Academic literature on the topic 'Mitch Albom'

Inspired by Laudato Si ’, this article takes up the sustainably of human life in today’s world. Our basic assumption, which we borrow from Mitch Albom’s Tuesdays with Morrie is that if we know we are going to die, we would change our life­ style personally and collectively. Ordinarily we try to deny death or delay thinking about it. Instead, if we can look into the face of death directly and fearlessly, we are in a much better position to be in touch with our own true self. This makes personal and societal transformation possible and necessary. In the second part of the article looks into the rise and fall of civilisations, according to Arnold Toynbee, who inspires us to see the moral and spiritual basis of civilisation. Toynbee’s study also tells us that unlike individuals, society’s do not necessarily have to die. Keeping in mind that if we let our civilisation die, that may be the end of human life, we proceed to understand Laudato Si which fosters life in its totality.

<em>Tuesday with Morrie</em> is a book about living and dying. This book mostly emphasizes the practicality of life, existential realities of life. Morrie, being a Sociology professor addressed to his students on love, acceptance, forgiveness, open communication, death, culture, marriage, regret and many other existential realities with his personal experience and conviction. After having analysed this book, the author explores the basic insights of Morrie, offers his critical reflection, evaluation and situating it into the present scenario.

This research generally aims to increase knowledge of the translation of a novel translation. Specifically to determine equivalence translations figure of speech, to know the techniques translation in translations figure of speech, and meaning shift of translations figure of speech in this novel Tuesdays with Morrie. The object of research is novel translation by Alex Tri Kantjono Widodo with the title Tuesday with Morrie Mitch Albom's work.The method used is qualitative method and the technique used is content analysis. Data collected by reading novels, collecting data by selecting a clause or sentence containing a figure of speech, quote them and identify then create a table. Furthermore, the sentences were analyzed by formal equivalence or dynamic equivalence.There are 87 identified sentences as a sentence containing a figure of speech. Sentences are divided into two correspondences that formal and dynamic equivalence. There were 70 sentences, or 80% containing formal equivalence and 17 sentences or 20% containing dynamic equivalence. Later, it was discovered seven translation techniques used by the translator of the novel Tuesday with Morrie. Finally, there are 3 meanings shift in translations figure of speech. Keyword: Figure of Speech, Content Analysis, Translation, Equivalence, Qualitative, Technique, Meaning Shift.

Music makes mutations audible. (Attali 1977)In his opening remarks as host of the 1998 Grammy Award Show, sitcom actor, substance abuser and convicted drunk driver Kelsey Grammer promised that Marilyn Manson's ‘skinny white ass’ would not be appearing on the show. It was a truly extraordinary moment. Referring explicitly to his own teenage daughter, Spencer, Grammer couched this slur in the form of an inside joke for the baby boomer parents of children with seemingly inexplicable musical tastes. In so doing, he affirmed not only the intractable conservatism of the Academy of Recording Arts and Sciences but also the arrogant hegemony of his own generation within mainstream musical culture. The show proceeded to reward Bob Dylan with Album of the Year, James Taylor with Best Pop Album and Elton John with Best Male Pop Vocal Performance, while lavishing unbridled approbation upon the newest crop of corporate hit-makers, including Babyface, LeAnn Rimes, Hanson and the ubiquitous Spice Girls. Mitch Miller could not have orchestrated a more thoroughgoing tribute to the pop music status quo in America.

Chociaż Toksaris Lukiana jest formalnie dialogiem, jego zawartość stanowi zbiór fantastycznych i sentymentalnych historii o przyjaźni, przedstawianych przez Greka Mnesipposa i Scytę Toksarisa w formie retorycznego agonu, mającego dowieść wyższości jednej z nacji. Interpretacja dialogu stanowi problem: może być on odczytywany jako utwór, który w rozrywkowej formie przekazuje pochwałę tradycyjnej przyjaźni, lub też jako typowa dla Lukiana parodia, skierowana przeciwko sentymentalnym poglądom na męską przyjaźń, przedstawianym w romantycznych powieściach, legendach i mitach. W artykule tym sugeruję, że w Toksarisie Lukian posługuje się humorem przede wszystkim po to, aby podważyć powszechne stereotypy na temat Greków i „barbarzyńców”, a także pokazać nową formę przyjaźni – przyjaźń pomiędzy ludźmi dzielącymi podobne wartości, opartą na wspólnej paidei.

