Happy Puppy Vintage Computers

Cuisinart Automatic Frozen Yogurt - Ice Cream and Sorbet Maker. The fully Automatic Cuisinart Frozen Yogurt - Ice Cream & Sorbet Maker lets you make your favorites in 20 minutes or less, with no fuss and no mess. Just add ingredients to the bowl, press ON and the machine does the rest. Features: New patent-pending mixing paddle makes frozen treats in 20 minutes or less Large capacity - makes up to 1 1/2 quarts Double-insulated freezer bowl eliminates the need for ice Easy-lock lid with large spout makes adding ingredients simple and mess free Dimensions: 10.8"L x 10.8"W x 15.8"H

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This is the one jazz record owned by people who don't listen to jazz, and with good reason. The band itself is extraordinary (proof of Miles Davis's masterful casting skills, if not of God's existence), listing John Coltrane and Julian "Cannonball" Adderley on saxophones, Bill Evans (or, on "Freddie Freeloader," Wynton Kelly) on piano, and the crack rhythm unit of Paul Chambers on bass and Jimmy Cobb on drums. Coltrane's astringency on tenor is counterpoised to Adderley's funky self on alto, with Davis moderating between them as Bill Evans conjures up a still lake of sound on which they walk. Meanwhile, the rhythm partnership of Cobb and Chambers is prepared to click off time until eternity. It was the key recording of what became modal jazz, a music free of the fixed harmonies and forms of pop songs. In Davis's men's hands it was a weightless music, but one that refused to fade into the background. In retrospect every note seems perfect, and each piece moves inexorably towards its destiny. --John Szwed

Who knew in 1959, when Miles Davis, John Coltrane, Cannonball Adderley, Bill Evans, Wynton Kelly, Paul Chambers, and Jimmy Cobb recorded a midtempo/ballad album built around scalar modes, that it would become the most popular jazz album of all time? Since its release, KOB's selections--the bluesy "So What," and "Freddie Freeloader," the waltz-like "All Blues," the dreamy "Blue in Green" and the Spanish tinged "Flamenco Sketches"--have become standards. The latest version of this classic LP is reissued in a new 2-sided DualDisc format, which includes an audio version, 5.1 multichannel surround sound, studio outtakes, and a photo gallery. It also includes "Made in Heaven: The Story of Kind of Blue," a documentary about the legendary recording, featuring a wide array of musicians and fans, from Ed Bradley of 60 Minutes and rapper Q-Tip, to Shirley Horn, and Cobb (sadly, KOB's last surviving musician). --Eugene Holley, Jr.

Our Seller's Notes and Fine Print :..From Columbia on CD..remaster..

There has never been a better showcase for improvisational rock than this 1971 concert recording, and few (if any) live rock albums are in its rank. With only two studio albums (and plenty of touring) under their belt, the Georgia sextet tore into the Fillmore East with road-tested buoyancy. Titanic guitarist Duane Allman was at the peak of his powers, pushing his foil, Dickey Betts, to unsurpassed peaks. Vocalist-keyboardist Gregg Allman would have been a star in any other setting; here he's merely one more component in a brilliant ensemble. Duane Allman died shortly after At Fillmore East shipped, and the Brothers haven't scaled such heights since. But, then, neither has anyone else. --Steven Stolder

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Despite an irritating, tacked-on voice-over narration that somebody must have thought was necessary to make sense of the story (it wasn't), Last of the Dogmen is actually a very moving and magical film. Tom Berenger plays a Montana bounty hunter who helps an anthropologist (Barbara Hershey) search for the descendants of a Cheyenne tribe who disappeared in the 1870s. What the two find in a remote mountain stretch is an entire community of Cheyenne who have kept themselves cut off from the modern world. A Dances with Wolves parallel emerges as the white outsiders gradually fit in, but Last of the Dogmen stands up just fine without comparison to any other films. As in Kevin Costner's Oscar-winning movie, however, there are ways in which this film captures a similar sense of yearning, mystery, and loss. --Tom Keogh

