When third-grader Polly Peterson finally loses her first baby tooth, she wonders if she is too old for a visit from the tooth fairy.

The long-awaited prequel to the bestseller FOURTH GRADE RATSGeorge, aka "Suds," has just entered third grade, and he's heard the rhyme about "first grade babies/second grade cats/third grade angels/fourth grade rats," but what does this mean for his school year? It means that his teacher, Mrs. Simms, will hold a competition every month to see which student deserves to be awarded "the halo" - which student is best-behaved, kindest to others, and, in short, perfect. Suds is determined to be the first to earn the halo, but he's finding the challenge of always being good to be more stressful than he had anticipated. Does he have to be good even outside of school? (Does he have to be nice to his annoying little sister?) And if Mrs. Simms doesn't actually see him doing a good deed, does it even count?A warm, funny return to elementary school from master storyteller Spinelli.

Charles Mingus was one of the most innovative jazz musicians of the 20th Century, and ranks with Ives and Ellington as one of America's greatest composers. By temperament, he was a high-strung and sensitive romantic, a towering figure whose tempestuous personal life found powerfully coherent expression in the ever-shifting textures of his music. Now, acclaimed music critic Gene Santoro strips away the myths shrouding "Jazz's Angry Man," revealing Mingus as more complex than even his lovers and close friends knew. A pioneering bassist and composer, Mingus redefined jazz's terrain. He penned over 300 works spanning gutbucket gospel, Colombian cumbias, orchestral tone poems, multimedia performance, and chamber jazz. By the time he was 35, his growing body of music won increasing attention as it unfolded into one pioneering musical venture after another, from classical-meets-jazz extended pieces to spoken-word and dramatic performances and television and movie soundtracks. Though critics and musicians debated his musical merits and his personality, by the late 1950s he was widely recognized as a major jazz star, a bellwether whose combined grasp of tradition and feel for change poured his inventive creativity into new musical outlets. But Mingus got headlines less for his art than for his volatile and often provocative behavior, which drew fans who wanted to watch his temper suddenly flare onstage. Impromptu outbursts and speeches formed an integral part of his long-running jazz workshop, modeled partly on dramatic models like Orson Welles' Mercury Theatre. Keeping up with the organized chaos of Mingus's art demanded gymnastic improvisational skills and openness from his musicians-which is why some of them called it "the Sweatshop." He hired and fired musicians on the bandstand, attacked a few musicians physically and many more verbally, twice threw Lionel Hampton's drummer off the stage, and routinely harangued chattering audiences, once chasing a table of inattentive patrons out of the FIVE SPOT with a meat cleaver. But the musical and mental challenges this volcanic man set his bands also nurtured deep loyalties. Key sidemen stayed with him for years and even decades. In this biography, Santoro probes the sore spots in Mingus's easily wounded nature that helped make him so explosive: his bullying father, his interracial background, his vulnerability to women and distrust of men, his views of political and social issues, his overwhelming need for love and acceptance. Of black, white, and Asian descent, Mingus made race a central issue in his life as well as a crucial aspect of his music, becoming an outspoken (and often misunderstood) critic of racial injustice. Santoro gives us a vivid portrait of Mingus's development, from the racially mixed Watts where he mingled with artists and writers as well as mobsters, union toughs, and pimps to the artistic ferment of postwar Greenwich Village, where he absorbed and extended the radical improvisation flowing through the work of Allen Ginsberg, Jackson Pollock, and Charlie Parker. Indeed, unlike Most jazz biographers, Santoro examines Mingus's extra-musical influences--from Orson Welles to Langston Hughes, Farwell Taylor, and Timothy Leary--and illuminates his achievement in the broader cultural context it demands. Written in a lively, novelistic style, Myself When I Am Real draws on dozens of new interviews and previously untapped letters and archival materials to explore the intricate connections between this extraordinary man and the extraordinary music he made.

Based on current research, Teaching Tips for Kids with Dyslexia provides teachers and parents with practical multisensory methods that will help children acquire the necessary phonological skills to become successful readers. Included are the early signs and symptoms of dyslexia; language intervention strategies; the importance of developing pre-phonemic and phonemic awareness; multisensory methods for identifying letters, reading sight words, and spelling; as well as suggestions for classroom and material modifications; improving handwriting; building confidence; and new instructional concepts. This resource is a must for all elementary classroom teachers!

The power of courage and faith transform this inspiring political autobiography of presidential candidate Kucinich into a compelling self-help book for those who are searching for the key to achieving their own dreams.

This book advances the theoretical account that Barbara Rogoff presented in her highly acclaimed book, Apprenticeship in Thinking. Here, Rogoff collaborates with two master teachers from an innovative school in Salt Lake City, Utah, to examine how students, parents, and teachers learn by being engaged together in a community of learners. Building on observations by participants in this school, this book reveals how children and adults learn through participation in activities of mutual interest. The insights will speak to all those interested in how people learn collaboratively and how schools can improve.