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Ceramic Mug ~ Coffee Cup ~ Marvel ~ Ladies Night ~ 14 oz.

Officially licensesd Magnetic Memo Clip. Memo Magnet measures approximately 1.5" x 2" x 1"

Proving yet again their willingness to dice 'n' slice their burgeoning legacy into new--if not exactly fresh--product, the Fab Four Minus One have released this single-disc compendium of their No. 1 hits. Though obviously superfluous to the faithful (who may also find themselves quibbling over the precise definition of "No. 1 hit" and the exclusion of seeming contenders like "Please Please Me" and "Strawberry Fields"), newly arrived visitors from the Pleiades star cluster and other neophytes will find it a concise and generous (nearly 80 minutes) single-disc introduction to the band's career-spanning, unparalleled dominance of pop music in the 1960s. But beyond being a mere trophy case of commercial success (and it won't be hard to find critics who'll argue that these singles aren't even the band's best work), it's also a Cliff's Notes take on a remarkable seven-year run of musical evolution, one that stretches from the neo-skiffle of "Love Me Do" through a remarkable synthesis of R&B, rockabilly, Tin Pan Alley, gospel, country, and classical that still defies efforts to effectively deconstruct it. This is the pop monument equivalent of the '27 Yankees and '90s Bulls; it's every bit as obvious and dominating--and just as essential. --Jerry McCulley

BEATLES THE ONE

D'Angelo is obviously inspired by the progressive soul of the early '70s, but he has also borrowed carefully from the hip-hop of his own generation. Like many of his contemporaries, he has recorded a tribute to marijuana--the album's title--but it's far wittier than most. It takes the form of a conventional love song ("Brown sugar babe, I gets high off your love ... that's why my eyes are a shade blood burgundy") and mimics intoxication in its throbbing bass lines and reverb-heavy organ. Another song, with a title too profane to print, is a blunt tale of infidelity and murder, but in contrast to most rap fantasies, D'Angelo's blues-like narrative acknowledges such acts have serious consequences. Best of all is the Prince-like "Higher," which combines the spiritual love of God and the carnal love of a woman into one dizzying, organ-fueled hymn. D'Angelo is still rather clumsy with lyrics, and he leans too heavily on ballads over dance numbers, but he has enough talent to grow in any of several directions. It will be an exciting story to follow and one would be foolish to miss the first chapter. --Geoffrey Himes

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Recorded live in 1973, Rock N Roll Animal is Reed's glam-rock sneer back at his Velvet Underground legacy. Four tracks are VU classics (two about the redemptive power of rock, two about the transformative power of dope) dressed up into slick, flashy twin-guitar noodle-fests, with big riffs and showboating solos and Reed practically phoning in his vocals. It was something of a hit at the time, and it's easy to hear how the simple forcefulness of these songs sounded good on early-1970s radio. But Reed doesn't bother to conceal his contempt for the commercial trappings he's put on his songs--"Heroin," in particular, turns from savage ambivalence into an easy cartoon--and the album's hard to like now. Two previously unissued tracks from 1973's Berlin-"How Do You Think It Feels" and "Caroline Says I"-flesh out this reissue version of the original LP. --Douglas Wolk

Readers of John Berendt's bestselling novel were bound to be at least somewhat disappointed by this big-screen adaptation, but despite mixed reaction from critics and audiences, there's still plenty to admire about director Clint Eastwood's take on the material. Readers will surely miss the rich atmosphere and societal detail that Berendt brought to his "Savannah story," and the movie can only scratch the surface of Georgian history, tradition, and wealthy decadence underlying Berendt's fact-based murder mystery. Still, Eastwood maintains an assured focus on the wonderful eccentrics of Savannah, most notably a gay Savannah antiques dealer (superbly played by Kevin Spacey), who may or may not have killed his friend and alleged lover (Jude Law). John Cusack plays the Town & Country journalist who arrives in Savannah to find much more than he bargained for--including the city's legendary drag queen Lady Chablis (playing "herself")--and John Lee Hancock's smoothly adapted screenplay succeeds in bringing Berendt's characters vividly to life with plenty of flavorful dialogue. --Jeff Shannon

