It's the Kung Fu Force's first day at a new school, and three boxers—Dave, Diego and Darius—bully Lucas the Lizard, just because he is small. Then the tap at the canteen's bubble tea stall malfunctions, creating a huge milk tea whirlpool that pulls in those disagreeable puppies. Lucas must now put aside his anger long enough to rescue his bullies.

They’re small. They’re cute. They’re warriors. Meet the Kung Fu Force. There’s no problem they can’t solve! Meet the team behind the Kung Fu Force: Lucas the Lizard, Brady the Bengal Cat and Coco the Cockatoo. Together with Shifu Seong the Seahorse, these three animal pals master kung fu skills and learn life lessons along the way. And when duty calls, they channel their chi to save the world! In this book, they are called to help Mr Goh, who’s stuck teetering over the edge of a collapsing building. But before they can help, Brady has to deal with another problem—he can’t channel his chi to help. What will become of him? Will the team be able to save the day?

An easy-to-use dictionary of over 80,000 rhyming words.

On Simon’s seventh birthday, sugee cake promises to be more than just a birthday treat—it brings together family and friends. Simon’s family always makes sugee cake on special occasions. And today is one of those days. It’s Simon’s seventh birthday! He can’t wait to bite into a slice. But when Simon sits down to enjoy his treat, things don’t go as planned. Or so it seems, for unbeknown to Simon, his friends and family have been planning a birthday surprise for him—one that involves a marvellous sugee cake! A homage to sugee cake that vows to entertain readers as they follow the adventures of Simon and his friends.

In the beginning, a scarecrow made his own history, like a symbol that everyone sees year-around (like Halloween) placed in the middle of surrounding pumpkins and flames all around but never hurting the scarecrow. At the end, two different species-a goblin and a troll-made their own history as well. Keeping the scarecrow strong and their willpower intact, so nobody can erase all three of their history, in which no one can change.

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.