About this product: By The Yard Country Road Patch Quilt Cotton Fabric. Warren Kimble for Quilting Treasures celebrates 50 years of fine art! Enjoy this folk art ensemble of pastoral scenes where barn houses dot the rolling hills and animals greet each other. This collection is ideal for decorating your home or for those country-themed quilts that bring the feeling of home to you. Fabric measures approx. 36" x 44". Fabric is 100% cotton. We have more Country Road prints in other colors available!
About this product: Chefs With Wine I by Shari Warren Image Size 8"x10" Paper Size 8"x10" Fine Art Reproduction on High Quality Art Paper. Retails for $5.00 or more.
About this product: Chefs With Wine II by Shari Warren Image Size 8"x10" Paper Size 8"x10" Fine Art Reproduction on High Quality Art Paper. Retails for $5.00 or more.
About this product: According to a Hollywood tradition that stretches all the way back to From Here to Eternity, there's never been anything quite so romantic as the idyllic days and hours before torpedo and dive bombers from the Japanese Imperial Navy blew the bejesus out of the unsuspecting U.S. fleet anchored at Pearl Harbor. Far be it for producer Jerry Bruckheimer and director Michael Bay to, er, rock the boat. Just as Bruckheimer and Bay did with Armageddon (where romance blossomed in the idyllic days and hours before a Texas-sized asteroid threatened to blow the bejesus out of Earth itself), they've again turned to über-hitmaker Diane Warren to set the tone; as sung by Faith Hill, "There You'll Be" strikes the perfect balance of apocalyptic bathos, as instantly inviting--and ultimately hollow--as an 89-cent chocolate bunny. Composer Hans Zimmer fares a bit better, though his piano dirge and orchestral score occasionally get mired in the syrup as they build toward the inevitable. The action sequences themselves are somewhat subdued (especially by previous Zimmer standards), with "December 7th" even echoing Platoon and Barber's Adagio for Strings. Crucially, Zimmer evokes the tragic loss that goes hand in hand with heroism, often no mean feat in a modern computer-effects-laden, megabudget blockbuster-in-waiting. --Jerry McCulley
About this product: Someone get Amy Adams on the Broadway stage, stat! She may not have the huge pipes that are supposed to be necessary for singers nowadays, but based on her sweet performance of three songs on this soundtrack, she gets a tune. Leaving aside High School Musical-style contemporary pop, Disney returns to its sources here, with a fairy tale set to a traditional-minded score by Alan Menken (The Little Mermaid, Beauty and the Beast, etc.). The first three songs are loving, well-crafted homages to Disney classics, such as Cinderella and Snow White; tellingly, the lovely "Happy Working Song" (with lyrics by Stephen "Wicked" Schwartz) sounds like it could have been lifted from any number of Disney movies--and that's meant as a compliment. Carrie Underwood brings us back into the 21st century with the single "Ever Ever After", which in comparison feels a bit more anonymous. Menken also supplies several instrumental cues, often reprising themes alluded to in the songs, and James Marsden wraps things up with a hilariously straight-faced version of "That's Amore." --Elisabeth Vincentelli
About this product: On the evidence of this 22-track career overview, it's tempting to call Warren Zevon's oeuvre a monument of pop-music dichotomy. But that assessment would sorely shortchange Zevon's vast catalog of contradictions: the sentimental songwriter ("Hasten Down the Wind") with a nihilistic heart of darkness who makes the likes of Jello Biafra seem more like Raffi by comparison; the shrewd, successful tunesmith nonetheless laboring in service of vintage psycho-whack like "Roland the Headless Thompson Gunner," "Excitable Boy," and "Werewolves of London"; a man who consorted with Jackson Browne, Linda Ronstadt, and R.E.M. ("Boom Boom Mancini") and yet who still cheated the devil of his soul; a satirist with the keen eye of a marksman--or Randy Newman, for that matter--who somehow let his own demise get the jump on him, despite having written prescient jollities like "Mr. Bad Example" and Life'll Kill Ya. In short, Zevon walked it like he talked it, peril be damned. If he felt like turning in a straight-up take of the R&B chestnut "A Certain Girl," or lumbering inexplicably through Prince's "Raspberry Beret," only then to turn on a dime and indulge his classical pretenses on "Mutineer" and "Genius," so be it. Zevon just couldn't help himself from living up to this album's modest title. --Jerry McCulley