Product Details Actors: John Cusack, Kevin Spacey, Jack Thompson, Irma P. Hall, Jude Law Directors: Clint Eastwood Writers: John Berendt, John Lee Hancock Producers: Clint Eastwood, Anita Zuckerman, Arnold Stiefel, Michael Maurer, Tom Rooker Format: Closed-captioned, Color, Dolby, NTSC Language: English, French Rated: R (Restricted) Number of tapes: 1 Studio: Warner Home Video VHS Release Date: October 13, 1998 Run Time: 155 minutes

Readers of John Berendt's bestselling novel were bound to be at least somewhat disappointed by this big-screen adaptation, but despite mixed reaction from critics and audiences, there's still plenty to admire about director Clint Eastwood's take on the material. Readers will surely miss the rich atmosphere and societal detail that Berendt brought to his "Savannah story," and the movie can only scratch the surface of Georgian history, tradition, and wealthy decadence underlying Berendt's fact-based murder mystery. Still, Eastwood maintains an assured focus on the wonderful eccentrics of Savannah, most notably a gay Savannah antiques dealer (superbly played by Kevin Spacey), who may or may not have killed his friend and alleged lover (Jude Law). John Cusack plays the Town & Country journalist who arrives in Savannah to find much more than he bargained for--including the city's legendary drag queen Lady Chablis (playing "herself")--and John Lee Hancock's smoothly adapted screenplay succeeds in bringing Berendt's characters vividly to life with plenty of flavorful dialogue. --Jeff Shannon

We've taken the basic scrub top and added design touches that professionals will truly appreciate. The jewel-neck cut will accentuate any outfit. Includes snap-front closure and two large pockets, one with a scissors holder. Made of our highly durable 50% polyester/50% cotton AngelStat fabric.*Select Styles available in 4XL and 5XL. Additional cost for size 2XL and larger.

We've taken the basic scrub top and added design touches that professionals will truly appreciate. The jewel-neck cut will accentuate any outfit. Includes snap-front closure and two large pockets, one with a scissors holder. Made of our highly durable 50% polyester/50% cotton AngelStat fabric.*Select Styles available in 4XL and 5XL. Additional cost for size 2XL and larger.

We've taken the basic scrub top and added design touches that professionals will truly appreciate. The jewel-neck cut will accentuate any outfit. Includes snap-front closure and two large pockets, one with a scissors holder. Made of our highly durable 50% polyester/50% cotton AngelStat fabric.*Select Styles available in 4XL and 5XL. Additional cost for size 2XL and larger.

Standing in the Shadows of Motown is a must-see film for any fan of the Supremes, the Temptations, Marvin Gaye, or any other classic Motown stars. This swinging documentary celebrates the Funk Brothers--the team of studio musicians who powered dozens and dozens of hit Motown songs--by combining reminiscences, reenactments, and clips from a recent concert put on by the Funk Brothers, featuring singers like Chaka Khan, Ben Harper, and Joan Osborne on classic tunes like "What's Going On," "Ain't Too Proud to Beg," and "Heatwave." This crafty gang of elderly musicians will charm your pants off with a slew of entertaining anecdotes. Though it seems that there's a lot of dirt they're declining to dish, the movie deftly outlines the history of Motown, surely the most significant music label in American history--the label that turned segregated "race music" into chart-topping success. A soulful delight. --Bret Fetzer

Fourteen years in the making this film is based upon a book of the same title that won the 1989 Rolling Stone / BMl "Ralph J. Gleason Music Book Award" STANDING IN THE SHADOWS OF MOTOWN was shot in 35mm film on location in Detroit and elsewhere. This one hour and forty-eight minute documentary and performance film tells the Funk Brothers' saga through archival footage and still photos narration interviews re-creation scenes 20 Motown master tracks and twelve new live performances of Motown classics with the Funk Brothers backing up Chaka Khan Ben Harper Bootsy Collins Montell Jordan Meshell Ndegeocello Joan Osborne and Gerald Levert.Format: DVD MOVIE Genre: DOCUMENTARIES/MISC. Rating:  UPC: 012236137801 Manufacturer No: 13780