011.
Harrison, Anthony Kwame. Hip Hop Underground:
The Integrity and Ethics of Racial Identification.
Philadelphia: Temple University Press, 2009.
Hill, Marc Lamont. Nobody: Casualties of America’s
War on the Vulnerable, from Ferguson to Flint
and beyond. New York: Atria Books, 2016.
Jeffries, Michael P. Thug Life: Race, Gender, and the
Meaning of Hip-Hop. Chicago: University of
Chicago Press, 2011.
McFarland, Pancho. Latinos in the United States: The
Chican@ Hip Hop Nation: Politics of a New
Millennial Mestizaje. East Lansing, US: Michigan
State University Press, 2013.

Motapanyane, Maki, ed. Mothering in Hip-Hop
Culture: Representation and Experience.
Bradford, ON: Demeter Press, 2012.

Rose, Tricia. Black Noise: Rap Music and Back Culture
in Contemporary America. Music/Culture.
Hanover, N.H.: Wesleyan University Press, 1994.

Rubin, Joel. “Hip Hop Videos and Black Identity in
Virtual Space.” The Journal of Hip Hop Studies 3,
no. 2 (Summer 2016): 74–85.

Santos, Jaqueline L. “Hip-Hop and the Reconfiguration
of Blackness in Sao Paulo: The Influence of
African American Political and Musical
Movements in the Twentieth Century.” Social
Identities 22, no. 2 (2016): 160–77.

Sulé, V. Thandi. “Hip-Hop Is the Healer: Sense of
Belonging and Diversity Among Hip-Hop
Collegians.” Journal of College Student
Development 57, no. 2 (March 29, 2016): 181–96.
doi:10.1353/csd.2016.0022.

Villegas, Mark R., Kuttin’ Kandi, and Roderick N.
Labrador, eds. Empire of Funk: Hip Hop and
Representation in Filipina/O America. San Diego:
Cognella Academic Publishing, 2013.

Weis, Ellen R. Egyptian Hip-Hop: Expressions from
the Underground. Cairo, Egypt: The American
University in Cairo Press, 2015.

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Hip Hop, Research Skills & Academic Integrity

Arthur, Craig. “Kool Aid, Frozen Pizza, and Academic
Integrity: Learning from Mac Miller’s Mixtape
Missteps.” Internet Reference Services Quarterly
20, no. 3–4 (2015): 127–34.

Broome, Jeffrey L. “USING HIP-HOP MUSIC to
Enhance Critical Discussions on Postmodern Art.”
Art Education 68, no. 5 (2015): 34–39.

Craig, Todd. “‘Makin’ Somethin’ Outta Little-to-
Nufin’’: Racism, Revision and Rotating Records -
The Hip-Hop DJ in Composition Praxis.”
Changing English 22, no. 4 (2015): 349–64.

Ellenwood, Dave. “Hip-Hop and Information Literacy:
Critically Incorporating Hip-Hop in Information
Literacy Instruction.” In Information Literacy and
Social Justice: Radical Professional Praxis, edited
by Lua Gregory, Shana Higgins, and Toni Samek,
306. Sacramento, CA: Litwin Books, 2013.

Fisher, Maisha T. “Open Mics and Open Minds:
Spoken Word Poetry in African Diaspora

Participatory Literacy Communities.” Harvard
Educational Review 73 (2003): 362–89.

Hess, Mickey. “Was Foucault a Plagiarist? Hip-Hop
Sampling and Academic Citation.” Computers and
Composition 23, no. 3 (2006): 280–95.

Kwame, Harrison A., and Craig Arthur. “Reading
Billboard 1979-89: Exploring Rap Music’s
Emergence through the Music Industry’s Most
Influential Trade Publication.” Popular Music and
Society 34, no. 3 (2011): 309–27.

MacDonald, Michael B. Remix and Life Hack in Hip
Hop: Towards a Critical Pedagogy of Music.
Rotterdam: Sense Publishers, 2016.

Miyakawa, Felicia M. “Turntablature: Notation,
Legitimization, and the Art of the Hip-Hop DJ.”
American Music 25, no. 1 (2007): 81.

Mooney, Brian. Breakbeat Pedagogy: Hip-Hop and
Spoken Word beyond the Classroom Walls. New
York: Peter Lang Inc., 2016.

Petchauer, Emery. “Framing and Reviewing Hip-Hop
Educational Research.” Review of Educational
Research 79, no. 2 (2009): 946.