This research paper aims to explore the relationship between grief and happiness in Mitch Albom&#39;s renowned memoir, &quot;Tuesdays with Morrie.&quot; The paper investigates the notion that grief, when approached with openness and introspection, can serve as a transformative tool leading to personal growth and the attainment of happiness. By examining the central characters, their experiences with grief, and the lessons imparted by Morrie Schwartz, the paper reveals the various ways in which grief contributes to the characters&#39; pursuit of happiness. Additionally, it highlights the importance of acknowledging grief as a natural and necessary part of the human experience.

This research aims to understand the characterization of Eddie, as someone who lives a life full of psychological problems, in the novel The Five People You Meet in Heaven (Albom, 2003). This research examines all the psychological problems that Eddie has and analyzes the roots of all of them. Eddie’s journey in heaven after death where he meets five different people is seen as the way Eddie solves all the problems that he has. By employing Sigmund Freud’s psychoanalytic approach, this research focuses on the psychological problems that are most prevalent in Eddie’s character. The data are taken from the narratives and dialogues in the story. The background chapters in this novel are analyzed to understand the roots of Eddie’s psychological problems. His journey in heaven is viewed as the method of curing all of those problems.

Sobald ich an meinem Urlaubsort angekommen bin, besuche ich meist erst einmal die örtliche Tourismusinformation, um mich zu informieren, was die Region so alles zu bieten hat. Mittlerweile lasse ich die Prospekte über Bungee-Jumping, Canyoning oder Fallschirmspringen links liegen und wende mich lieber dem Programm des örtlichen Theaters, Lesungen oder dem in vielen Urlaubsregionen reichhaltigen Angebot von Kochkursen zu. So auch bei meinem letzten Urlaub in Südtirol. Ich entschiede mich - zusammen mit der besten Ehefrau von allen - an einem Vormittag das Kochen von Südtiroler „Schlutzkrapfen“ zu erlernen. Da ich, was Kochen angeht, nur über eine mäßige Begabung verfüge, hatte ich mich für dieses doch einfache Gericht entschieden, in der Hoffnung, mein bescheidenes Portfolio für die Zubereitung von schmackhaften Speisen zu erweitern. Was die Altersstruktur des Kurses anging, lagen wir voll in der Zielgruppe, alle so zwischen 50 und 65 Jahren. Zu Beginn des Kurses legten alle Teilnehmenden erst einmal ihren überflüssigen Schmuck ab, zogen die bereitgelegten Schürzen an, verstauten ihre Handtaschen und Rucksäcke an einem sicheren Ort und bewaffneten sich mit ihren Handys. Schon bei der Präsentation der Zutaten durch die Kursleiterin - eine überaus kompetente und freundliche Bäuerin aus der Region - wurde fleißig mit dem Handy dokumentiert. Leider hatte ich bei der kurzen Vorstellungsrunde den Fehler gemacht, zu erzählen, was ich beruflich so treibe. Das sollte mir im Laufe des Kurses zum Verhängnis werden, denn einige Teilnehmende hatten mehr Interesse daran, ihr Wissen im Umgang mit dem Handy zu erweitern als ihr Können am Kochtopf. So wurde ich schon nach dem ersten Einsatz der Handys um Rat gefragt. Ja, durch den Einsatz des Pinzettengriffs kann man in das Bild hinein und heraus zoomen, durch das Tippen mit dem Finger auf das Bild lassen sich wichtige Details fokussieren, bei Verschickung der Bilder per Mail kann man die Größe der Datei bestimmen usw. Als weitere Teilnehmer*innen bemerkten, dass es möglich ist, seine Fragen zur Vielfalt der Nutzungsmöglichkeiten des Handys endlich jemanden stellen zu können, war für mich der Kochkurs zu Ende. Ja, man kann per WhatsApp Nachrichten an sich selbst und durch die neue Broadcast-Funktion auch an verschiedene Menschen verschicken, ohne eine Gruppe zu erstellen. Auch der grüne Haken der Lesebestätigung lässt sich in den Einstellungen ausschalten (Enkeltrick); man kann auch über den Messenger Bilder in hoher Qualität verschicken, wenn man sie als Dokument verschickt. Auch beim Abhören von Sprachnachrichten kann man das Telefon einfach ans Ohr halten und keiner kann mehr mithören. Zudem kann man in der Galerie ein Album „Kochkurs“ erstellen, damit sich die Bilder auch wiederfinden lassen. Und ja, auch für Apps lassen sich Ordner erstellen, um die Übersicht auf dem Smartphone nicht zu verlieren. Mittlerweile waren die ersten Schlutzkrapfen in den Töpfen schon an die Oberfläche gekommen und alles wurde für die gemeinsame Verkostung vorbereitet. Nach dem Essen verabschiedeten meine Frau und ich uns zügig und verwiesen die Teilnehmenden darauf, dass ich im Knödelkochkurs am übernächsten Tag dazu referieren würde, wie man Videos auf dem Handy am besten bearbeitet und wie sich eigentlich eine Story auf Instagram erstellen lässt. Meine Frau hat ihr ohnehin schon großes Repertoire an schmackhaften Speisen ergänzt und ich habe das gemacht, was ich eigentlich immer mache: Ich habe Menschen bei der Erweiterung ihrer Medienkompetenz unterstützt. Vor dem nächsten Urlaub darf ich aber auf keinen Fall vergessen, mir von meinen Kolleg*innen ein Update über die neuesten Funktionen geben zu lasen. Denn ich werde immer älter und mein Vorsprung wird immer kleiner.

