Tue, 2 December 2008 Post By Online Shopping Store
- Arsenic-free glass
- Brominated flame retardant-free
- Mercury-free
- PVC-free
- Highly recyclable aluminum enclosure
Leave the cleaning to a robot with this convenient machine. Its 14.4-volt rechargeable Ni-MH battery provides the power needed to clean hard floors, shop carpets, garage and basement areas, as well as industrial-floor surfaces. In addition, specially designed counter-rotating brushes spin almost 1,000 times per minute, sweeping up dirt and debris that cling to rough surfaces. Simply press the "clean" button and the unit sweeps under workbenches, cars, and other hard-to-reach places, picking up nuts, bolts, dirt, and more. For added convenience, "cliff" sensors keep it from falling down stairs or other vertical drops. The unit offers an oversized, bagless, easy-to-empty debris bin, and its power supply fully charges in seven hours. Accessories include a standard battery, a standard charger, a cleaning tool, and an owner's guide. The cleaning machine measures approximately 13 by 13 by 4 inches and carries a one-year limited warranty. |
|||||||
Rarely mentioned as one of the great double albums, Goodbye Yellow Brick Road had to settle for ending up in a few million record collections. So sprawling that it doesn't quite measure up to the earlier, more laid-back Honky Chateau or the later, pushy Rock of the Westies, this still holds claim to a lot of brilliant, very pop-savvy music: the winking rebellion of "Bennie and the Jets" and "Saturday Night's Alright for Fighting," the ready-made nostalgia of "The Ballad of Danny Bailey," the downbeat melodicism of "Harmony." --Rickey Wright |
|||||||
To the horror of their most obsessive fans, the surviving Beatles have proven more than willing to tamper with their pop legacy, as witnessed by the various facets of their massive, occasionally myopic mid-1990s Anthology projects (and the suspect notion of its faux techno-marvel "reunions"). In boldly revamping the soundtrack to their 1968 Heinz Edelmann-designed animated fable Yellow Submarine, the Fabs have shown they're not immune to the irony of the age either: their original involvement in the project was both tentative and minimal. This new version completely excises Beatles-producer Sir George Martin's charming, if sometimes maudlin, orchestral score, offering instead a new "songtrack" containing all the Beatles songs (standout cuts from Rubber Soul, Revolver, and Sgt. Pepper's Lonely Hearts Club Band, in addition to the four originals unique to the project) featured in the film. The pre-announced "unreleased song" on the set turns out to be the original album's rollicking "Hey Bulldog", one of the last true Lennon-McCartney collaborations. "Hey Bulldog" was also the subject of both a previously excised sequence in the film and a newly edited in-studio video cobbled together from footage shot in early 1968 and previously used in vintage promos for "Lady Madonna". Though it may further upset purists, the band has allowed these tracks to be digitally remixed and remastered into 5.1 surround sound, imparting both a stunning clarity and a new perspective (as well as restoring a "missing" verse and the original six-minute plus playing time to "It's All Too Much") on some of the greatest--if obviously overexposed--songs and recordings in the history of rock. --Jerry McCulley |
|||||||
The most dashed-off of the Beatles' records, Yellow Submarine doesn't have much to it: the goofy title track and "All You Need Is Love" are reprised from earlier discs, George Martin's trifle of a score to the animated Submarine feature takes up the second half, and that leaves just four relatively insubstantial new tracks. The Beatles' throwaways are anyone else's classics, though: "Hey Bulldog," the last song Lennon and McCartney wrote in full collaboration, has the instinctive urgency of their best work, Paul's singalong "All Together Now" is awfully cute, and more than one band has dedicated its career to trying to replicate what George's guitars are doing on his dazed, pulsing "It's All Too Much." --Douglas Wolk |
|||||||