———. “Starting with Style: Toward a Second Wave
of Hip-Hop Education Research and Practice.”
Urban Education 50, no. 1 (2015): 78–105.

Rice, Jeff. “The 1963 Hip-Hop Machine: Hip-Hop
Pedagogy as Composition.” College Composition
and Communication 54, no. 3 (2003): 453–71.

Sa’id. The Art of Sampling: The Sampling Tradition of
Hip Hop/Rap Music and Copyright Law.
Brooklyn, NY: Superchamp Books, 2013.

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Schloss, Joseph Glenn. Making Beats: The Art of
Sample-Based Hip-Hop. Middletown, CT:
Wesleyan University Press, 2014.

Tatum, Alfred W., and Gholnecsar E. Muhammad.
“African American Males and Literacy
Development in Contexts That Are
Characteristically Urban.” Urban Education 47,
no. 2 (2012): 434–63.

Wakefield, Sarah R. “Using Music Sampling to Teach
Research Skills.” Teaching English in the Two-
Year College 33, no. 4 (2006): 357–60.

Williams, Justin A. Rhymin’ and Stealin’: Musical
Borrowing in Hip-Hop. Ann Arbor, Mich.: The
University of Michigan Press, 2014.

Hip Hop & Visual Culture

Alim, H. Samy. “Global Ill-Literacies: Hip Hop
Cultures, Youth Identities, and the Politics of
Literacy.” Review of Research in Education 35,
no. 1 (March 1, 2011): 120–46.
doi:10.3102/0091732X10383208.

Brunson III, James E. “Showing, Seeing: Hip-Hop,
Visual Culture, and the Show-and-Tell
Performance.” Black History Bulletin 74, no. 1
(Winter/Spring 2011): 6–12.

Chung, Sheng Kuan. “Media/Visual Literacy Art
Education: Sexism in Hip-Hop Music Videos.” Art
Education 60, no. 3 (2007): 33–38.
doi:10.2307/27696214.

Jenkins, Stephanie C. “Development of Student
Motivation in the Visual Arts Using Hip Hop
Culture, an Art Show and Graffiti.” University of
Maryland College Park, 2009.

Lindsey, Treva. “‘One Time for My Girls’: African-
American Girlhood, Empowerment, and Popular
Visual Culture.” Journal of African American
Studies 17, no. 1 (March 2013): 22–34.
doi:10.1007/s12111-012-9217-2.

Monteyne, Kimberley. Hip Hop on Film : Performance
Culture, Urban Space, and Genre Transformation
in the 1980s. Jackson: University Press of
Mississippi, 2013.

Pardue, Derek. “CD Cover Art as Cultural Literacy and
Hip‐hop Design in Brazil.” Education,
Communication & Information 5, no. 1 (March
2005): 61–81. doi:10.1080/14636310500061334.

Sánchez, Deborah M. “Hip-Hop and a Hybrid Text in a
Postsecondary English Class.” Journal of
Adolescent & Adult Literacy 53, no. 6 (2010):
478–87.

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Sorensen, Janet. “The Visual Politics of Hip Hop.”
Afterimage 21, no. 10 (1994): 11.

Sunami, April J. “Transforming ‘Blackness’ ‘Post-
Black’ and Contemporary Hip-Hop in Visual
Culture.” Ohio University, 2008.

Thompson, Krista. “The Sound of Light: Reflections on
Art History in the Visual Culture of Hip-Hop.” Art
Bulletin 91, no. 4 (December 2009): 481.

Biographical Map | The Hip Hop Librarian Consortium

Alonso Avila is an early-career librarian at the University of Iowa
Libraries. He received his Master’s degree at the University of
Illinois at Urbana-Champaign (UIUC).
Prior to UIUC, Alonso worked as a special
education tutor at a charter high school in
Chicago, and also served two years in
Peace Corps Jordan. Alonso’s research
interests include the intersection of culture
and social justice, as well as the
interrelationship between librarianship and
hip-hop’s 5th element ‘knowledge,’
information literacy. Furthermore, he is
interested in hip-hop as an international liberation movement in
which the culture’s elements enable underrepresented communities
to discover, grow, build, create, connect, and heal.

Dave Ellenwood is the Research &
Instruction / Social Sciences Librarian at
University of Washington Bothell and
Cascadia College. He received graduate
degrees in Library and Information
Science and African studies from the
University of Illinois Urbana-Champaign.
Dave's research focuses on the ways in
which critical pedagogy, Critical Race
Theory, whiteness, and hip-hop intersect
with libraries.