The power of culturally-bound controlling images around notions of 'colour' in regard to ethnicity have historically been marked and far-reaching. Most obvious examples of such political power relations can be seen in regard to racism and social domination. Biologically-based assertions that one specific category of people are somehow inherently inferior or superior to another were central and indeed continue to be paramount in (neo) Nazi-style rhetoric. Such political beliefs, most notable of course within the first half of the Twentieth Century, often went hand-in-hand with a right-wing ecologism that eschewed the alienation of urban life for an idealised rural existence (Heywood 283). This paper focusses upon how such assumptions and controlling images have resonated in recent times within the Nordic Black Metal music scene - an encompassing term used to describe a sub-genre of music that exists within a wider Heavy Metal and in particular Extreme Metal scene. Black Metal did not gain a stranglehold on Extreme Metal subculture until the 1990s. It also took socio-politics in Metal a stage further and to an extreme never seen before. Being most prolific in Scandinavia, and in particular Norway, Black Metal tended to focus upon Viking mythology and Odinism as a source of subject matter. Here, Nordic Black Metal based its identity on the virtues associated with its geographical location. As Dyer (21) points out, Northern Europe, with its notions of remoteness and coldness, combined with ideas of the cleanliness of the air, the soul- elevating beauty of mountain vistas, and the pureness of the white snow, could be seen to have formed the distinctiveness of a white identity and its related notions of energy, discipline and spiritual elevation. Such notions have their roots in the National Socialist programme of propaganda films of the 1930s and 1940s. Such films included Ich fur Dich - Du fur Mich (Me for You - You for Me, 1934), (Welch 48), which reinforced Nazi ideals of 'racial purity' and was centred on two interrelated themes; that of Blut und Boden ('blood and soil'), and Volk und Heimat ('a people and a homeland'). Here the strength of the 'master race' was linked to the sacredness of the German soil, usually in the form of some idyllic pastoral setting. Nazi 'revolution' was based upon presumed Germanic traditions and the recapture of a mythical past. Thus urban and industrial life was eschewed in favour of a more Germanic utopian community vision. This led the Nazis to draw an inexorable link between the pureness of the German land and the pureness of the Aryan race. The idea of the German utopian community raised notions of fitness and survival. For example, Walther Darre, the then Minister for Agriculture, drew Darwinistic parallels between animals and humans when he stated that, “We shall gather together the best blood. Just as we are now breeding our Hanover horse from the few remaining pure-blooded male and female stock, so we shall see the same type of breeding over the next generation of the pure type of Nordic German” (Welch 67). Such Nazi ideas of purity and survival of the fittest have been echoed in the Black Metal scene of recent years. This has clearly been illustrated, for example, in the sentiments of musicians such as 'Hellhammer', drummer with Norwegian band Mayhem who, when asked if he had fascist views, revealed that “I'm pretty convinced that there are differences between races as well as anything else. I think that like animals, some races are more... you know, like a cat is much more intelligent than a bird or a cow, or even a dog, and I think that's also the case with different races” (Moynihan and Soderlind 306). The comparison of certain people to animals acts to create controlling images that, in this instance, makes racism appear to be natural and inevitable (Collins 68). As Davis (25) points out, a key belief in racist ideology is the biologically and genetically-based assumption that ethnic minorities share similar patterns of behaviour because it is 'in their blood'. Indeed, it is no accident that some Black Metal musicians have made comparisons between ethnicity and animals. Such comparisons act to not only further this idea of superior 'blood stock' but also serve to dehumanise those who are seen to be inferior. Black Metal musicians saw themselves as being superior both musically as well as 'racially'. Just as Minister for Agriculture Walther Darre suggested that the pure blooded Nordic German was, although few in numbers, a superior racial minority within the human race in general, certain Black Metal musicians have shared a similar view that they are a racially and therefore musically superior group within the wider Extreme and Heavy Metal scene. Such assumptions have manifested themselves in a number of ways. Musicians such as Varg Vikernes, of Norwegian band Burzum, have made direct links between the development of Metal and assumed qualities of 'whiteness' when he argued that “The guitar is a European invention ... However, the music played on the guitar is mostly nigger (sic) music”, (NME n.pag). In such an example there is the assumption that 'white' Metal and Metal musicians are somehow inherently superior, and that this superiority of talent stems from a racial 'purity' lacking in 'non-white' metal scenes which, consequently, are seen as nothing more than a contamination, both racially and therefore musically. As Nazi actions were in part based upon the recapture of a mythical past, so too in Black Metal is there a notion that “We must take this scene to what it was in the past”, (Moynihan and Soderlind 60). Thus, as in National Socialism of the 1930s and 1940s, modern day Nazism within the Black Metal scene takes inspiration, ideology and hope from a romanticised notion of the past. This can be seen in the slogans that adorn much Black Metal band's merchandise, for example the band Darkthrone and their self-confessed “Norsk Arisk Black Metal” (Norwegian Aryan Black Metal) which appeared on the sleeve of their 1994 album Transylvanian Hunger, and in the more elaborate socio-political views of other Black Metal musicians such as Varg Vikernes who has expressed his Utopian visions in the belief that there should be a “return to the life-style of the Middle-Ages” in which “The masses need to live in harmony with nature”, (Vikernes n.pag). The notion that “Black Metal is for white people” (Moynihan and Doderlind 305) was also reflected in other stylistic components of Black Metal iconography. The practice of wearing “corpsepaint” was quickly adopted by nearly all Black Metal bands in the early years of its development, and is still widely used today. The concept of wearing corpsepaint - theatrical black and white makeup that created a gruesome appearance - can be traced as far back as the emergence of rock bands such as KISS and heavier acts