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7-QT CAPACITYREMOVABLE OVAL STONEWARECONVENIENT WARM SETTINGDISHWASHER SAFE STONEWARE & LIDSTAINLESS STEALUPC : 048894034954Shipping Dimensions : 14.40in X 14.40in X 9.50inEstimated Shipping Weight : 13.25

Features

• 7-quart round stoneware
• High, low and warm settings are perfect for making chilis, stews, sauces and more
• Perfect for nine or more people or a seven pound roast
• Dishwasher safe stoneware and lid
• Measures approximately 14.8 by 9.8 by 14.0 inches

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Guests arriving unexpectedly? Chill up to six cans or one bottle of wine in just minutes with this rapid cooler. All that's required is a tray or two of ice cubes, some water, the beverage containers, and a push of a button. A can of pop or beer chills from room temperature to 43 degree F in just one minute; the extra-chill setting takes it right down to 34 degrees F. A bottle of wine (the machine lid removes for extra-long bottles) chills in just six minutes. Beverage containers rotate horizontally while being bathed by a jet of ice water, a process that is 40 times faster than chilling beverages in a freezer, and carbonated drinks won't explode or fizz upon opening. To warm drinks, such as a bottle of baby formula, simply add hot water instead of ice. The Cooper Cooler, invented by a chemical engineering student, includes other handy features such as preset time buttons on the touchpad, a no-spin option, add-ice indicator light, and automatic-off when done. Non-slip feet keep the machine firmly in place. Measuring approximately 16 by 10-1/2 by 8 inches, this model comes in a contemporary brushed-chrome finish, plugs into any 120v outlet, and is covered by a one-year warranty against defects. Editor's Note: This item does not include an adapter.--Ann Bieri

09-21-2007 - Brand New Item. Description - COOPER COOLER HC01.C RAPID BEVERAGE & WINE CHILLER (SILVER)

Features

• Electric machine chills cans in 1 minute and wine bottles in 6 minutes
• Beverages rotate while being sprayed with ice water; also heats baby bottles
• Automatic touchpad features preset times, extra-chill setting, and add-ice indicator light
• Removable lid for long wine bottles; no-spin option; auto-off when done
• Measures approximately 16 by 10-1/2 by 8 inches; 1-year warranty; does not include adapter

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The AquaReader Floating Book Holder is a balanced and bouyant device that holds books, magazines, or newsprint at an angle and hieght optimal for viewing while lounging in the pool, spa, or bath tub.

It is light, portable, and easy to store indoors or out. Using the unique book retainer design, reading material is securly fastened onto the device while remaining easy to read and turn pages.

No other bath caddy offers the avid reader the function and convenience of AquaReader. The typical bath caddy is a rigid, heavy, difficult to move and position, and far to elevated for comfortable reading. Try an AquaReader today! No risk 30-day money back guarantee.

Features

• The most comfortable secure way to read while soaking.
• Optimized for use in the bath, pool, or spa
• Accomodates books, magazines, and newsprint
• For indoor or outdoor use.

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In John Lithgow's most memorable roles, he's played the outsider: the transsexual former football player in The World According to Garp, the alien in Third Rock from the Sun. On Singin' in the Bathtub, he puts the same aspect of his character that's made him successful in those roles--the slightly-out-of-touch wonder at the obvious--to work on 14 children's songs. Backed by a big band (and the occasional banjo or musical saw), Lithgow takes on topics from multiple births (the Alice in Wonderland-esque "Triplets"), the alphabet ("You're Adorable, A" which recalls Really Rosie's "Alligators All Around"), and a veritable menagerie ("The Gnu Song," "I Had a Rooster," "The Hippopotamus Song," and "The Inchworm"). He kicks off the title song with a reminder to "Grab your ducky, grab your toy boat--let's make this fun!" It's a triumph that he manages to do so for the entire album; but be warned--Lithgow's energy level is tough to keep up with, and you might find yourself exhausted long before the album ends. --Randy Silver

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The Originals languished on Motown's roster until Marvin Gaye took an interest in their career in 1968. Soon he'd produced and cowritten two Top 5 soul hits for the smooth quartet. The doo-wop-influenced "Baby I'm for Real" and "The Bells" are hardly the only highlights of this compilation, though--"God Bless Whoever Sent You" and the later disco smash "Down to Love Town" are near classics that deserve the new light that falls on them here. Most rewarding for Gaye fans will be an early, unreleased version of "Just to Keep You Satisfied," a song he later rewrote for Let's Get It On. --Rickey Wright

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All products are BRAND NEW and factory sealed. Fast shipping and 100% Satisfaction Guaranteed.

