About this product: BeaterBlade continuously scrapes, mixes, beats & folds ingredients for Cuisinart, Viking, and DeLonghi 7-qt. Stand Mixers. Virtually eliminates hand scraping and batter build-up on the beater or bowl. Ingredients are thoroughly incorporated ensuring foolproof mixing and baking preparation. BeaterBlade can also be used for mashed potatoes, compound butters, meatloaf, pie fillings, gum paste and more!Patented BeaterBlade ???wing-system??? design acts like a wiper blade that continuously scrapes sides and bottom of bowl while it mixes. Cuts mixing time by as much as 50%. Perfect for cakes, cookies, frostings, quick breads & much more. BeaterBlade is not recommended for bread dough, ultra thick cookie dough and some frozen foods. If the batter becomes too thick, revert to your traditional flat beater.
About this product: This 2-component, low odor, solvent free, clear casting epoxy is ideal for casting small decorative items like knobs, pulls and jewelry. Just mix and pour. For unique colors and textures add Opaque Pigments, Transparent Dyes or Faux Granite Powders.
About this product: The Amaco Polymer Clay & Craft oven is designed specifically for baking polymer clays and other projects. It has a maximum temperature of 300 degrees, and a 30 minute timer that prevents over baking.
About this product: The cynic may question just how many Beach Boys greatest hits albums are enough. Everyone else, however, will appreciate what makes Sounds of Summer unique. This is the first single-disc collection to feature such a large cross section of hits from the group's entire career, spanning 1962's "Surfin' Safari" through 1988's "Kokomo." All 30 tracks, spanning several label changes, were Billboard Top 40 hits and are probably now as identifiable as the national anthem to anyone with radio or TV access. The fact that the tracks aren't in chronological order helps make for a fresh listening experience, as does the crisp digital sound. And yet these songs--even those that are more than four decades old--always sound strangely fresh and will likely remain so as long as there are beaches, young people, and that symbolic season of freedom and dreams. Which is to say that the title here passes the "truth in advertising" test. Perfect for those casual fans not yet ready to spring for the individual albums, Sounds of Summer is in many ways a better representation of this legendary band's art than Elvis' 30 No. 1 Hits and The Beatles 1 were of the King and the Fab Four. --Bill Holdship
About this product: Souping up the classics with whatever contemporary music pulse is current at the moment has a long history. Some artists, like Emerson, Lake and Palmer, aspired to classical grandiosity. Others, like Michael Murphy and his discofied "A Fifth of Beethoven," turn classical melodies into pop hooks. Paul Schwartz falls somewhere in the middle with his Aria project, of which this is the third. Electronica grooves and effects angle their way through songs "based" on operatic works by Handel, Verdi, Puccini, and Monteverdi. Schwartz begins with a bar set high by some of these melodies, beautifully sung by soprano Rebecca Luker. Whether singing solo or in multi-tracked choirs, her voice opens heavens' gates, but she has to slog through some pedestrian arrangements to get there. Schwartz understands the difference between an orchestra and a synthesizer and with only a few exceptions--like the cheesy opening to "Ombra Ma Fu"--deploys each in appropriate measures. "Ascension," based on a Monteverdi aria is particularly striking with its underlying electronic ostinatos cycling through the breathtaking refrain. But too often, Schwartz's strings are saccharine and his rhythms clichéd in a music that uses high art only to reach for the facile. Like most classical-pop crossovers, time usually renders a verdict of kitsch in the first degree. --John Diliberto
About this product: More comedy monologue than musical performance, Bea Arthur's one-woman show Bea Arthur on Broadway: Just Between Friends collects memories from the silver-haired star's life on Broadway (Fiddler on the Roof, Mame, The Threepenny Opera) and television (Maude, The Golden Girls).
"I wanted to see if I had the guts to just come and be myself," Arthur says in this performance recorded in front of a live audience in December 2001. Alongside co-creator and pianist Billy Goldenberg, she offers wry and often funny anecdotes about her career and the people she's worked with (Angela Lansbury, Pia Zadora). When she does sing ... well, even decades ago Arthur didn't have a beautiful voice, but she's well-suited to the comedy songs. And her versions of Kurt Weill's "Pirate Jenny" and Goldenberg's own "Fifty Percent"--while they won't make anyone forget Lotte Lenya or Dorothy Loudon--are effective in their own right. Bea Arthur on Broadway is definitely more Bea than Broadway, but it's a career well worth remembering. --David Horiuchi
About this product: This semi-remake of Holiday Inn (the first movie in which Irving Berlin's perennial, Oscar-winning holiday anthem was featured) doesn't have much of a story, but what it does have is choice: Bing Crosby, Danny Kaye, Rosemary Clooney, an all-Irving Berlin song score, classy direction by Hollywood vet Michael Curtiz (Casablanca, The Adventures of Robin Hood), VistaVision (the very first feature ever shot in that widescreen format), and ultrafestive Technicolor! Crosby and Kaye are song-and-dance men who hook up, romantically and professionally, with a "sister" act (Clooney and Vera-Ellen) to put on a Big Show to benefit the struggling ski-resort lodge run by the beloved old retired general (Dean Jagger) of their WWII Army outfit. Crosby is cool, Clooney is warm, Kaye is goofy, and Vera-Ellen is leggy. Songs include: "Sisters" (Crosby and Kaye do their own drag version, too), "Snow," "We'll Follow the Old Man," "Mandy," "Count Your Blessings Instead of Sheep," and more. Christmas would be unthinkable without White Christmas. --Jim Emerson
About this product: When you are in the mood for a pleasant little romance, this should fit the bill. Amy Irving and Richard Dreyfuss are young pianists vying for the same prize. Surprise, surprise, they fall in love. We then must wait, with (nearly) breathless anticipation, to see if she will throw the contest to ensure his love. It is all a bit starry-eyed, but not overly gooey. The concert footage is handled with class, and there are some fine supporting performances from Sam Wanamaker and Lee Remick. It is also a lot of fun to see Dreyfuss and Irving as such fresh-faced innocents. --Rochelle O'Gorman
About this product: New York, New York--it's a helluva town; the Bronx is up and the Battery's down; the people ride in a hole in the ground.... Well, you get the idea. Those lyrics (by Betty Comden and Adolph Green), set to Leonard Bernstein's music, have made On the Town a permanent part of the psychological landscape of New York City. The story (inspired by Jerome Robbins's ballet Fancy Free) is pretty slight: Gene Kelly, Frank Sinatra, and Jules Munshin play sailors with 24 hours' leave to take their bite out of the Big Apple. When they meet, and then lose, this month's Miss Turnstiles (Vera-Ellen), they scour the town in search of her, bumping into a lady anthropologist (Ann Miller) along the way. Shot mostly in the studio, but with location exteriors all over town, from Coney Island to the Statue of Liberty to Central Park, this 1949 gem was the first of three great musicals codirected by Kelly and Stanley Donen, followed by Singin' in the Rain (1952) and the underrated It's Always Fair Weather (1955). --Jim Emerson
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