such as King Diamond, who became known for their elaborate stage rock shows. However, whilst the adoption of corpsepaint by Black Metal bands may have been to create similar macabre images as more established rock and Heavy Metal bands had before them, the emphasis on 'whiteness' that corpsepaint gives cannot be overlooked. Such images, the pale white face emphasised even further when contrasted with traditional codes of dress - the black denim and leather clothes, can be seen to be emphasising the idea of white being an 'ideal'. That is, the symbolism that is carried by the colour white, its “moral and also aesthetic superiority”, (Dyer 70), has also manifested itself in certain aspects of Extreme Metal and in particular Black Metal. As highlighted earlier, just as 'whiteness' has been linked with notions of power, superiority and purity, so to have some Black Metal bands suggested that whiteness within Metal is inherently superior. The adoption of corpse paint is just one way notions of 'whiteness' have been underlined in the Extreme Metal scene. Such ideas of whiteness in some cases developed into more pronounced aspects of Nationalism and in particular National Socialism. The development of extreme right-wing beliefs, coupled with other more established controversial subject matters, such as Satanism, led to a notoriety that some Black Metal was, in many ways, proud to live up to. Whilst overtly racist or fascist sentiments are far from the norm within the Black Metal and wider Extreme Metal genre and the intolerance of such beliefs within the Metal industry in general has been clearly illustrated on many occasions, it cannot be said that those who are open and committed to extreme right-wing beliefs have not gained attention and some support through the controversial iconography and discourse they have used. A marked example of such attitudes can be found in the music, beliefs and actions of the Norwegian Black Metal band Burzum. Burzum, a solo project of musician Varg Vikernes, was one of the first Black Metal bands to appear in Norway. Although originally gaining inspiration from popular motifs in fantasy literature, Vikernes became increasingly known within the Black Metal scene for his increasingly radical views in regard to racial ideology and is now an outright self-confessed Neo-Nazi. In recent years Vikernes has courted controversy and reinforced a racist and fascist discourse within the Black Metal scene. In 1997, Vikernes was heavily criticised by many within Extreme Metal over the design of a new Burzum t-shirt. Created by Vikernes himself, the front featured the usual Burzum logo but was also adorned with a German World War II SS Death's Head logo. This, combined with a back print which bore the slogan “Support your local Einsatzkommando”, led to problems licensing and printing the shirt. Whilst Tiziana Stupia, Director of the now defunct Suffolk-based Misanthropy Records to which Burzum was signed, highlighted that the term Einsatzkommando was “still used quite uncontroversially to describe police SWAT teams” (Terrorizer 1997:6, no.41), the unambiguous fascist motifs also present on the shirt betray the true intention of the slogan. However, it would be erroneous to suggest that controlling images of 'colour' within the Nordic Black Metal scene are situated merely within a framework of neo-Nazi rhetoric. Indeed, such radical and consequently isolated ideologies and actions of certain Extreme Metal musicians that were very much apparent in the early 1990s have largely given way to more contemporary and in some ways egalitarian aesthetic, thematic and stylistic formations. The pastoral fixations of Black Metal that were very much analogous with right-wing dogmatic beliefs have been replaced by a distinctly 'urban' mindset that now focuses upon a 'commonality of adversity' and problems of modern existence for all peoples. Aesthetically the use of 'corpsepaint' has largely been dropped by many of the more pioneering acts, and this combined with stylistic movements that have seen the adoption of traditionally 'non-white' musical formations, has resulted in the drum 'n' bass/ ambient trip-hop concentrations of bands such as Arcturus and Ulver, and the general focus of 'urban decay' espoused by those such as Satyricon. Yet, even contemporary Black Metal has not completely severed its links with fascist controversy, and consequently constructs of colour, as even merely the names of acts such as Zyklon clearly illustrate. It is clear then that certain oppressive texts in relation to constructs of 'colour' can be highly problematic for many, both within and outside the Extreme metal scene. Powerful and historical discourses that espouse 'natural' assumptions around notions of ethnicity produce crude yet largely unquestioned presentations. Consequently, through its incorporation of such texts, certain aspects of Black Metal can be seen to perpetuate oppressive ideas of 'difference'. Via certain controlling images, some individuals can be subjected to objectification within Extreme Metal subculture which sees them marginalised and relegated. Consequently, dominant discourses within some areas of Black Metal can have the result of portraying ethnic minorities as merely 'non-white' and thus inexorably link such groups with a notion of 'inferiority'. References Collins, P.H. Black Feminist Thought. London: Routledge, 1991. Davis, F.J. Who is Black?. Pennsylvania: Pennsylvania State University Press, 1991. Dyer, W. White. London: Routledge, 1997. Heywood, A. Political Ideologies. London: MacMillan Press LTD, 1998. Moynihan, M. &amp; Soderlind, D. Lords of Chaos: The Bloody Rise of the Satanic Metal Underground. Venice: Feral House, 1998. NME Magazine. No Title. (September 5 1997) http.http://www.burzum.com. Accessed November 28 2000. Terrorizer Extreme Music Magazine (no.41, 1997:6) EQ Publications LTD. Vikernes, Varg. Civilisation. (no date) http.http://www.burzum.com/library/varg/civil... Accessed December 7 2000. Welch, D. The Third Reich: Politics and Propaganda. London: Routledge, 1993. Discography: Darkthrone, Transylvanian Hunger. Peaceville records, Vile 43, 1994. Links http://www.burzum.com. http://www.burzum.com/library/varg/civilisation.html. CIT Citation reference for this article MLA Style Beckwith., Karl. ""Black Metal is for white people"" M/C: A Journal of Media and Culture 5.3 (2002). [your date of access] &lt; http://www.media-culture.org.au/0207/blackmetal.php&gt;. Chicago Style Beckwith., Karl, ""Black Metal is for white people"" M/C: A Journal of Media and Culture 5, no. 3 (2002), &lt; http://www.media-culture.org.au/0207/blackmetal.php&gt; ([your date of access]). APA Style Beckwith., Karl. (2002) "Black Metal is for white people". M/C: A Journal of Media and Culture 5(3). &lt; http://www.media-culture.org.au/0207/blackmetal.php&gt; ([your date of access]).

