Happy Puppy Vintage Computers

The Cuisinart(tm) Griddler makes "multifunctional" an understatement! Make perfect panini... plus! With four separate cooking options, it can handle everything from pancakes to sausages to grilled cheese to steaks, hamburgers and panini. It helps you prepare more servings of more kinds of food in less time, so you can cook for a crowd -- no one has to wait!Simply change the cooking plates and adjust the floating hinge to use the Griddler as a Contact Grill, a Panini Press, or your choice of an extra-large double Open Grill or Griddle.

Here's the perfect way to store and organize your K-cups and have them ready whenever you're ready fo a delicious, hot beverage. This counter piece features a lazy-susan base for simple rotation and the black and grey design suits most kitchen styles. The Keurig 5071 K-Cup Carousel Tower is a perfect accessory for owners of Keurig K-Cup coffee machines. Coffee K-Cups are not included in the tower.

The Waste King Legend 2600 1/2-Horsepower Disposer showcases a powerful motor, stainless steel grinding components, superior sound insulation, and a corrosion-proof grinding chamber for efficient, quiet, no-fuss waste disposal. Once installed, this continuous-feed waste disposer will more than earn its place in your kitchen. The Legend 2600 1/2-Horsepower Disposer At a Glance:2,600 RPM permanent magnet motorStainless steel swivel impellers reduce jammingSplash guard is removable and easy to cleanSound insulated to reduce noise5-year mechanical warranty; lifetime corrosion warrantyThe Legend 2600 offers more power per pound than the competition. View larger.Experience a More Powerful Grind Featuring an energy-efficient, high-speed, 2,600 RPM 'Vortex' permanent magnet motor, the Legend 2600 offers more power per pound than comparative disposers. This 0.5-horsepower motor will grind tough foods, and it requires 115 volts, 60 Hertz, and 4.5 current-amps to operate.Jam-Free, Mess-Free FeedsThe Legend 2600 is a continuous-feed disposer, which means you can add waste while the unit runs. Stainless steel swivel impellers reduce jamming, and an easily removable splash guard keeps things tidy. A front-mounted reset button allows for simple operation. Grinding Components Minimize Noise and WearBecause the Legend 2600's grinding chamber is made of glass-filled nylon, you will never have to worry about corrosion. Also, the stainless steel grinding components are insulated, so you'll get the quietest grind possible.Easy Installation; Works with Septic TanksThe Waste King Legend 2600 includes a fast-and-easy mount system, with all the necessary hardware for no-hassle installation. The disposer is safe for properly sized septic tanks and comes with a power cord.Five-Year In-Home Service WarrantyThe Waste King Legend 2600 is backed by a limited mechanical warranty. This means that if your disposer develops a material or mechanical defect within five years of purchase, it will be replaced in your home--free of charge. The disposer also comes with a lifetime warranty against corrosion.What's in the BoxThe Waste King Legend 2600 1/2-Horsepower Disposer, mounting hardware, and power cord.

Finish/Color Options:Silver Waste King Legend Series L-2600 1/2 HP Fast and Easy Mounting Stainless Steel Grinding Components Safe for Properly Sized Septic Tanks Vortex Powered Motor

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Six years in the making, Car Wheels somehow lives up to its lofty expectations because of Williams's direct songwriting and her wonderfully unaffected vocals. With assistance from cohorts such as Steve Earle, Williams uses the acoustic accents of Dobros, mandolins, slide guitars, and accordions to add color to her grooves, whispers, and rumbles. Her lyrics are undisguised as she presents to us the travelogue of her memory. We can't wait for 2004! --Marc Greilsamer

Lucinda Williams makes this whole music thing seem so simple: Write in plain language about the people and places that crowd your memory; add subtle flavors of a mandolin here, a Dobro there, perhaps an accordion or slide guitar; above all, sing as honestly and naturally as you can. Of course, it took her six years to achieve this simplicity, an amazing achievement considering the number of knobs that were turned. Her exquisite voice moans and groans and slips and slides--she delivers a polished tone in a coarse manner. On the superb "Concrete and Barbed Wire," soft acoustic guitars are punctuated by electric slide, accordion, mandolin, and Steve Earle's harmony. Williams's deeply personal stories are matched with bluesy rumbles, raunchy grooves, and plaintive whispers. The entire Deep South is reduced to a sleepy small town filled with ex-lovers, dive bars, and endless gravel roads. --Marc Greilsamer

This 1998 Grammy-winning release--Lucinda Williams's popular breakthrough--certainly merits the double-disc "deluxe edition" treatment. And it's hard to find significant fault with anything here: the remastered version of the original album, the second-disc live performance from that year featuring guitarists Kenny Vaughn and Bo Ramsey, and the smattering of outtakes (highlighted by a slower, sadder version of "Out of Touch" than the one Williams ended up releasing). Yet the set misses a glorious opportunity to document one of the more laborious (and notorious) recording projects, one that saw Williams switch cities, studios, and producers three times before she was satisfied with the results. And while the results confirm her judgment, fans would likely find it fascinating to hear a lot more takes from the original Austin sessions (featuring accordion master Flaco Jimenez and keyboardist Ian McLagan) or outtakes from the Nashville sessions with producer Steve Earle, before Williams overhauled the project in Los Angeles with Springsteen keyboardist Roy Bittan. Such a set could have put a revelatory spotlight on the creative process that resulted in an album widely regarded as Williams's masterpiece; instead, this release is more like souvenir snapshots. --Don McLeese