About this product: At the time of its release in 1987, this Elaine May production was bandied about as one of the worst films of the decade. It was nominated for three Razzie Awards that year--Worst Picture, Screenplay, Direction--but it still was not the nadir detractors claimed it to be. (Remember, that was the year Norman Mailer's self-indulgence spilled all over the screen in Tough Guys Don't Dance.) If this comedy had been made by unknowns, it would have simply faded into the obscurity it deserves. The fuss came about because May squandered much talent and a ridiculously large budget, rumored to exceed $40 million, returning less than half of that in ticket sales. Two artistically challenged lounge musicians (Warren Beatty and Dustin Hoffman) are jettisoned out of the States by their agent, who finds them a gig in Morocco. En route, they become pawns in an international power play between the CIA, the mythical emir of Ishtar, and upstarts hoping to overthrow the emir's regime. There are some humorous bits, such as when Hoffman and Beatty so badly perform their horrible ditties that audiences are left appalled. Most of the time however, we are the ones lulled into a near daze by a hokey script and boorish jokes about blind camels. If Abbott and Costello had made this flick, it might have worked. --Rochelle O'Gorman
About this product: A guilty, guilty pleasure, perhaps not one a left-wing feminist should be admitting to in public. Female boomers should recall yearly TV reruns of this Rodgers and Hammerstein production, featuring such delights as "Impossible" and "Do I Love You Because You're Beautiful?" It may appear a bit stark to younger viewers, but part of the charm of this 1964 network TV special, a remake of the live 1957 telecast originally built around Julie Andrews, is its utter simplicity. An extremely young Lesley Ann Warren and Stuart Damon (of General Hospital fame) are joined by Ginger Rogers, Walter Pidgeon, and Celeste Holm. Warren is all sweetness and innocence without a hint of saccharine artificiality, while Damon is a clear-eyed romantic. This very handsome love story is a bit of an oddity, but worth owning just for the memorable score. --Rochelle O'Gorman
About this product: Not half-bad, this lightly engaging, potboiler romance concerns an ice skater (Lynn-Holly Johnson) who loses her vision in an accident but goes on to excel on the ice with the support of the guy (Robby Benson) who loves her. When she takes up with some rich schmuck, however, intertwining problems in her work and in love throw a shadow over everything. Nice performances, nice skating--the whole thing is a pleasant distraction. --Tom Keogh
First invented in France in 1827, a LITHOPHANE ("Vision In Stone") is a porcelain engraving that virtually comes alive when illuminated from behind. The image is created by a panel of different thicknesses of translucent, kiln-fired porcelain. A breathtakingly detailed picture in warm sepia tones emarge when lit. These illuminated artworks are so detailed, that they are sometimes mistaken for photographs. THE DARK AREA AT THE BASE OF THE LITHOPHANE IS JUST A SHADOW IN THE PICTURE. IT DOES NOT SHOW WHEN BEING USED. We have Lithophanes in many products but the most popular Lithophane product is the plug-in Night Light. Our Night Lights are the perfect gift; reasonably priced & nicely gift boxed, including a history of the process and care literature. We have many designs available as night lights, in a variety of themes. Our exclusive clip mounting allows our Night Lights to be plugged into any electrical outlet, including outlets that are upside down.or if installed sideways be sure and tell us as it will require a flat panel. Most of our Night Lights are 3.5" wide by 4.5" tall.
LAWN & PATIO