This restored, animated valentine to the Beatles offers viewers the rare chance to see a work that's been substantially improved by its technical facelift, not just supersized with extra footage. Recognizing that its song-studded soundtrack alone makes Yellow Submarine a video annuity, United Artists has lavished a frame-by-frame refurbishment of the original feature, while replacing its original monaural audio tracks with a meticulously reconstructed stereo mix that actually refines legendary original album versions.What emerges is a vivid time capsule of the late '60s and a minor milestone in animation. The music represents the quartet's zenith--Rubber Soul, Revolver, and Sgt. Pepper's Lonely Hearts Club Band. The story line, cobbled together by producer Al Brodax and a committee of writers, is a broad, feather-light allegory set in idyllic Pepperland, where the gentle citizens are threatened by the nasty, music-hating Blue Meanies and their surreal arsenal of henchmen, with the Beatles enlisted to thwart the bad guys. Visually, designer Heinz Edelmann mixes the biomorphic squiggles, day-glo palette, and Beardsley-esque portraits of Peter Max with rotoscoped still photographs and film; Edelmann's animated collages also nod to Andy Warhol and Magritte in properly psychedelic fashion, which works wonderfully with such terrific songs. High orthodox Beatlemaniacs can still grouse that the animated Fab Four are (literally) flat archetypes, but that's missing the sheer bloom of the music or the giddy, campy fun of the visuals. Making sense of the story is second to submerging blissfully in the sights and sounds of this video treat. --Sam Sutherland |
|||||||
The second installment of John Ford's famous cavalry trilogy (which also includes Fort Apache and Rio Grande), this meditative Western continues the director's fascination with history's obliteration of the past. It features one of John Wayne's more sensitive performances as Capt. Nathan Brittles, a stern yet sentimental war horse who has difficulty preparing for his impending military retirement. All things considered, he refuses to leave before fulfilling his obligation to the local Indian tribe. It's a film about honor and duty as well as loneliness and mortality. And Oscar-winner Winton C. Hoch beautifully photographs it in Remington-like Technicolor tones (you've never seen such stunning cloud-covered skies). The combination of melancholy and farce (Victor McLaglen makes a perfect court jester) evokes comparisons to Shakespeare. Best of all, the scene in which Wayne fights back tears when receiving a gold watch from his troops is unforgettably bittersweet. If you view the whole trilogy, it actually makes sense to save this for last. --Bill Desowitz |
|||||||
GoodYear 045 3/8-Inch x 50 Safety Yellow Rubber Hose 3/8 -Inch by 50-Feet 250 PSI With 1/4-Inch Ends
|
|||||||
In 1966, Star Trek set out to boldly go where no series had gone before, beginning a three-year mission that led to a franchise that would last decades. Here at last is the first season of the original series all in one box, 29 episodes in their original broadcast order. That means starting with "The Man Trap," and soon followed by "Where No Man Has Gone Before," the second pilot filmed and the first one starring William Shatner as Captain Kirk. The many highlight episodes include "Balance of Terror" and "Errand of Mercy" (introducing, respectively, the Romulans and the Klingons), the two-part "The Menagerie" (which recycled footage from the original pilot, "The Cage," which featured Christopher Pike as the captain of the Enterprise and is not included in this set), "Space Seed" (introducing Ricardo Montalban's Khan character), and "The City of the Edge of Forever" (written by sci-fi giant Harlan Ellison and considered by many the best-ever episode of the series). The first-season DVD set is supplemented by 80 minutes of featurettes incorporating 2003-04 interviews with Shatner, Leonard Nimoy, other cast members, and producers, and some 1988 footage of Gene Roddenberry. The longest (24 minutes) featurette, "The Birth of a Timeless Legacy," examines the two pilot episodes and the development of the crew. Slightly shorter are "To Boldly Go... Season One," which highlights key episodes, and "Sci-Fi Visionaries," which discusses the series' great science fiction writers (most famously in "The City of the Edge of Forever"). Shatner shows off his love of horses in "Life