List Price: $9.98
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The first thing you need to know about Sleepers is that it's based on a novel by Lorenzo Carcaterra that was allegedly based on a true story. The movie repeats this bogus claim, which was attacked and determined by a wide majority to be misleading. Knowing this, Sleepers can be a problematic movie because it's too neat, too clean, too manipulative in terms of legal justice and dramatic impact to be truly convincing. And yet, with its stellar cast directed by Barry Levinson, the movie succeeds as gripping entertainment, and its tale of complex morality--despite a dubious emphasis on homophobic revenge--is sufficiently provocative. It's about four boys in New York's Hell's Kitchen district who are sent to reform school, where they must endure routine sexual assaults by the sadistic guards. Years after their release, the opportunity for revenge proves irresistible for two of the young men, who must then rely on the other pair of friends (Brad Pitt, Jason Patric), a loyal priest (Robert De Niro), and a shabby lawyer (Dustin Hoffman) to defend them in court. Despite the compelling ambiguities of the story, there's never any doubt about how we're supposed to feel, and the screenplay glosses over the story's most difficult moral dilemmas. And yet, Sleepers grabs your attention and pulls you into its intense story of friendship and the price of loyalty under extreme conditions. The movie's New York settings are vividly authentic, and Minnie Driver makes a strong impression as a long-time friend of the loyal group of guys. --Jeff Shannon

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VHS TAPE.

Features

• Sketches include: Buckwheat Sings; Velvet Jones; Mr. Robinson's Neighborhood
• Little Richard Simmons Show; Galactic Prophylactic; Toof Fairy
• James Brown's Celebrity Hot Tub; Cos; Jesse Jackson
• Ebony & Ivory; The Fifth Beatle; Black History Week
• White Like Me; Cotton Land; James Brown Is Annie; And More!

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This VHS is in great condition.

Sale Price: $69.50

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Throughout his long, wandering, often distinguished career Francis Ford Coppola has made many films that are good and fine, many more that are flawed but undeniably interesting, and a handful of duds that are worth viewing if only because his personality is so flagrantly absent. Yet he is and always shall be known as the man who directed the Godfather films, a series that has dominated and defined their creator in a way perhaps no other director can understand. Coppola has never been able to leave them alone, whether returning after 15 years to make a trilogy of the diptych, or re-editing the first two films into chronological order for a separate video release as The Godfather Saga. The films are our very own Shakespearean cycle: they tell a tale of a vicious mobster and his extended personal and professional families (once the stuff of righteous moral comeuppance), and they dared to present themselves with an epic sweep and an unapologetically tragic tone. Murder, it turned out, was a serious business. The first film remains a towering achievement, brilliantly cast and conceived. The entry of Michael Corleone into the family business, the transition of power from his father, the ruthless dispatch of his enemies--all this is told with an assurance that is breathtaking to behold. And it turned out to be merely prologue; two years later The Godfather, Part II balanced Michael's ever-greater acquisition of power and influence during the fall of Cuba with the story of his father's own youthful rise from immigrant slums. The stakes were higher, the story's construction more elaborate, and the isolated despair at the end wholly earned. (Has there ever been a cinematic performance greater than Al Pacino's Michael, so smart and ambitious, marching through the years into what he knows is his own doom with eyes open and hungry?) The Godfather, Part III was mostly written off as an attempted cash-in, but it is a wholly worthy conclusion, less slow than autumnally patient and almost merciless in the way it brings Michael's past sins crashing down around him even as he tries to redeem himself. --Bruce ReidOn the DVDPeople used to say this was Frank Sinatra's world, and the rest of us just lived in it. After watching the multiple special features in the box set The Godfather: Coppola Restoration, one might conclude it's actually time for a cultural and historical revision: This is the Corleone family's world. The rest of us better tread lightly. Actually, the point of the half-dozen or so features crammed onto a disc accompanying the beautifully restored The Godfather, The Godfather II and The Godfather III, is that The Godfather movies have penetrated popular culture in such a deep and meaningful way that they are second-nature to everything. David Chase, creator of and writer on The Sopranos, for example, describes in the featurette "Godfather World" that his hit HBO series was intended to be the story of the first generation of mobsters actually influenced by Francis Ford Coppola's hit trilogy. Joe Mantegna calls the three films "the Italian Star Wars." (Mantegna co-stars in The Godfather III.) Alec Baldwin says no matter what one is doing, one is compelled to stop and watch the films if they're on television. Richard Belzer calls the films "a religion." And so on. A number of people similarly testify in "Godfather World" to the importance and ubiquitousness of The Godfather and its sequels in American life. There's no point in arguing, so its best to move on to the other featurettes, including "The Masterpiece That Almost Wasn't," reviewing in detail much of what has been said about Paramount's mistreatment of Coppola, about casting fights (Steve McQueen as Michael?), about the studio's assumption they were getting a quick-and-dirty B-movie, and about producer Robert Evans' determination to keep his choice of director and unlikely actors under his wing. Fresh information within the special features, however, begins with "… When the Shooting Stopped," a fine study of post-production on The Godfather, with several surprising and fascinating facts. Among emerging details is an explanation of why Michael Corleone's scream toward the end of The Godfather III is silenced out. (Hint: it was meant to be the inverse of a sound effect in the first movie.) "Emulsional Rescue: Revealing The Godfather" talks about the painstaking work of restoring the first two films, beginning with a phone call from Coppola to Steven Spielberg (after the latter's DreamWorks studio became part of the Viacom family) asking if he'd request money from Paramount for restoration work. "The Godfather On the Red Carpet is a negligible series of fawning statements about the movie from hot young actors, while "Four Short Films" are brief and enjoyable takes on different aspects of The Godfather's impact on modern living. --Tom Keogh Stills from The Godfather - The Coppola Restoration Giftset (Click for larger image)