Our Seller Notes and Fine Print Department :.Very good shape, on CD

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Studio: Image/sphe Release Date: 02/21/2012 Run time: 407 minutes

Gentleman filmmaker Steven Soderbergh leads a pretty charmed professional life exploring themes, genres, and intensely personal subjects that capture his fancy any time the spirit moves him. Thanks largely to the huge success of the Ocean's series, he's earned A-list clout and pretty much carte blanche to follow the combination of whimsy or serious interest that has become his M.O. in alternating projects that are either for "them" (Hollywood capitalists) or strictly for him. Hot on the heels of Contagion, his deadly serious and terrifyingly authentic thriller from late 2011, Haywire is a different kind of exercise in genre and formal technique, but cut from the same Soderbergh cloth of enthusiasm and impeccable craftsmanship. Both movies also seem to bring together the for-me and for-them elements of his career, letting him follow a highbrow personal style while also creating terrific pieces of entertainment that are easily accessible to the wants of cinema sophisticates and lovers of thrills, action, and dramatic ingenuity alike. Haywire is certainly more fun than Contagion as an out-and-out action extravaganza, with a silly and largely superfluous plot thread wound around private covert intelligence operatives, the shadowy government entities that employ them, and the double-crosses that ensue when operations go wrong. Using a back-and-forth narrative structure that shifts time and scrambles events as they unfold, Haywire is primarily a showcase for Gina Carano, a superstar in the world of mixed martial arts. Carano makes her screen debut as Mallory Kane with understated hotness and a constant barrage of fighting stunt work that reduces almost every high-profile costar into a mass of broken bones. The series of operations she instigates or participates in take her on a stylishly globetrotting adventure to Spain, Ireland, New Mexico, rural New York State, and points in between. She stumbles into and wriggles out of danger everywhere she goes with aplomb, kicks, punches, strangulations, and gunshots that are spectacularly choreographed and do not rely on flash cuts or the kind of utterly confusing shifts in spatial relationships that mark most run-of-the-mill action sequences. Though the substance is largely beside the point--motivations and resolutions are not nearly as important as the polished, methodical, or frenzied bouts of kinetic energy--there is some semblance of comprehension conveyed in the spare script by Soderbergh's screenwriter collaborator Lem Dobbs. Carano is only able to strike a few notes in her acting ability between kicks, leg strangulations, and other acrobatic acts of violence. Fortunately the rest of the ensemble cast make the most of their supporting roles by lending winking humor and reliable nuance to parts that might otherwise seem like stock caricatures. Ewan McGregor is charmingly devious as the private black-ops chief who is Mallory's boss and also her ex-boyfriend. Michael Fassbender plays an MI6 agent who proves no match for Mallory's Special Forces training; ditto Channing Tatum, who also underestimates Mallory's prowess as a lover and a fighter. Antonio Banderas is a mysterious go-between who plays a crucial role in the fiasco that comes to be known simply as "Barcelona," and Michael Douglas stands tall as an exasperated government pencil pusher who resents yet can't operate without the help of private-sector security and intelligence operatives. In spite of her inexperience, Carano holds the screen with her smoldering charisma as Soderbergh pours on the tense or languorous action with wit and skill. Haywire may be a trifle in the continuing experimental career of Steven Soderbergh, but it is a delicious confection nonetheless. --Ted Fry

Directed by Steven Soderbergh, this action-packed thriller stars mixed martial arts icon Gina Carano as Mallory Kane, a black-ops agent working for a government security contractor. After she is double-crossed and left for dead, she puts her considerable fighting skills to the test in order to discover who set her up. Channing Tatum, Michael Fassbender, Ewan McGregor, Antonio Banderas, and Michael Douglas co-star. 93 min. Widescreen (Enhanced); Soundtrack: English Dolby Digital 5.1; Subtitles: English, Spanish; featurettes.