Forrest Foster is the Head of Public
Services at C.G. O’Kelly Library at
Winston-Salem State University (WSSU).
His librarianship experience includes work
at East Carolina University’s J.Y. Joyner
library; North Carolina A&T State
University’s Bluford Library; and
Winston-Salem State University’s C. G.
O’Kelly Library. He has presented at
numerous workshops, conferences and has
also been published by Journal of Learning Spaces, Computers in
Libraries, Diverse Issues in Higher Education and EDUCAUSE
Review Online. Foster is also the host of a talk radio show called
Let’s Talk Learning Spaces. His research interests include value of
library assessment, learning spaces, digital literacy and strategic
planning.

kYmberly Keeton is an Academic Librarian, Assistant Professor,
and the Arts Library Coordinator at Lincoln University Missouri,

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Inman E. Page Library. In 2014, she received a Master’s in Library
Science degree and a Graduate Certificate in Digital Content
Management from the University of North Texas. She completed
her Graduate Practicum Studies at the Hirsch Library, The
Museum of Fine Arts Houston, and The
Houston Museum of African American
Culture. The artistic librarian serves on
the ACRL Framework Information
Literacy Advisory Board, founded
& published the online Hip Hop
LibGuide, and is the Art Editor and
Creative Director of ART_library deco.
Keeton is a member of the ALA Emerging Leader Class of 2016
and Alumni of the 2016 ACRL (AiA) Assessment in Action
Program. She is a mentee participant in the 2016-2017 LLAMA
Mentoring Program | Library Leadership & Management. The
creative mixologist is a published experimental fiction writer, poet,
and visual artist. Learn more about kYmizsofly
at: www.blacknesspersonified.wordpress.com.

Max Macias is an independent librarian who teaches information
literacy part-time for Portland Community College. He grew up in
San Jose, CA, but has lived in the Northwest since 1992. Max's life
was saved by the public library--it kept him out of trouble and
introduced grand ideas that he had
never been exposed to before. Max's
love of Fiction, Philosophy, art and
Ideas led to him becoming a librarian
after working in libraries for over 20
years as a technician. His intellectual
interests include, Information and
Hip-Hop, Whiteness in Education,
Racism in the US, Colonialism and
Education. His recent primary focus has been on Whiteness in
Education and in Libraries.

Genevia M. Chamblee-Smith has five years of experience
working in technical services at academic and special libraries. She
currently works at Towson University as a Library Associate-
Resource Description & Access. She
works primarily with collection and
database management. She also helps
with serials cataloging, project
management, and training staff with
using Aleph ILS. In the near future she
hopes to pursue a master’s degree

focusing on archives. Her research interest includes promoting
diverse and inclusive work environments in libraries, peer
mentoring, and evidence-based research. She is an avid football
fan and enjoys knitting socks.

Kai Alexis Smith is the Subject Librarian at Cal Poly Pomona.
She liaises to the College of Environmental Design, Ethnic and
Women’s Studies and Foreign Languages. Past institutions include
University of Notre Dame, City University of New York (CUNY)
Graduate Center, Housatonic
Community College, and Pequot
Library. Kai’s foundation in art
librarianship was formed through
internships at the Avery Architectural
& Fine Arts Library at Columbia
Libraries, Barnard College, Whitney
Museum, Natural History Museum,
and Smithsonian’s Biodiversity Heritage Library. She was a 2014
ALA Emerging Leader and a 2013 Association of Research
Libraries (ARL) Career Enhancement Program Fellow at the
University of Michigan. In 2013, Kai was the Art Library
Association of North America (ARLIS/NA) Wolfgang Freitag
Internship Award winner, which she completed at the National

Gallery of Art. Kai currently serves as the chair of Academic
College and Research Libraries (ACRL) Art Section and was
the chair of the Art Libraries Society of North America
(ARLIS/NA)’s Diversity Committee. Her research interests
include socially conscious art history, visual culture and
literacy, hip hop information literacy, and educating with
Wikipedia. Learn more about Kai’s work
at http://www.kaialexis.com.

Damon McGhee. Archivist and
Librarian at South Suburban College
Library in South Holland, Illinois.
African American. Male. 29. Writer.
Traveler. Storyteller. While a stay-at--
home father he began to write short
stories to entertain his newborn son,
and has since become interested in
pursuing comic book writing as a way to tell stories. Learn more
about Damon at: www.damonmcghee.com.

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The End



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