People used to say this was Frank Sinatra's world, and the rest of us just lived in it. After watching the multiple special features in the box set The Godfather - Coppola Restoration, one might conclude it's actually time for a cultural and historical revision: This is the Corleone family's world. The rest of us better tread lightly. Actually, the point of the half-dozen or so features crammed onto a disc accompanying the beautifully restored The Godfather, The Godfather II and The Godfather III, is that The Godfather movies have penetrated popular culture in such a deep and meaningful way that they are second-nature to everything. David Chase, creator of and writer on The Sopranos, for example, describes in the featurette "Godfather World" that his hit HBO series was intended to be the story of the first generation of mobsters actually influenced by Francis Ford Coppola's hit trilogy. Joe Mantegna calls the three films "the Italian Star Wars." (Mantegna co-stars in The Godfather III.) Alec Baldwin says no matter what one is doing, one is compelled to stop and watch the films if they're on television. Richard Belzer calls the films "a religion." And so on. A number of people similarly testify in "Godfather World" to the importance and ubiquitousness of The Godfather and its sequels in American life. There's no point in arguing, so its best to move on to the other featurettes, including "The Masterpiece That Almost Wasn't," reviewing in detail much of what has been said about Paramount's mistreatment of Coppola, about casting fights (Steve McQueen as Michael?), about the studio's assumption they were getting a quick-and-dirty B-movie, and about producer Robert Evans' determination to keep his choice of director and unlikely actors under his wing. Fresh information within the special features, however, begins with "… When the Shooting Stopped," a fine study of post-production on The Godfather, with several surprising and fascinating facts. Among emerging details is an explanation of why Michael Corleone's scream toward the end of The Godfather III is silenced out. (Hint: it was meant to be the inverse of a sound effect in the first movie.) "Emulsional Rescue: Revealing The Godfather" talks about the painstaking work of restoring the first two films, beginning with a phone call from Coppola to Steven Spielberg (after the latter's DreamWorks studio became part of the Viacom family) asking if he'd request money from Paramount for restoration work. "The Godfather On the Red Carpet is a negligible series of fawning statements about the movie from hot young actors, while "Four Short Films" are brief and enjoyable takes on different aspects of The Godfather's impact on modern living. --Tom Keogh Stills from The Godfather - The Coppola Restoration Giftset (Click for larger image)

Product Details
Actors: Marlon Brando, Al Pacino, Robert De Niro
Directors: Francis Ford Coppola
Format: Box set, Closed-captioned, Color, Dolby, DVD, Subtitled, Widescreen, NTSC
Language: English, French
Subtitles: English
Region: Region 1 (U.S. and Canada only. Read more about DVD formats.)

Aspect Ratio: 1.85:1
Number of discs: 5
Rated: R (Restricted)
Studio: Paramount
DVD Release Date: October 9, 2001
Run Time: 545 minutes