Happy Puppy Vintage Computers

Who said cups with lids had to be boring? Wild and wonderfully stunning, these stripes look stolen from the African plains. Perfect for summer parties with ice cold lemonade that is served best chilled, the Zebra Insulated Cup is festive and fun.

Who said cups with lids had to be boring? Wild and wonderfully stunning, these spots look stolen from the African plains. Perfect for summer parties with ice cold lemonade that is served best chilled, the Leopard Insulated Cup is festive and fun.

Ladies put your best foot forward! Give the wine you love the glamour it deserves-a zebra-pattern pump. 6' heel. Made of resin. Size: 6'H x 12-1/2'L x 3-3/4'W

The band that proclaimed itself "The Greatest Rock & Roll Band in the World" has long since represented rock's most overarching confluence of art and commerce--with a distinct emphasis on the latter in recent decades--a notion this 40-track, five-decade-spanning anthology can't completely escape. While this is the first anthology to gather hits from the band's entire career, it's the early tunes that highlight one of the Stones' central ironies: virtually their entire "bad boy" reputation was built working for The Man. That original '60s musical arc bounded from '50s rock and R&B revivalism ("Not Fade Away," "The Last Time") to anti-Mop Top aggression ("Satisfaction," "Get Off My Cloud," "19th Nervous Breakdown") to proto-goth cynicism ("Paint It Black," "Have You Seen Your Mother Baby") and psychedelic minstrelsy ("She's a Rainbow," "Ruby Tuesday") to the epitome of blues-based cock rock ("Street Fighting Man," "Jumpin' Jack Flash") in quick succession. Wresting control of their own destinies--and future copyrights--at the end of the '60s, they'd spend the next 30 years largely recycling their earlier incarnation ad infinitum--their music sprinkled with occasionally successful forays into contemporary club and disco fodder ("Some Girls," "Shattered")--and resting on their well-paid laurels. Unfortunately, the listless quartet of new tracks that flesh out this collection seems little more than another business deal to hype their 2002-03 world tour, with "Don't Stop" arguably the weakest in a long string of post-'80s Stones McSingles. If Jagger seems typically detached here, Keith Richards injects some welcome, craggy warmth into the closing barroom lament, "Losing My Touch." But it's also a performance that suggests his legendary band has become little more to him than "The Greatest Day Job in the World." --Jerry McCulley

This special limited collector's edition of the definitive Rolling Stones hits collection is released to coincide with the start of the band's European tour which kicks off in Munich on June 2, 2003 and concludes on September 14th taking in 38 gigs in 13

The First Ever Comprehensive Retrospective Album Covering the Rolling Stones Greatest Hits Dating Back to the Very Start of the Bands Recording Career Up to the Present Day. The Album Consists of 40 Tracks 20 on the Abkco Label, Cd1 and 20 on the Virgin Cd2. That Represents an Unprecedented Joint Co-operative Between the Rolling Stones, Abkco, and EMI'S Virgin Label in North America, Universal Music International and EMI. Destined to Confirm to Both Long Time and New Fans Why the Rolling Stones have Been Acknowledged as the World's Greatest Rock 'n Roll Band, the Collection features Digitally Remasted Classic Rolling Stones Hits Including "(I Can't Get No) Satisfaction", "Ruby Tuesday", "Brown Sugar", "Miss You" and "Start Me Up".

The aggro-rock movement spearheaded by the 'Tones, Korn, Sevendust, System of a Down, and Rage Against the Machine, among others, has been taking on new influences with each new release by the major players. White Pony may be the biggest leap yet for the genre, as Chino Moreno, Chi Cheng, Abe Cunningham, Stephen Carpenter, and DJ Frank Delgado maintain the fierceness that's earned them a rabid following. This time out, however, their patented brand of hip-hop metal is adorned with ambient and alt-rock touches. --Steven Stolder

Sensual and mellow haven't been adjectives associated with aggro band Deftones--until now. The quintet's third outing finds their aural punch softened and deepened, lending songs such as "Digital Bath" a sultry, layered edge. More Tool than Pantera in its sonics, White Pony, in fact, includes a collaboration with Tool/A Perfect Circle singer Maynard James Keenan in the haunting "Passenger." Fans of the band's earlier, harder albums will still find some satisfaction in these developments. "Elite" boasts chunky riffing and metal/rap leanings, while "Korea" is anguished and edgy. More striking, however, are songs like the quirky, futuristic, fervent "RX Queen" and the gentle "Teenager." If you're in the mood to mosh, 1995's Adrenaline and '97's Around the Fur are better choices. For a different Deftones journey, however, delve into this diverse, dynamic, and heady album sans preconceived notions and let White Pony take you on a wondrous ride. --Katherine Turman

