One January day in 1923, a young boy came across the dead body of a twenty-year-old woman on a San Diego beach. When the police arrived on the scene, they found the woman’s calling card, which read simply, “I am Fritzie Mann.” Yet Fritzie’s identity, as revealed in this compelling history, was anything but simple, and her death—eventually ruled a homicide—captured public attention for months. In Fritzie, historian Amy Absher reveals how broader cultural forces, including gendered violence, sexual liberation, and evolving urban conditions in the American West, shaped the course of Mann’s life and contributed to her tragic death. Frieda “Fritizie” Mann had several identities during her brief life, and the mysterious circumstances of her death raise as many questions as they do answers. She was born in 1903 near the present border between Poland and Ukraine. She and her family were Jewish immigrants who traveled to San Diego to find security and prosperity. In the last year of her life, Mann became locally famous. She had reinvented herself as a flapper and “Oriental” dancer. She claimed to have friends in Hollywood and a movie contract. On the night of her murder, she said she was going to a party to meet her Hollywood friends; instead she traveled to an isolated roadside hotel where she met her death. An autopsy revealed that she was four and a half months pregnant. Absher guides the reader through the intricacies of this true crime story as it unfolded, from the initial flawed investigation to the sensationalized press coverage and the ultimate failure of the legal system to ensure justice on Mann’s behalf. Like other “new women” of her era, Fritzie Mann adopted roles that promised liberation from the control of men. In the end, her life and early death suggest the opposite: she became the victim of a culture that consumed women even as it purported to celebrate them.
Amy Absher’s The Black Musician and the White City tells the story of African American musicians in Chicago during the mid-twentieth century. While depicting the segregated city before World War II, Absher traces the migration of black musicians, both men and women and both classical and vernacular performers, from the American South to Chicago during the 1930s to 1950s. Absher’s work diverges from existing studies in three ways: First, she takes the history beyond the study of jazz and blues by examining the significant role that classically trained black musicians played in building the Chicago South Side community. By acknowledging the presence and importance of classical musicians, Absher argues that black migrants in Chicago had diverse education and economic backgrounds but found common cause in the city’s music community. Second, Absher brings numerous maps to the history, illustrating the relationship between Chicago’s physical lines of segregation and the geography of black music in the city over the years. Third, Absher’s use of archival sources is both extensive and original, drawing on manuscript and oral history collections at the Center for Black Music Research in Chicago, Columbia University, Rutgers’s Institute of Jazz Studies, and Tulane’s Hogan Jazz Archive. By approaching the Chicago black musical community from these previously untapped angles, Absher offers a history that goes beyond the retelling of the achievements of the famous musicians by discussing musicians as a group. In The Black Musician and the White City, black musicians are the leading actors, thinkers, organizers, and critics of their own story.
Amy Absher s The Black Musician and the White City tells the story of African American musicians in Chicago during the mid-twentieth century. While depicting the segregated city before World War II, Absher traces the migration of black musicians, both men and women and both classical and vernacular performers, from the American South to Chicago during the 1930s to 1950s.Absher s work diverges from existing studies in three ways: First, she takes the history beyond the study of jazz and blues by examining the significant role that classically trained black musicians played in building the Chicago South Side community. By acknowledging the presence and importance of classical musicians, Absher argues that black migrants in Chicago had diverse education and economic backgrounds but found common cause in the city s music community. Second, Absher brings numerous maps to the history, illustrating the relationship between Chicago s physical lines of segregation and the geography of black music in the city over the years. Third, Absher s use of archival sources is both extensive and original, drawing on manuscript and oral history collections at the Center for Black Music Research in Chicago, Columbia University, Rutgers s Institute of Jazz Studies, and Tulane s Hogan Jazz Archive. By approaching the Chicago black musical community from these previously untapped angles, Absher offers a history that goes beyond the retelling of the achievements of the famous musicians by discussing musicians as a group. In The Black Musician and the White City, black musicians are the leading actors, thinkers, organizers, and critics of their own story.
Amy Absher’s The Black Musician and the White City tells the story of African American musicians in Chicago during the mid-twentieth century. While depicting the segregated city before World War II, Absher traces the migration of black musicians, both men and women and both classical and vernacular performers, from the American South to Chicago during the 1930s to 1950s. Absher’s work diverges from existing studies in three ways: First, she takes the history beyond the study of jazz and blues by examining the significant role that classically trained black musicians played in building the Chicago South Side community. By acknowledging the presence and importance of classical musicians, Absher argues that black migrants in Chicago had diverse education and economic backgrounds but found common cause in the city’s music community. Second, Absher brings numerous maps to the history, illustrating the relationship between Chicago’s physical lines of segregation and the geography of black music in the city over the years. Third, Absher’s use of archival sources is both extensive and original, drawing on manuscript and oral history collections at the Center for Black Music Research in Chicago, Columbia University, Rutgers’s Institute of Jazz Studies, and Tulane’s Hogan Jazz Archive. By approaching the Chicago black musical community from these previously untapped angles, Absher offers a history that goes beyond the retelling of the achievements of the famous musicians by discussing musicians as a group. In The Black Musician and the White City, black musicians are the leading actors, thinkers, organizers, and critics of their own story.