This exegesis examines the landscape of heaven depicted in the contemporary novel, The Lovely Bones by Alice Sebold. I examine the various characteristics of the heaven (or 'afterlife') depicted in Sebold's novel, with the aim of ascertaining the narrative effects of using this device. Using Ingrid Daemmrich's analysis of the paradisiacal motif in literature as a framework (Daemmrich, I 1997, Studies on Themes and Motifs in Literature: Enigmatic Bliss, The Paradise Motif in Literature, Peter Lang, New York), I reveal characteristics in The Lovely Bones that are both consistent with and challenge traditional literary representations of heaven and which therefore demonstrate that the text utilises the established literary motif of heaven for symbolism and meaning, but in a contemporary context. I explore the growing trend of contemporary literary heavens by reviewing two other literary heavens that are relevant to this scholarship. I examine where as writers and readers, we ascertain our concept of heaven (in society's religious foundations and from prior literature), and for the relevance of the key text, I briefly discuss the author's likely cultural influences. Having established the novel's lack of alignment with a religious version of heaven, I then examine the nature of and the narrative effect of, the personalised heaven depicted in the novel, The Lovely Bones. In doing so, I explore one of the new portraits of heaven in literature, an example which represents a growing trend away from portraying a classic edenic heaven shared by all humanity (and traditional to literary representations of heaven), toward a contemporary, personalised heaven that seeks to meet the wants and desires of the individual in our modern society. With reference to literature's ability to reflect back to us, our society's beliefs and values, I examine what this new portrait of heaven reveals about society. Access to the project examined in conjunction with this exegesis has been restricted due to copyright.

