The world's naughtiest record breaker is back with this timely Olympic-sized round-up of revolting records! A bumper bind-up of the first two hilarious Danny Baker stories (The World's Biggest Boogie and The World's Most Awesomest Air-Barf) - plus a sensational new story - The Silly Olympics! (100% Unofficial!). Cheer Danny and his friends on as they bravely attempt to break the World Record for Jelly Belly Flopping, Custard Pie Flinging and Picking Up Baked Beans While Wearing Boxing Gloves! The competition is tough, but Danny is determined to hop, skip and boing his way to a gold medal (and a new World Record!).

A bumper bind-up of the first two hilarious DANNY BAKER stories (THE WORLD'S BIGGEST BOGEY and THE WORLD'S AWESOMEST AIR-BARF) plus a sensational new story THE SILLY OLYMPICS! (100% Unofficial!). Cheer Danny and his friends on as they bravely attempt to break the World Record for Jelly Belly Flopping, Custard Pie Flinging and Picking Up Baked Beans While Wearing Boxing Gloves! The competition is tough, but Danny is determined to hop, skip and boing his way to a gold medal (and a new World Record!).

Like many young boys, Danny dreams of making it into the record books. Eternally optimistic, he writes to Mr Bibby, Keeper of the Records, with hilarious accounts of his yucky endeavours. In this book Danny Baker will attempt to break the following records. Drumroll, please . . . Heaviest ball of snot! (DB attempt: 1.4 grams) Most nits on a single human head! (DB attempt: 109) Smelliest feet! (DB attempt: 205 children and 5 teachers rendered unconscious within 10 seconds)

This book introduces music education majors to basic instrumental pedagogy for the instruments and ensembles most commonly found in the elementary and secondary curricula. This text focuses on the core competencies required for teacher certification in instrumental music. The first section of the book focuses on essential issues for a successful instrumental program: objectives, assessment and evaluation, motivation, administrative tasks, and recruiting and scheduling (including block scheduling). The second section devotes a chapter to each wind instrument plus percussion and strings, and includes troubleshooting checklists for each instrument. The third section focuses on rehearsal techniques from the first day through high school.

This book is about love. What it is and what it isn't. It is about you--and about everybody who has ever reached out to touch the heart of another. Among many other lessons of the heart, Leo Buscaglia reminds us: Love is open arms. If you close your arms about love you will find that you are left holding only yourself.@@@@From the Paperback edition.@

Oliver tells his class a story about how he becomes the hero and save the human race. Everyone loves the stories, but his teacher gives him a detention for telling fibs.

Today's moviegoers and critics generally consider some Hollywood products--even some blockbusters--to be legitimate works of art. But during the first half century of motion pictures very few Americans would have thought to call an American movie "art." Up through the 1950s, American movies were regarded as a form of popular, even lower-class, entertainment. By the 1960s and 1970s, however, viewers were regularly judging Hollywood films by artistic criteria previously applied only to high art forms. In Hollywood Highbrow, Shyon Baumann for the first time tells how social and cultural forces radically changed the public's perceptions of American movies just as those forces were radically changing the movies themselves. The development in the United States of an appreciation of film as an art was, Baumann shows, the product of large changes in Hollywood and American society as a whole. With the postwar rise of television, American movie audiences shrank dramatically and Hollywood responded by appealing to richer and more educated viewers. Around the same time, European ideas about the director as artist, an easing of censorship, and the development of art-house cinemas, film festivals, and the academic field of film studies encouraged the idea that some American movies--and not just European ones--deserved to be considered art.