A guide for high school students looking for a competitive edge in the college admissions process.
Educational consultant Tatsui-D’Arcy (The Millennial’s Guide to Free Child Care in Your Home, 2018, etc.) knows a thing or two about staying ahead of the competition. In addition to publishing books on time and project management, she’s also founded and run several educational organizations, including tutoring programs. In this well-researched manual, she shares tips on how to get accepted to one’s chosen university. Everyone knows that volunteering and having good grades are necessities on college applications, but in order to get noticed, it’s also important to stand out from one’s peers. According to the author, this is where her system, ProjectMerit, comes in, helping teenagers brainstorm personal projects in order impress college administrations—and improve their prospects of getting accepted. In addition, she points out that pursuing a project that one is passionate about can teach valuable life and career skills. The author shows that there are countless ways to do something beneficial, whether it’s by making a film, organizing an event, or doing nonprofit work. Throughout this book, D’Arcy’s tone is both encouraging and professional; she respects young readers’ goals and ambitions, rather than assuming naïveté on their part. She’s also quick to point out that her work is meant for “students who have already thought carefully about the college they wish to attend,” as well as about their future career goals. The book covers the basics of how to get started on a project, including several probing questions to help readers brainstorm about topics that might interest them. For those whose project is more complex, there are step-by-step instructions on how to apply for grants, recruit volunteers, manage a budget, and even create a website. It’s also worth noting that although D’Arcy champions individuality, she also frequently reminds readers to ask for help along the way from mentors or family members.
A helpful college-admission reference book that should be on every young adult’s reading list.
Privately published by Strunk of Cornell in 1918 and revised by his student E. B. White in 1959, that "little book" is back again with more White updatings.
Stricter than, say, Bergen Evans or W3 ("disinterested" means impartial — period), Strunk is in the last analysis (whoops — "A bankrupt expression") a unique guide (which means "without like or equal").
Noted jazz and pop record producer Thiele offers a chatty autobiography. Aided by record-business colleague Golden, Thiele traces his career from his start as a ``pubescent, novice jazz record producer'' in the 1940s through the '50s, when he headed Coral, Dot, and Roulette Records, and the '60s, when he worked for ABC and ran the famous Impulse! jazz label. At Coral, Thiele championed the work of ``hillbilly'' singer Buddy Holly, although the only sessions he produced with Holly were marred by saccharine strings. The producer specialized in more mainstream popsters like the irrepressibly perky Teresa Brewer (who later became his fourth wife) and the bubble-machine muzak-meister Lawrence Welk. At Dot, Thiele was instrumental in recording Jack Kerouac's famous beat- generation ramblings to jazz accompaniment (recordings that Dot's president found ``pornographic''), while also overseeing a steady stream of pop hits. He then moved to the Mafia-controlled Roulette label, where he observed the ``silk-suited, pinky-ringed'' entourage who frequented the label's offices. Incredibly, however, Thiele remembers the famously hard-nosed Morris Levy, who ran the label and was eventually convicted of extortion, as ``one of the kindest, most warm-hearted, and classiest music men I have ever known.'' At ABC/Impulse!, Thiele oversaw the classic recordings of John Coltrane, although he is the first to admit that Coltrane essentially produced his own sessions. Like many producers of the day, Thiele participated in the ownership of publishing rights to some of the songs he recorded; he makes no apology for this practice, which he calls ``entirely appropriate and without any ethical conflicts.'' A pleasant, if not exactly riveting, memoir that will be of most interest to those with a thirst for cocktail-hour stories of the record biz. (25 halftones, not seen)