Beyond Trek," and, more interestingly, Nimoy debunks various rumors in "Reflections of Spock." As they've done for many of the feature-film special editions, Michael Okuda and Denise Okuda provide a pop-up text commentary on four of the episodes filled with history, trivia, and dry wit. It's the first commentary of any kind for a Star Trek TV show, but an audio commentary is still overdue. The technical specs are mostly the same as other Trek TV series--Dolby 5.1, English subtitles--but with the welcome addition of the episode trailers. The plastic case is an attempt to replicate some of the fun packaging of the series' European DVD releases, but it's a bit clunky, and the paper sleeve around the disc case seems awkward and crude. Still, the set is a vast improvement both in terms of shelf space and bonus features compared to the old two-episode discs, which were released before full-season boxed sets became the model for television DVDs. --David Horiuchi |
|||||||
This restored, animated valentine to the Beatles offers viewers the rare chance to see a work that's been substantially improved by its technical facelift, not just supersized with extra footage. Recognizing that its song-studded soundtrack alone makes Yellow Submarine a video annuity, United Artists has lavished a frame-by-frame refurbishment of the original feature, while replacing its original monaural audio tracks with a meticulously reconstructed stereo mix that actually refines legendary original album versions.What emerges is a vivid time capsule of the late '60s and a minor milestone in animation. The music represents the quartet's zenith--Rubber Soul, Revolver, and Sgt. Pepper's Lonely Hearts Club Band. The story line, cobbled together by producer Al Brodax and a committee of writers, is a broad, feather-light allegory set in idyllic Pepperland, where the gentle citizens are threatened by the nasty, music-hating Blue Meanies and their surreal arsenal of henchmen, with the Beatles enlisted to thwart the bad guys. Visually, designer Heinz Edelmann mixes the biomorphic squiggles, day-glo palette, and Beardsley-esque portraits of Peter Max with rotoscoped still photographs and film; Edelmann's animated collages also nod to Andy Warhol and Magritte in properly psychedelic fashion, which works wonderfully with such terrific songs. High orthodox Beatlemaniacs can still grouse that the animated Fab Four are (literally) flat archetypes, but that's missing the sheer bloom of the music or the giddy, campy fun of the visuals. Making sense of the story is second to submerging blissfully in the sights and sounds of this video treat. --Sam Sutherland |
|||||||
There may be no better representation of America's love of the old West than the 10-disc John Ford-John Wayne Collection. The iconic star and iconic director collaborated on 14 films, eight of which appear here. Four--Fort Apache (1948), The Long Voyage Home (1940), The Wings of Eagles (1957), and 3 Godfathers (1948)--are appearing for the first time on DVD, and the two most famous, Stagecoach (1939) and The Searchers (1956), are represented in brand-new two-disc editions that add new and old featurettes as well as the outstanding American Masters documentary John Ford/John Wayne: The Filmmaker and the Legend. (This Ultimate Edition of The Searchers adds a variety of printed materials as well, such as reproductions of press materials and a 1956 comic book.) Two other landmark films previously available on DVD, They Were Expendable (1945) and She Wore a Yellow Ribbon (1949), round out the set. The three non-Westerns in the set have military settings, with They Were Expendable arguably the greatest World War II picture ever. The Movies: The landmark Western Stagecoach began the legendary relationship between Ford and Wayne, and became the standard for all subsequent Westerns. It solidified Ford as a major director and established Wayne as a charismatic screen presence. Seen today, Stagecoach still impresses as the first mature instance of a Western that is both mythic and poetic. The story about a cross-section of troubled passengers unraveling under the strain of Indian attack contains all of Ford's incomparable storytelling trademarks--particularly swift action and social introspection--underscored by the painterly