The true story behind Crispus Attucks High School and the all-Black basketball team loosely depicted as the championship opponent in the beloved classic sports movie Hoosiers. For far too long the mythology of Indiana basketball has been dominated by Hoosiers. Framed as the ultimate underdog, feel-good story, there has also long been a cultural debate surrounding the film. The Real Hoosiers sets out to illuminate the narrative that the film omits, the story of the unheralded Crispus Attucks Tigers, playing the game at the highest level in the 1950s in a racially divided Indiana. After a crushing loss to Milan High School in the 1954 semifinal, which was the game that the final scenes in Hoosiers are based on, Attucks went on to win back-to-back Indiana state championships. That team was led by a young Oscar Robertson and coached by Ray Crowe, who fully recognized the seemingly insurmountable challenges of playing basketball in a state that was a bastion for not only the game but also the Ku Klux Klan. Veteran sportswriter and the bestselling author of Dream Team, Jack McCallum, pulls back the curtain on that history, which is rich, far beyond the basketball court. The Real Hoosiers replaces a lacuna in the history of Indiana while dissecting the myths and lore of Hoosier hoops; placing the game in the context of migration, segregation, and integration; and enhancing our understanding of this country’s struggle for civil rights.

The life and musical history of Indiana Avenue from 1915 to 2015 is presented for readers from young adults to adults. It shows the robust legacy of music including ragtime, blues, jazz, spiritual, bebop, doo wop, Motown, opera and hip hop. A diverse array of Indiana music legends are represented including (Wes Montgomery, J.J. Johnson, Freddie Hubbard, The Ink Spots, David Baker, Larry Ridley, Slide Hampton, Hoagy Carmichael, Janet Jackson, Michael Jackson, Angela Brown and Babyface Edmonds are included. Musicians and music educators share their advice for young musicians. Life during racially segregated times to current diversified times are discussed. The important contributions of women and women's empowerment for 100 years are highlighted. Glimpses of the African American Hodge family are interwoven with the musical history. Over sixty photos and maps illustrate the rich and notable history.

An anthology of essays & poetry offering a reconsideration of one of America’s most misunderstood cities. Is Indianapolis just another midwestern city to fly over on the way to bigger and better destinations? Or is it, as locals know, a place where different peoples and ideals converge to create a rich cultural center? The Indianapolis Anthology showcases Naptown’s vibrancy and diversity with pieces from journalists, poets, historians, established community voices, and first-time writers. The Circle City is more than the home of the Indianapolis 500, John Dillinger, Kenneth “Babyface” Edmonds, Kurt Vonnegut, Prozac, and Wonder Bread. In these pages, you’ll find: · lawn chairs in the beds of pick-ups · Punk rock in Naptown · suffragists and entrepreneurs · cement pietàs · dog bakeries and yoga studios · red brick bungalows and war memorials · steakburgers and Mexican seafood; pho and sauerbraten · and more In other words, you'll find images from a city that is truly a cross section of today’s America. Edited by Norman “Buzz” Minnick and with contributions from Etheridge Knight, Terrance Hayes, Michael Martone, and Karen Kovacik. An insiders’ look that will make you see a great midwestern city in a brand-new light.

Get into the music with David Leander Williams as he charts the rise and fall of Indiana Avenue, the Majestic Entertainment Boulevard of Indianapolis, which produced some of the nation's most influential jazz artists. The performance venues that once lined the vibrant thoroughfare were an important stop on the Chitlin' Circuit and provided platforms for greats like Freddie Hubbard and Jimmy Coe. Through this biography of the bustling street, meet scores of the other musicians who came to prominence in the avenue's heyday, including trombonist J.J. Johnson and guitarist Wes Montgomery, as well as songwriters like Noble Sissle and Leroy Carr.

What makes one community better than another? In the heyday, the area around Indiana Avenue was quite the community. It was a community filled with flavor, rhythm and a share of despair. The story of Indiana Avenue gives consideration to the question of "What does a great community lack or possess that contributes to the concept of greatness?" Indiana Avenue: Black Entertainment Boulevard, gets to the essence of these answers by tracing the full life cycle of a community, a community known nationally as a significant player in the American jazz story. Indiana Avenue: Black Entertainment Boulevard is the story of how a community functioned, prospered, declined and revitalized. It is a story with great implications. On the one hand, this story is a localized history of a subculture. On the other hand, to understand the Indiana Avenue story is to understand how similar historical communities like Harlem in New York, Bourbon Street in New Orleans and Beale Street in Memphis functioned and developed. All these communities, like many more, had similar traits and parallel histories. These communities became known nationally as stops on a Chitterlings Circuit, a network of entertainment venues made famous due to Jim Crow and separatist laws. Indiana Avenue is a story filled with social and political dynamics. This story gives insight into the development of jazz as well as how entertainment evolved along racial lines. The story of Indiana Avenue involves an astounding American era with deep implications for today.