Gentleman filmmaker Steven Soderbergh leads a pretty charmed professional life exploring themes, genres, and intensely personal subjects that capture his fancy any time the spirit moves him. Thanks largely to the huge success of the Ocean's series, he's earned A-list clout and pretty much carte blanche to follow the combination of whimsy or serious interest that has become his M.O. in alternating projects that are either for "them" (Hollywood capitalists) or strictly for him. Hot on the heels of Contagion, his deadly serious and terrifyingly authentic thriller from late 2011, Haywire is a different kind of exercise in genre and formal technique, but cut from the same Soderbergh cloth of enthusiasm and impeccable craftsmanship. Both movies also seem to bring together the for-me and for-them elements of his career, letting him follow a highbrow personal style while also creating terrific pieces of entertainment that are easily accessible to the wants of cinema sophisticates and lovers of thrills, action, and dramatic ingenuity alike. Haywire is certainly more fun than Contagion as an out-and-out action extravaganza, with a silly and largely superfluous plot thread wound around private covert intelligence operatives, the shadowy government entities that employ them, and the double-crosses that ensue when operations go wrong. Using a back-and-forth narrative structure that shifts time and scrambles events as they unfold, Haywire is primarily a showcase for Gina Carano, a superstar in the world of mixed martial arts. Carano makes her screen debut as Mallory Kane with understated hotness and a constant barrage of fighting stunt work that reduces almost every high-profile costar into a mass of broken bones. The series of operations she instigates or participates in take her on a stylishly globetrotting adventure to Spain, Ireland, New Mexico, rural New York State, and points in between. She stumbles into and wriggles out of danger everywhere she goes with aplomb, kicks, punches, strangulations, and gunshots that are spectacularly choreographed and do not rely on flash cuts or the kind of utterly confusing shifts in spatial relationships that mark most run-of-the-mill action sequences. Though the substance is largely beside the point--motivations and resolutions are not nearly as important as the polished, methodical, or frenzied bouts of kinetic energy--there is some semblance of comprehension conveyed in the spare script by Soderbergh's screenwriter collaborator Lem Dobbs. Carano is only able to strike a few notes in her acting ability between kicks, leg strangulations, and other acrobatic acts of violence. Fortunately the rest of the ensemble cast make the most of their supporting roles by lending winking humor and reliable nuance to parts that might otherwise seem like stock caricatures. Ewan McGregor is charmingly devious as the private black-ops chief who is Mallory's boss and also her ex-boyfriend. Michael Fassbender plays an MI6 agent who proves no match for Mallory's Special Forces training; ditto Channing Tatum, who also underestimates Mallory's prowess as a lover and a fighter. Antonio Banderas is a mysterious go-between who plays a crucial role in the fiasco that comes to be known simply as "Barcelona," and Michael Douglas stands tall as an exasperated government pencil pusher who resents yet can't operate without the help of private-sector security and intelligence operatives. In spite of her inexperience, Carano holds the screen with her smoldering charisma as Soderbergh pours on the tense or languorous action with wit and skill. Haywire may be a trifle in the continuing experimental career of Steven Soderbergh, but it is a delicious confection nonetheless. --Ted Fry

Directed by Steven Soderbergh, this action-packed thriller stars mixed martial arts icon Gina Carano as Mallory Kane, a black-ops agent working for a government security contractor. After she is double-crossed and left for dead, she puts her considerable fighting skills to the test in order to discover who set her up. Channing Tatum, Michael Fassbender, Ewan McGregor, Antonio Banderas, and Michael Douglas co-star. 93 min. Widescreen; Soundtracks: English DTS HD 5.1 Master Audio, DTS HD 7.1 Master Audio; Subtitles: English (SDH); featurettes; theatrical trailers; bonus digital copy. Two-disc set.

Woodstream 0625 The Black Box Gopher Trap Woodstream 0625 The Black Box Gopher Trap, Features: Gopher trap Easy to use Easy to set Safer and non toxic No poisons and no gases

Why should you bother with a bulky interface, when all you want to do is plug a single microphone into your computer? With a Blue Icicle in your arsenal, you can turn any microphone into a totally streamlined, USB-ready recording device. Instead of lugging around some fancy rack and a bunch of outboard gear, just toss an Icicle and a mic in your laptop bag, and take your studio straight to the source to track vocal takes, guitar overlays, on-site interviews, sound effects, or whatever your little heart desires. It's even got 48V phantom power for those power-hungry condenser mics.

The Icicle is Blue's new stylish USB converter and mic preamp combo that allows you to connect any XLR microphone directly into your computer via USB. The Icicle features a studio quality microphone preamp, 48V phantom power, fully balanced low noise front end, analog gain control, and driverless operation. Connect any XLR microphone directly into your computer via USB. Click to enlarge. Use with dynamic and condenser mics thanks to 48V phantom power. Make Any Mic a USB Mic The Icicle works with both dynamic and condenser microphones, providing high quality and hassle-free connectivity with Mac or PC. Whether you're using a microphone for digital recording, podcasting, voice messaging, or voice recognition applications, the Icicle is the quick and easy way to get connected. Plug and Record Simply plug in the USB cable and your mic will be live--no special driver installation is required. Quality and Simplicity The Icicle features a built-in, studio-quality mic preamp, along with a fully balanced, low-noise analog front end to send a clear signal via USB. It also supplies 48V Phantom Power for condenser mics. On the control front, the Icicle keeps it simple, with a single analog volume level control. What's in the Box Blue Icicle, 6-foot USB Cable

The Schwinn Universal Tube for 16-inch wheels offers reliable construction for kid's bikes and strollers with 16-inch pneumatic wheels. The tube has a traditional Schrader valve for easy filling to a width of 1.75 to 2.125 inches. Lightweight and inexpensive, it's a good idea to keep an extra tube handy to protect against the risk of flats.

Schwinn Universal Tube (16-Inch x 1.75/2.125)