landscape of Monument Valley. And what an ensemble of actors: Thomas Mitchell (who won a Best Supporting Actor Oscar as the drunken doctor), Claire Trevor, Donald Meek, Andy Devine, and the magical John Carradine. Fort Apache stars Wayne as a Cavalry officer used to doing things a certain way out West at Fort Apache. Along comes a rigid, new commanding officer (Henry Fonda) who insists that everything on his watch be done by the book, including dealings with local Indians. The results are mixed: greater discipline at the fort, but increased hostilities with the natives. Ford deliberately leaves judgments about the wisdom of these changes ambiguous, but he also allows plenty of room for the fullness of life among the soldiers and their families to blossom. Fonda, in an unusual role for him, is stern and formal as the new man in charge; Wayne is heroic as the rebellious second; Victor McLaglen provides comic relief; and Ward Bond is a paragon of sturdy and sentimental masculinity. All of this is set against the magnificent, poetic topography of Monument Valley. This is easily one of the greatest of American films. She Wore a Yellow Ribbon, the second installment of Ford's famous cavalry trilogy (which also includes Fort Apache and Rio Grande), continues the director's fascination with history's obliteration of the past. It features one of John Wayne's more sensitive performances as Capt. Nathan Brittles, a stern yet sentimental war horse who has difficulty preparing for his impending military retirement. It's a film about honor and duty as well as loneliness and mortality. And Oscar-winner Winton C. Hoch beautifully photographs it in Remington-like Technicolor tones. The combination of melancholy and farce (Victor McLaglen makes a perfect court jester) evokes comparisons to Shakespeare. Best of all, the scene in which Wayne fights back tears when receiving a gold watch from his troops is unforgettably bittersweet. If you view the whole trilogy, it actually makes sense to save this for last. It's hardly shameful that Three Godfathers ranks as the slightest John Ford Western in a five-year arc that includes My Darling Clementine, Fort Apache, She Wore a Yellow Ribbon, Wagon Master, and Rio Grande. The story had already been filmed at least five times--once by Ford himself. Just before Christmas, three workaday outlaws (John Wayne, Pedro Armendáriz, Harry Carey Jr.) rob a bank and flee into the desert. The canny town marshal (Ward Bond) moves swiftly to cut them off from the wells along their escape route, so they make for another, deep in the wasteland. There's no water waiting for them, but there is a woman (Mildred Natwick) on the verge of death--and also of giving birth. The three badmen accept her dying commission as godfathers to the newborn. Motley variants of the Three Wise Men, they strike out for the town of New Jerusalem with her Bible as roadmap. Ford's is the softest retelling of the tale, but it's all played with great gusto and tenderness--especially by Wayne, who's rarely been more appealing. Visually the film is one knockout shot after another. This was Ford's first Western in Technicolor, as well as his first collaboration with cinematographer Winton Hoch. What they do with sand ripples and shadows and long plumes of train smoke is rapturously beautiful. It's also often too arty by half, but who can blame them? Eugene O'Neill loved The Long Voyage Home, the feature-length adaptation of his one-act sea plays, with intelligent bridging material written by Dudley Nichols and a final movement, both hellish and elegiac, appropriate to the onset of World War II. John Ford directed, in his more self-consciously arty vein but with no loss of power or passion. The focus is on the working seamen aboard a merchant ship making its way from the Caribbean to New York harbor and then England, with dangerous cargo on the transatlantic leg. Thomas Mitchell (who had won a 1939 Oscar in Ford's Stagecoach) gives a career-best performance as Driscoll; Ian Hunter plays the enigmatic shipmate known only as "Smitty"; Ford regulars Barry Fitzgerald, John Qualen, Ward Bond, Arthur Shields, and Joseph Sawyer fill key roles; and the top-billed John Wayne contributes a surprisingly effective supporting performance as Ole, a gentle