Survivors of the Armenian genocide of 1915 and their descendants have used music to adjust to a life in exile and counter fears of obscurity. In this nuanced and richly detailed study, Sylvia Angelique Alajaji shows how the boundaries of Armenian music and identity have been continually redrawn: from the identification of folk music with an emergent Armenian nationalism under Ottoman rule to the early postgenocide diaspora community of Armenian musicians in New York, a more self-consciously nationalist musical tradition that emerged in Armenian communities in Lebanon, and more recent clashes over music and politics in California. Alajaji offers a critical look at the complex and multilayered forces that shape identity within communities in exile, demonstrating that music is deeply enmeshed in these processes. Multimedia components available online include video and audio recordings to accompany each case study.

. Renewal of Life by Transmission. The most notable distinction between living and inanimate things is that the former maintain themselves by renewal. A stone when struck resists. If its resistance is greater than the force of the blow struck, it remains outwardly unchanged. Otherwise, it is shattered into smaller bits. Never does the stone attempt to react in such a way that it may maintain itself against the blow, much less so as to render the blow a contributing factor to its own continued action. While the living thing may easily be crushed by superior force, it none the less tries to turn the energies which act upon it into means of its own further existence. If it cannot do so, it does not just split into smaller pieces (at least in the higher forms of life), but loses its identity as a living thing. As long as it endures, it struggles to use surrounding energies in its own behalf. It uses light, air, moisture, and the material of soil. To say that it uses them is to say that it turns them into means of its own conservation. As long as it is growing, the energy it expends in thus turning the environment to account is more than compensated for by the return it gets: it grows. Understanding the word "control" in this sense, it may be said that a living being is one that subjugates and controls for its own continued activity the energies that would otherwise use it up. Life is a self-renewing process through action upon the environment.

Examining international case studies including USA, Asia, Australia and New Zealand, this book identifies and explores the use of heritage throughout the world. Challenging the idea that heritage value is self-evident, and that things must be preserved, it demonstrates how it gives tangibility to the values that underpin different communities.

Family caregiving affects millions of Americans every day, in all walks of life. At least 17.7 million individuals in the United States are caregivers of an older adult with a health or functional limitation. The nation's family caregivers provide the lion's share of long-term care for our older adult population. They are also central to older adults' access to and receipt of health care and community-based social services. Yet the need to recognize and support caregivers is among the least appreciated challenges facing the aging U.S. population. Families Caring for an Aging America examines the prevalence and nature of family caregiving of older adults and the available evidence on the effectiveness of programs, supports, and other interventions designed to support family caregivers. This report also assesses and recommends policies to address the needs of family caregivers and to minimize the barriers that they encounter in trying to meet the needs of older adults.

Winner of the ASCAP Foundation Deems Taylor/Virgil Thomson Book Award in Pop Music 2022 Catholic Media Association honorable mention in biography 2022 Association of Catholic Publishers second place award for Biography Winner of the 2022 Jazz Journalists Association Award for Biography/Autobiography of the Year In Mary Lou Williams: Music for the Soul, Deanna Witkowski brings a fresh perspective to the life and music of the legendary jazz pianist-composer Mary Lou Williams (1910-81). As a fellow jazz pianist-composer, adult convert to Catholicism, and liturgical composer, Witkowski offers unique insight gleaned from a twenty-year journey with Williams as her chosen musical and spiritual mentor. Viewing Williams’s musical and corporal acts of mercy as part of a singular effort to create community no matter the context, Witkowski examines how Williams created networks of support and friendship through her decades long letter correspondence with various women religious, her charitable work, and her tireless efforts to perform jazz in churches, community centers, concert halls, and schools. Throughout this fascinating story told with equal amounts of deep love and scholarly research, Witkowski illumines Williams’s passionate mantra that “jazz is healing to the soul.”