Modern bounty hunter Lewis Gates is hired to track down three dangerous fugitives who have escaped into the Montana wilderness. When the fugitives are found murdered, Gates has a mystery on his hands. Accompanied by anthropologist Lillian Sloane, Gates ventures further into the mountains and discovers an isolated settlement inhabited by a Native American tribe thought to have been wiped out by white settlers a century earlier. The two gradually begin to gain acceptance within the tribe, but when Gates' vengeful ex father-in-law, Sheriff Deegan, leads a posse into the mountains, Gates and Sloane must prevent the tribe from being massacred a second time. Written by Ronos

A Walt Disney Masterpiece Movie. The hunchback of Notre Dame is a movie enjoyed both by the young and old. In plastic protective case.

The misconception about this animated film from Disney was that it was a movie for kids--something Victor Hugo never had in mind. In fact, despite a cute brace of singing gargoyles who are Quasimodo's (Tom Hulce) best friends, this version of Hugo's classic tale is really adult entertainment, with a strong set of songs by Alan Menken. The story remains mostly the same (though tricked out with a happier ending than Hugo's): Quasimodo, the ward of repressive monk Frollo, falls for a gypsy girl named Esmerelda (Demi Moore)--though she loves one of the king's guards (Kevin Kline). But they are all put in jeopardy by the wicked Frollo, whose secret passion for Esmerelda leads him to seek her death. At times too dark and even a shade kinky, something that may scare younger viewers. --Marshall Fine

This 1988 animated feature from Don Bluth (An American Tail) focuses on an orphaned young dinosaur, Littlefoot, who has to make his way to the paradise of the Great Valley in order to survive a plague. Along the way, he meets up with some other dinos from different species, and they all bond and travel together. On the way, they have plenty of adventures. Even with elements of suspense, this is a pretty relaxed movie that isn't in a particular hurry to roll out its story. Kids will like the originality of the concept, and the themes of friendship and cooperation are well woven into the fabric of the entertainment, plus the music is great. Bluth's artwork looks good, though--as always--he never seems to quite catch up with the quality of the Disney machine. --Tom Keogh

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Danny DeVito's adaptation of the Roald Dahl book for children is mostly just fine, helped along quite a bit by the charming performance of Mara Wilson (Mrs. Doubtfire) as young Matilda, a brilliant girl neglected by her stupid, self-involved parents (DeVito and Rhea Perlman). Ignored at home, Matilda escapes into a world of reading, exercising her mind so much she develops telekinetic powers. Good thing, too: sent off to a school headed by a cruel principal, Matilda needs all the help she can get. DeVito takes a highly stylized approach that is sometimes reminiscent of Barry Sonnenfeld (director of Get Shorty, a DeVito production), and his judgment is not the best in some matters, such as letting the comic-scary sequences involving the principal go on too long. But much of the film is delightful and funny. --Tom Keogh