Swedish giant who really belongs on a farm somewhere. Although neglected in recent years, this movie has a permanent place of honor in one of the most amazing three-year creative streaks any director ever had. John Ford had a big emotional investment in The Wings of Eagles, and his favorite star John Wayne rewarded the director with one of his strongest performances. The subject is Frank "Spig" Wead, Naval aviation legend turned Hollywood screenwriter, who had written Ford's very good 1932 movie Air Mail and his magnificent WWII elegy They Were Expendable (1945). Ford was fond of exploring the theme of "victory in defeat." Wead's life was made to order for that. The hell-raising flyboy shenanigans, and his flailing marriage to a scrappy Irish redhead (The Quiet Man's Maureen O'Hara reporting for duty), were abruptly curtailed by a fall that left him with severe spinal damage. He should never have been able to walk again, but he fought his way back to limited mobility and built a new career as a writer. And when WWII broke out, Wead made a key contribution to the Pacific air war. It would be satisfying to report that The Wings of Eagles is a triumph--that the broad comedy of the early reels cuts brilliantly against the raw pain of the Weads' marriage, the grief of a family broken and mended and broken again, the film's specters of death and deep frustration. There are powerful moments, but the low comedy is very low, the visual style sometimes stark but more often just drab, and the screenplay is very choppy about the passage of time. They Were Expendable is the greatest American film of the Second World War, made by America's greatest director, John Ford, who himself saw action from the Battle of Midway through D-day. Yet it's been oddly neglected. Or perhaps not so oddly: for as the matter-of-fact title implies, the film commemorates a period, from the eve of Pearl Harbor up to the impending fall of Bataan, when the Japanese conquest of the Pacific was in full cry and U.S. forces were fighting a desperate holding action. Although stirring movies had been made about these early days, they were gung ho in their resolve to see the tables turned. They Were Expendable, however, which was made when Allied victory was all but assured, is profoundly elegiac, with the patient grandeur of a tragic poem. "They" are the officers and men of the Navy's PT boat service, an experimental motor-torpedo force relegated to courier duty on Manila Bay but eventually proven effective in combat. Their commander is played by Robert Montgomery, who actually served on a PT and later commanded a destroyer at Normandy (he also codirected the breathtaking second-unit action sequences). John Wayne's costarring role as Montgomery's volatile second-in-command initially looks stereotypically blustery, but as the drama unfolds, Wayne sounds notes of tenderness and vulnerability that will take Duke-bashers by surprise. They Were Expendable is a heartbreakingly beautiful film, full of astonishing images of warfare, grief, courage, and dignity. This is a masterpiece. |
|||||||
Complete your N-Strike arsenal and prepare for the ultimate in battery-powered blasting! Be ready for any battle with the Nerf N-Strike Vulcan EBF-25 Blaster-- an awesome, fully automatic dart cannon! Load the blaster with fresh batteries and fire at a rate of up to three darts per second! Watch as the belt feeds automatically through the blaster, letting the barrage of firepower continue as you battle your opponent. The piston-powered internal launching system makes it an unstoppable force! Switch to single-shot mode for precision blasting. The removable tripod folds for easy transport or a quick escape from enemy fire! Even your toughest opponent wont know what hit him! Blaster comes with ammo box, folding tripod, 25-dart belt, and 25 Sonic Micro Darts ammo and instructions. Requires 6x 'D' batteries, not included. Ages 6 and up. |
|||||||
Get ready for exciting in-flight action with the Air Hogs Hovac Stinger. This lightweight, remote-control helicopter adds action to any indoor play area, inspires imaginative play, and teaches principles of flight to future pilots. With flashing lights and a cool, bug-eye cockpit, this chopper is designed to keep kids aged eight and up busy for hours.