No Description AvailableNo Track Information AvailableMedia Type: CDArtist: DEFTONESTitle: WHITE PONYStreet Release Date: 10/03/2000

Described aptly in the liner notes as a "panoramic view of where he's been and where he's going," this weighty double-disc captures Van in all of the guises he adopted in the 1980s and early '90s. There are several devotional pieces, a couple of splendid rants ("Professional Jealousy" and "Why Must I Always Explain"), two collaborations with the Chieftains, and jazzy swingers driven by Georgie Fame's organ. The real heart of the album is Van's evocation of his childhood in lyrics and arrangements that capture the joys of discovering rock & roll while growing up in Belfast amid that city's conflicting passions. There are several high points for connoisseurs of his stream-of-consciousness lyrical rambles, notably "On Hyndford Street" and "Take Me Back." As an album, the mood swings too dramatically to be coherent, but in its individual parts there is evidence of true genius. --Rob Stewart

Japanese only double SHM-CD (Super High Material CD - playable on all CD players) pressing of this rock album. SHM-CDs can be played on any audio player and delivers unbelievably high-quality sound. You won't believe it's the same CD! Universal. 2008.

These Stop Sign Removable Wall Decals are not your standard vinyl wall stickers. Wallmonkeys uses premium Photo-Tex to produce decorative wall decals for the home, office space, or business. While Wallmonkeys has a wide selection of awesome kids wall decals, we are experts in creating custom business wall graphics. Wallmonkeys handles everything from trade show graphics to fundraisers, but our greatest joy is making you the STAR by creating one-of-a kind custom wall decals from your Photo! Still need convincing, free wall decals are available. See for yourself how Wallmonkeys features stack up. Our removable, reusable, self-adhesive wall decals will stick virtually anywhere and can be repositioned up to 100 times. And best of all, these affordable wall decals are made right here in the USA.

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These Do Not Enter Sign Removable Wall Decals are not your standard vinyl wall stickers. Wallmonkeys uses premium Photo-Tex to produce decorative wall decals for the home, office space, or business. While Wallmonkeys has a wide selection of awesome kids wall decals, we are experts in creating custom business wall graphics. Wallmonkeys handles everything from trade show graphics to fundraisers, but our greatest joy is making you the STAR by creating one-of-a kind custom wall decals from your Photo! Still need convincing, free wall decals are available. See for yourself how Wallmonkeys features stack up. Our removable, reusable, self-adhesive wall decals will stick virtually anywhere and can be repositioned up to 100 times. And best of all, these affordable wall decals are made right here in the USA.

Five discs gather the first eight movies in the Friday the 13th series, plus a batch of behind-the-scenes featurettes. You can track the rise, fall, and endless resurrections of Jason Voorhees, from the original 1980 film to Jason's self-kidding trip to the Big Apple. Horror fans eat up packages such as this, but there's something odd about the deluxe treatment for a series that spotlighted atrocious acting, pitiful production values, and inane storytelling. You'll spot a few future "name" actors in various installments: Kevin Bacon is morbidly dispatched in the first one. But in general, the dominant focus is how to kill horny teenagers, most of whom have gathered at Camp Crystal Lake in the misguided belief that the curse of the impossible-to-kill Jason has worn off. The first movie has a certain raw, crummy ability to shock, Part 2 is a dismal retread, and Part 3 actually features interesting use of 3-D, which doesn't translate to its flat DVD version. The fourth is boldly subtitled The Final Chapter, and we all know where that went, but it does have Crispin Glover doing a funky dance. A New Beginning and Jason Lives continue Jason's bad mood, maybe because the hockey mask doesn't fit right. The seventh chapter, The New Blood, stakes Jason against a worthy opponent (Crystal Lake's answer to telekinetic Carrie), but the result is the same. Part 8's subtitle, Jason Takes Manhattan, is wittier than the movie itself, as Jason menaces an unlucky cruise ship of high-schoolers bound for New York--where Mr. J fits right in. Some of the films come with commentaries from directors or cast members, including heralded Jason performer Kane Hodder. Brief documentaries (ranging from five to 15 minutes) cover separate installments with amusing anecdotes, including interviews with Sean S. Cunningham, Tom Savini, and various actors. In another doc, actors speak of the fraternity of young actors who've been slaughtered by Jason over the years. A deleted-scenes section is skimpy and not very interesting, while the tricks of special-effects gore merit a film to themselves. It's a customer-savvy DVD box, even if the effect of watching a bunch of this stuff together is a little dispiriting. --Robert Horton