Features include: •MPAA Rating: PG•Format: DVD•Runtime: 102 minutes

Friends' peerless writing staff really spreads the wealth in this pivotal third season. Each of this seamless ensemble's cast members was given a story arc that deepened and enriched their characters. Most devastatingly, Ross (David Schwimmer) and Rachel's (freshly minted Emmy-winner Jennifer Aniston) romance is torn asunder by Ross's jealousy (not to mention his one-night stand while the couple are, now famously, "on a break"). Phoebe (Lisa Kudrow) is reunited with her half brother (Giovanni Ribisi) and meets a family friend (Terri Garr; inspired casting) who drops a Darth Vader-esque bombshell about Phoebe's parentage. Monica (Courtney Cox) begins the season reeling from her breakup with Richard (Tom Selleck, who reappears in "The One Where Monica and Richard Are Friends"), but rebounds with Pete (Jon Favreau from Swingers), a millionaire ("He's the perfect guy," she states. "He has everything. Plus he actually has everything"). Chandler is driven to increasingly hysterical attempts to "go through the tunnel" and commit to his relationship with Janice (Maggie Wheeler). And womanizer Joey (Matt LeBlanc) reveals his soulful side when he falls for an initially contemptuous theatrical costar. Also lending memorable support are Alison LaPlaca, as Rachel's self-absorbed new boss, and an Emmy-worthy Ben Stiller ("The One with the Screamer") as Rachel's new boyfriend whose volcanic temper only erupts in front of Ross. Friends continues its hit-and-miss history with A-list cameos. Robin Williams and Billy Crystal ("The One with the Ultimate Fighting Champion") are about as funny as the woeful film they were hyping, Fathers' Day. More memorable is Isabella Rossellini ("The One with Frank Jr."), whom the hapless Ross meets just after crossing her off his "freebie list" of celebrities Rachel would allow him to sleep with. Other classic episodes include the season-opener, "The One with the Princess Leia Fantasy" and "The One with the Flashback," which offers some provocative near-couplings between Monica and Joey, Ross and Phoebe, and Chandler and Rachel. Add a chick and a duck ("The One with a Chick, and a Duck"), and you have a benchmark season in this irreplaceable series. But still: You'd think a million dollars an episode would buy some DVD cast commentary! --Donald Liebenson

All 25 episodes from season three--including "The One with the Princess Leia Fantasy," "The One with the Giant Poking Device," "The One Where Ross and Rachel Take a Break," "The One with the Chick and the Duck" and "The One at the Beach"--have been collected, uncut and with never-before-seen footage, in a four-disc set. 9 3/4 hrs. total. Standard; Soundtrack: English Dolby Digital 5.0; Subtitles: English, French, Spanish; audio commentary on selected episodes; featurettes; trivia; DVD-ROM content; more. **25 episodes on 4 discs. 9 3/4 hrs.**

It's not easy being green, learns Doc Bruce Banner (Eric Bana) in this soaring, complex adaptation of the Marvel comic from director Ang Lee. Carrying an altered DNA structure thanks to experiments his deranged scientist dad (Nick Nolte) performed years earlier, a lab mishap involving gamma rays turns Banner into an emerald-skinned monstrosity whose immense strength is fueled by his inner anger. With both the military and his father after him, Banner seeks help from his colleague/ex-girlfriend (Jennifer Connelly) as he tries to find a cure. With Sam Elliott, Josh Lucas. 138 min. Widescreen; Soundtracks: English Dolby Digital 5.1, French Dolby Digital 5.1, Spanish Dolby Digital 5.1; Subtitles: French, Spanish; audio commentary by Lee; deleted scenes; featurettes; "making of" documentary; more. Two-disc set.

When the Hulk gets angry, his movie gets good, so you wish he'd get angry more often. Accepting this challenge after the triumphant Crouching Tiger, Hidden Dragon, director Ang Lee has created an ambitious film, based on the Marvel comic created by Stan Lee and Jack Kirby, that succeeds as a cautionary tale about mad science and traumatized children coping with legacies of pain. That's the Hulk's problem: After accidental exposure to gamma radiation, scientist Bruce Banner (Eric Bana) turns into the huge, green, and indestructible Hulk when provoked, and repressed childhood memories fuel his fury. Hobbled by the obligatory "origin story" (to acquaint neophytes with the character's Jekyll-and-Hyde-ish fate), there's room for little else in a sluggish film that struggles to reconcile Lee's stylistic flair (evident in his visual interpretation of comic-book technique) with the razzle-dazzle of a megabudget franchise. What's good is good (Jennifer Connelly essentially echoes her role from A Beautiful Mind, and Nick Nolte is righteously tormented as Banner's father), but the movie's schizoid intentions remain largely unclear. --Jeff Shannon

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