碩士<br>國立高雄第一科技大學<br>應用英語系口筆譯碩士班<br>102<br>ABSTRACT Mitch D. Albom’s Tuesdays with Morrie has been widely read around the world. The popularity of Tuesdays with Morrie and its 41 works of translations may be attributed to the unique way Albom presents the work, which has ignited my interest in exploring the writing style of Tuesdays with Morrie and the corresponding parts in its two Chinese translated texts by Hong Wu and Yu-Cheng Bai respectively. The perspective of product-oriented Descriptive Translation Studies (DTS) is adopted to conduct this research. The purpose of this product-oriented study is to investigate if the two Chinese translated products have achieved the same effects as those in the original text including if the stylistic features of voices, tones, and rhetorical devices used in Tuesdays with Morrie are preserved or modified. The results of the examinations and analyses shown in this research indicate that in the two Chinese translated texts there are positive and negative effects caused by style gain and style loss respectively in the aspects of voice, tone, culture, and other rhetorical devices. This research also shows that some translated texts which have strong tendencies of translationese negatively affect readability for the target readers, resulting in the loss of style. In such a case, my suggested translations are provided as reference. On the other hand, in the case of the gain of style, some translated texts with only slight tendencies of translationese that do not take up target-readers’ unnecessary processing effort or precious time positively affect readability. In addition, uncommon collocations and redundancies are the two most found features in the two Chinese translated texts. In most cases of Wu’s renderings, a word-for-word strategy adopted does not necessarily produce foreignness effects, while in most cases of Bai’s renderings, a sense-for-sense strategy adopted does not necessarily guarantee good readability. Keywords: Tuesdays with Morrie, product-oriented, Descriptive Translation Studies (DTS), readability, translationese, style loss, style gain, collocation.