THIS SET INCLUDES THE FIRST 8 FILMS ON 4 DISCS. THE 5TH DISCCONTAINS 10 HOURS OF BONUS FOOTAGE. **DOES NOT INCLUDE JASON GOES TO HELL OR JASON X**

Avant-garde cinema remains unseen for all sorts of reasons. Because it's rare. Because it's elusive. Because the mainstream distribution and exhibition apparatus is not designed to serve it (and, arguably, to a large extent is designed to suppress and deny it). Because people--that vast army of us proud to be unpretentious "regular moviegoers"--basically don't want to see it, fearing that it's esoteric and challenging and probably boring. These are excellent--which is to say, very real--reasons. Except that, as of autumn 2005, they're obsolete. All but the personal-resistance part, anyway. Now, thanks to Anthology Film Archives, curator Bruce Posner, and the cooperation of the world's foremost film museums, anybody with a DVD player can make the acquaintance of 20some hours of definitive avant-garde film experiences through this often dazzling seven-disc set. And whaddaya know: a lot of "unseen cinema" turns out to be fascinating, thrilling, spectrally beautiful, tantalizingly mysterious--in a word, eye-opening, to both the art of film and the world we all share. Moreover, it's not all precious, artist(or would-be artist)-in-a-garret stuff. Some of it has glimmered on regular movie screens, from nickelodeon days through the golden age of Hollywood, doing its avant-garde thing (often without knowing it's avant-garde) as one- and two-reel narratives or astonishing sequences in commercial Hollywood pictures. A 1910 D.W. Griffith two-reeler that compresses several decades (including the Civil War) into 16 minutes. Prologue and transitional montages that goosed up pedestrian feature films with lunges into jagged surrealism and abstraction. The erotically crazed, visually dynamic, sometimes nightmarish phantasmagoria that are Busby Berkeley's "By a Waterfall" and "Lullaby of Broadway." In Posner's own words: "American experimental film has existed since the technological inception of cinema ... The background against which the experimentalists toiled provides a fascinating review of Americana coupled with numerous cross-currents ... and an unfailing desire to create on film an image that can be viewed as an independent and provocative art.... The goal [of this set] is to present the broadest possible spectrum of experimental films produced between the 1890s and 1940s." Each of the seven discs is organized around a central theme, and which one you first reach for will be determined by individual curiosity and susceptibility. The Devil's Plaything: American Surrealism steps off with Edwin S. Porter's 1902 Jack and the Beanstalk, its visionary transformations of settings and now-you-see-'em, now-you-don't appearances and disappearances of cast members the more remarkable for having been entirely achieved in the shooting, without postproduction optical trickery. Griffith's cameraman-to-be Billy Bitzer sends time scurrying dreamily backwards in Impossible Convicts (1905), while such classic 1920s experiments as The Fall of the House of Usher and The Telltale Heart seek to meet Edgar Allan Poe halfway by portraying distorted/demented worlds via stylized lighting and decor. The ambitious Robert Florey, whose feature-directing career would be almost entirely confined to the B zone, collaborates with montage maestro Slavko Vorkapich on The Life and Death of 9413--A Hollywood Extra and with premier production designer William Cameron Menzies on The Love of Zero. Inverted Narratives: New Directions in Storytelling includes Suspense, a 1913 two-reeler by Lois Weber that emulates and occasionally tops her august contemporary, D.W. Griffith; the adventurous selection of camera angles and big, then still-bigger closeups continue to amaze. Charles Vidor's The Bridge, a 1929 rendering of the Ambrose Bierce story "An Occurrence at Owl Creek Bridge," is starker than but not inferior to the more poetic French version that won an Oscar in the 1960s. Josef Berne's Black Dawn, aka Dawn After Dawn, weaves a Gothic spell with its account of love and death on an isolated farm, including a startling passage of sunstruck eroticism. And twelve minutes of Leo Hurwitz and Paul Strand's agitprop, allegorical docudrama of American corporate fascism Native Land, narrated by Paul Robeson, inspires an urgent wish to see the entire film. Light Rhythms: Music and Abstraction moves from surrealist milestones such as Man Ray's Le Retour à la raison, Fernand Léger's Ballet mécanique, and Rose Sélavy's Anémic cinéma (an anagram many times over) to never-seen full-length versions of montages created by Slavko Vorkapich for such films as Crime Without Passion and The Firefly. Vorkapich's mesmerizing nature poem Moods of the Sea, set to Mendelssohn's Fingal's Cave, is among the most relentlessly stunning passages on celluloid. An ecstatically extended bal sequence from Ernst Lubitsch's So This Is Paris inspires, again, a craving to see that unavailable 1926 feature film, while George L.K. Morris' Abstract Movies is an encyclopedic and hilarious amateur re-creation of fond cliches and tropes of generic filmmaking. Still, if one had to pick a single DVD to luxuriate in (and one can: it's the only disc available separately), it would have to be Picturing a Metropolis: New York City Unveiled. The Blizzard, a Gotham panorama grabbed by an unknown cameraman standing outside the Mutoscope film company office one day in 1898, is one of the most enchanting moments you'll ever experience on film, with an urban crowd sharing the bemusement of a winter day slipping into evening, and the fairy-tale vastness of a nearby park softened by falling snow: an absentminded documentary record become sheer poetry. Bitzer's Interior New York Subway, 14th Street to 42nd Street, an unbroken take from the front of an onrushing train (with supplementary illumination supplied by lights mounted on another train on a parallel track!), was shot in 1905, though the itinerary looks exactly the same today; only the crowds have changed. (One comical, endearing touch: a mother and her children, caught in passing at Grand Central, stop in their bustling journey to stare at the camera.) The 1901 Demolishing and Building Up the Star Theatre uses time-lapse photography to chronicle the taking down, and then to imaginatively ordain the resurrection, of an urban show palace. And Robert Flaherty's 24 Dollar Island (c. 1926) is so razor-sharp and judiciously observed that it remains the definitive portrait of Manhattan on film--truly a portrait of the city itself as a living, dynamic space, with scarcely any intrusion of humankind to distract us from the place, its light and shapes and rhythms. There's additional, virtually prehistoric contemplation of urban spaces--including the 1900 Paris Exposition and the Eiffel Tower--in The Mechanized Eye: Experiments in Technique and Form. The Amateur as Auteur: Discovering Paradise in Pictures celebrates the intentional and inadvertent sublimities of home movies. And Viva la Dance: The Beginnings of Ciné-Dance collects everything from the various Annabelle Dances of 1894-97 through Mexican footage shot for Sergei Eisenstein's Que viva México to one more bravura sequence by Busby Berkeley (from Wonder Bar) and the avowedly avant-garde Tarantella and Spook Sport by Mary Ellen Bute in 1940. It cannot be overstated that much of this footage is beautifully preserved, whether transferred from paper prints or exhumed from still-luminous nitrate footage cached in a European archive. And the brief headnotes by such authoritative commentators as Jan-Christian Horak, David Shepard, Kevin Brownlow, and Bruce Posner himself are marvels of lucidity and concision, supplying just the right context--in a mere 50 words or so--to enable the uninitiated viewer to appreciate the film he or she is about to witness. Unseen Cinema is not just (just!) an awesome collection of film landmarks--it's a landmark achievement in its own right. --Richard T. Jameson