One January day in 1923, a young boy came across the dead body of a twenty-year-old woman on a San Diego beach. When the police arrived on the scene, they found the woman’s calling card, which read simply, “I am Fritzie Mann.” Yet Fritzie’s identity, as revealed in this compelling history, was anything but simple, and her death—eventually ruled a homicide—captured public attention for months. In Fritzie, historian Amy Absher reveals how broader cultural forces, including gendered violence, sexual liberation, and evolving urban conditions in the American West, shaped the course of Mann’s life and contributed to her tragic death. Frieda “Fritizie” Mann had several identities during her brief life, and the mysterious circumstances of her death raise as many questions as they do answers. She was born in 1903 near the present border between Poland and Ukraine. She and her family were Jewish immigrants who traveled to San Diego to find security and prosperity. In the last year of her life, Mann became locally famous. She had reinvented herself as a flapper and “Oriental” dancer. She claimed to have friends in Hollywood and a movie contract. On the night of her murder, she said she was going to a party to meet her Hollywood friends; instead she traveled to an isolated roadside hotel where she met her death. An autopsy revealed that she was four and a half months pregnant. Absher guides the reader through the intricacies of this true crime story as it unfolded, from the initial flawed investigation to the sensationalized press coverage and the ultimate failure of the legal system to ensure justice on Mann’s behalf. Like other “new women” of her era, Fritzie Mann adopted roles that promised liberation from the control of men. In the end, her life and early death suggest the opposite: she became the victim of a culture that consumed women even as it purported to celebrate them.
Linking to a popular feature in the super successful National Geographic Little Kids magazine, this book brings the browsable fun of the bestselling National Geographic Kids Almanac to a new audience: preschoolers! Using an interactive question-and-answer format and content grounded in a child's immediate world, the Big Book of Why delivers lively information, hands-on games, simple recipes, crafts, and more. What makes a car go? How does mushy dough become a crispy cookie? What does the doctor see in my throat? An essential parent reference, The Big Book of Why invites children to ask big questions, think big thoughts, and get answers that are accurate, engaging, level-appropriate, and based on sound educational findings. It helps prepare preschoolers for school in an interactive way—the very best way to foster learning at this age, according to research. Highly photographic and playful, this big book is an adventure in exploration.
Amy Alkon presents Unf*ckology, a “science-help” book that knocks the self-help genre on its unscientific ass. You can finally stop fear from being your boss and put an end to your lifelong social suckage. Have you spent your life shrinking from opportunities you were dying to seize but feel “that’s just who I am”? Well, screw that! You actually can change, and it doesn’t take exceptional intelligence or a therapist who’s looking forward to finally buying Aruba after decades of listening to you yammer on. Transforming yourself takes revolutionary science-help from Amy Alkon, who has spent the past 20 years translating cutting-edge behavioral science into highly practical advice in her award-winning syndicated column. In Unf*ckology, Alkon pulls together findings from neuroscience, behavioral science, evolutionary psychology, and clinical psychology. She explains everything in language you won’t need a psych prof on speed-dial to understand—and with the biting dark humor that made Good Manners for Nice People Who Sometimes Say F*ck such a great read. She debunks widely-accepted but scientifically unsupported notions about self-esteem, shame, willpower, and more and demonstrates that: - Thinking your way into changing (as so many therapists and self-help books advise) is the most inefficient way to go about it. - The mind is bigger than the brain, meaning that your body and your behavior are your gym for turning yourself into the new, confident you. - Fear is not just the problem; it’s also the solution. - By targeting your fears with behavior, you make changes in your brain that reshape your habitual ways of behaving and the emotions that go with them. Follow Amy Alkon's groundbreaking advice in Unf*ckology, and eventually, you’ll no longer need to act like the new you; you’ll become the new you. And how totally f*cking cool is that?
This is the first in a line of four books within the National Geographic Kids Chapters series that explore unexpected animal bonds. In this book you'll meet four unlikely pairings, including Billy and Lilly. Billy the boxer adopted Lilly the goat when she was abandoned by her mother. Billy and Lilly are rarely apart since Billy has taken on the role of Lilly's protector, caretaker, and constant companion. This and the other stories in this book will enchant readers and empower them to devour the more text-heavy "grown up" style of the book, while still keeping the story easily digestable for a hestitant reader. National Geographic supports K-12 educators with ELA Common Core Resources. Visit www.natgeoed.org/commoncore for more information.
In Best Friends Forever, you'll meet four unlikely pairs that prove love knows no bounds. There's Suryia and Roscoe, the orangutan and dog swim buddies; Owen the baby hippo and his hero tortoise Mzee; Koko, the gorilla that speaks sign language and loves her kitties; and Jasmine, who befriends anyone that needs a helping hand. These true stories will amaze, inspire, and make you say "awww.""--
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