Featuring a colorful foam body with yellow and black details, blinking lights, and plastic rotors, this detailed little helicopter has plenty of aesthetic appeal. Before you start flying, you'll need to charge your Havoc Stinger. Use a Philips head screwdriver to insert six AA batteries (not included) the each controller. Then plug the helicopter into the cord on the controller. Since the plug has small prongs, you'll need to take care to seat them correctly. Now it's time to start practicing. You'll want to encourage kids to get familiar with the controls before they try and any big-time stunt flights, since flying this choppers well takes practice. In addition to an on-off switch and a switch that lets you select the correct channel to control your helicopter, the hand-held controller has a throttle stick, a rudder stick, and a button to adjust for trimming. We found the best way to start off was flying in a large, indoor space, while focusing on hovering an even distance above the ground. This simple task is trickier to master than you might imagine, but with enough practice it will become second nature. The included instruction manual offers tips for learning to fly, from focusing on the helicopter instead of the controller to applying very gentle pressure on the control sticks. Fun, Imaginative Play for Expert Pilots This helicopters offers an excellent opportunity for parents and kids to play together. They can offer each other flight tips and compete to land in tricky places or fly through narrow corridors. You may find yourself having even more fun than your children with this remote-control helicopter. Overall, the Havoc Stinger provides a great way to teach patience, persistence, and principles of flight, all while having a great time. Our one real concern is the durability of the helicopter itself. While Air Hogs thoughtfully includes extra tail rotors, and our helicopter survived lots of brutal crashes while we were learning to fly, it is made of foam and lightweight plastic. This means that if your chopper gets stepped on or tossed around, it is almost sure to sustain some damage. What's in the Box |
|||||||
Free yourself from clumsy electronics and enjoy uncompromising mobility with the g netbook Meso. Smaller and lighter than a laptop, the g netbook Meso was meant to be used anywhere life takes you. Access pictures, music, movies and the web without the bulk of a laptop. Discover the Sylvania Netbook -- the next generation in personal productivity. 1.6GHz Intel Atom Processor; 1GB Memory; 80GB Hard Drive; 8.9" backlit LED Display with 1024x600 Resolution; Intel 845 Expresss Graphics chipset; Multi-Card Reader; 10/100 Ethernet port; WiFi 802.11 b/g; Integrated Webcam; VGA and USB ports; Ubuntu Netbook Remix Operating System; 4-cell Battery; Solar (yellow) finish. |
|||||||
With eight amazing colors, a new curved design, and great new features, iPod nano rocks like never before. The Genius Playlist feature finds the songs in your music library that go great together and makes a playlist for you. With its built-in accelerometer, iPod nano is made to move. Give it a shake, and it shuffles to a different song in your library. Turn it on its side to flip through your album art in Cover Flow. And tilt, move, and play accelerometer-inspired games (games available separately). Watching movies, TV shows, and video is even more fun on the sharp 2-inch screen. And your photos (up to 7,000 of them) look great in portrait or landscape view. Available in 8 GB and 16 GB models, the 8 GB iPod nano puts up to 2,000 songs or 8 hours of video in your pocket.
A Musical Genius Find Your Music Faster Rock and Roll Over Shake Your Groove Thing Let the Games Begin Even Your Photos Rock The World's Biggest Small Screen Reduced Environmental Impact What's in the Box |
|||||||
This cartridge is compatible with several popular Canon printers, including BJC-8200, i560 Series, i860 Series, i900D, i9100, i950 Series, i960 Series, i9900, PIXMA iP3000, PIXMA iP4000, PIXMA iP4000R, PIXMA iP5000, PIXMA iP6000D, PIXMA iP8500, PIXMA MP750, PIXMA MP760, PIXMA MP780, S800, S820, S820D, S830D, S900, and S9000. Specially designed for photo prints, the BCI-6Y is easy to install and yields about 280 bright color prints. |
|||||||
Women's Bean Project's Toni's 10 Bean Soup, Marian's Black Bean Soup and Firehouse #10 Chili (hot). Give a wonderful gift for the gourmet food lover in your life with this Women's Bean Project Three Soup Bundle. This bundle's contents are all handmade by the women at the Women's Bean Project, a social enterprise designed to help women in need with immediate income, arrange support services to overcome barriers to employment, and teach the job readiness skills needed to get and keep a job. These gourmet food products are delightfully presented in a Kraft paper box, shrink wrapped and tied with a signature Bean Project ribbon. |
|||||||
Women's Bean Project's Six Bean Organic Soup and Toni's 10 Bean Soup with Golden Cornbread Mix. Give a wonderful gift for the gourmet food lover in your life with this Women's Bean Project Two Soup and Cornbread Bundle. This bundle's contents are all handmade by the women at the Women's Bean Project, a social enterprise designed to help women in need with immediate income, arrange support services to overcome barriers to employment, and teach the job readiness skills needed to get and keep a job. These gourmet food products are delightfully presented in a Kraft paper box, shrink wrapped and tied with a signature Bean Project ribbon. |
|||||||