7 DVDs - 20 Hours - 155 Classics of Avant Garde Cinema! "Unseen Cinema: Early American Avant-Garde Film 1894-1941" reveals hitherto unknown accomplishments of American filmmakers working in the United States and abroad from the invention of cinema until World War II, and offers an innovative and often controversial view of experimental film as a product of avant-garde artists, of professional directors, and of amateur movie-makers working collectively and as individuals at all levels of film production. Many of the films have not been available since their creation, some have never been screened in public, and almost all have been unavailable in copies as good as these until now. Sixty of the world's leading film archive collections cooperated with Anthology Film Archives to bring this long-neglected period of film history back to life for modern audiences.

What can be more enjoyable then a meal among friends and family? In Luis Buñuel's surrealistic comedy The Discreet Charm Of The Bourgeoisie it is this common ritual a sextet of upper-class friends repeatedly attempt, only to be obstructed by one obscure event after another. Masterfully balancing the dichotomy of class vs. debauchery Buñuel delivers a ripping critique of the upper class. It is clear from the beginning that the lives Buñuel's Bourgeoisie are living are not what they seem. Eventually, their true colors begin to shine; not in actual actions but in haunting dreams. What is real and what lies in the subconscious becoming exceedingly blurry and in order to deliver his message, surrealism must take over. It is hard to pigeonhole Buñuel's classic that won him the Oscar for Best Foreign Language Film 1972: An absurd odyssey? A discreet satire? Not necessarily, but definitely charming. --Rob Bracco

Studio: Image Entertainment Release Date: 12/19/2000 Run time: 101 minutes

These napkins set the mood for a feisty party. Covered in leopard spots, they add dramatic flair to any evening. These napkins handsomely coordinate with other pieces in the Leopard collection or stand boldly on their own. Why use plain napkins, when you can complement the atmosphere of any moment?

Perfect for adding sophistication to any occasion, these guest napkins are absolutely delightful. The bold fleur-de-lis is stunning, adding an air of regality and poise to any moment. The Fleur-de-Lis Guest Napkins are strong and elegant, worthy of someone as charming as they are.