Many famous people have overcome difficult circumstances and gone on to become successful in their fields. This book profiles the lives of 75 courageous and persistent people who have triumphed over adversity. These individuals have conquered a range of problems, including physical, psychological, social, and economic handicaps. Individuals profiled come from a range of professions and reflect battles against religious prejudice, medical conditions, eating disorders, poverty, and other social ills. Among the people profiled are Mitch Albom, Hillary Clinton, Magic Johnson, Stephen King, Greg Louganis, and Henry Winkler. The volume includes an historical timeline, a list of relevant films documenting the achievements of these superstars, and a general bibliography. Some of the most successful people in our society have overcome great odds in order to achieve their dreams. Through courage and persistence, they have triumphed over a range of adversities and serve as models for students faced with similar circumstances. This book profiles the struggles and accomplishments of 75 such individuals from all walks of life. Each entry highlights the physical, psychological, social, or economic struggles of the person and discusses how the person won their battle against adversity. Among the individuals profiled are: Mitch Albom, Roseanne Barr, Sandra Cisneros, Hillary Clinton, Pat Conroy, Michael J. Fox, Magic Johnson, Stephen King, Greg Louganis, Jessica Lynch, Colin Powell, Salman Rushdie, Martin Sheen, Henry Winkler, and many more. The volume closes with an historical timeline, a list of films related to the achievements of these superstars, and a general bibliography. In addition to inspiring students to succeed against all odds, the book promotes respect for diversity and explores a host of social issues related to religious prejudice, eating disorders, medical conditions, poverty, and other concerns.

On May 1, Reprise Records issues the Jimi Hendrix Experience’s debut single in the U.S. During a series of interviews, Jimi addresses the racism he experienced during the Walker Brothers tour and the egregious minstrel-derived images conservative British journalists apply to him. Jet magazine, America’s “Weekly Negro News Magazine,” begins covering Jimi’s success abroad. In studio sessions, the Experience record “She’s So Fine,” “Taking Care of Business,” “Look Over Yonder,” “If 6 Was 9,” and portions of “Burning of the Midnight Lamp.” At the Saville, the band plays a triumphant set to a star-studded audience. Mid-month, Track Records releases Are You Experienced, the most revolutionary album in rock history, to rave reviews. The band spends the second half of the month on a European tour that takes them to West Germany, Sweden, Denmark, and Finland. Despite the chart-climbing record releases, intensive press coverage, and ever-expanding audiences, Jimi, Mitch, and Noel can barely survive on the small stipend they’re being paid, which leads them to a showdown with management at month’s end.