Sports Frenzy

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DRITZ-Soft Flex Iron-on Alphabet. These letters are mounted on clear application sheets allowing you to easily see where you are placing the letter to make sure they all line up the way YOU want them to. This package contains five 6x3-1/4in sheets of forty-one 1-1/4in uppercase alphabet and complete instructions. Available in a variety of fun patterns (daisies; plaid; tie-dye; ladybugs and more): each sold separately. Imported.

Elite Range 3-Tier 900 Black Frame- White Glass Frame: Piano Black, Glass: White Rigid welded steel frame has fixed position internal shelves. Provision in the uprights for filling with lead or steel shot to enhance performance. Clear 8 mm beveled and tempered glass shelves are isolated from the frame by neoprene isolation pads. Supplied with adjustable spikes, round feet and casters Features: -Available in Lacquered Silver or Piano Black frame. -Optional glass colors are available for an extra cost in Blue, Graphite, and White -Width between uprights is 35 7/16''. -Adjustable spikes, round feet and casters are included. -Ships ready-to-assemble -Dimensions:3 tier - 40 1/8'' W x 19 11/16'' D x 24'' H

DISC 1: 1. Get Down Tonight - (original single version) 2. That's the Way (I Like It) - (original single version) 3. Blow Your Whistle - (with KC & The Sunshine Junkanoo Band) 4. Sound Your Funky Horn 5. Queen of Clubs 6. I'm a Pushover 7. Shotgun Shuffle - (with The Sunshine Band) 8. I'm So Crazy ('Bout You) 9. Rock Your Baby - (single mix, with The Sunshine Band) 10. Shake Your Booty, (Shake, Shake, Shake) 11. Boogie Shoes 12. I Like to Do It 13. I'm Your Boogie Man 14. Wrap Your Arms Around Me 15. Black Water Gold - (with The Sunshine Band) 16. I Get Lifted DISC 2: 1. Keep It Comin' Love 2. It's the Same Old Song 3. Do You Feel All Right - (single edit) 4. Who Do Ya Love 5. Do You Wanna Go Party - (full-length album version) 6. Please Don't Go 7. I Betcha Didn't Know That 8. Yes, I'm Ready - (with Teri DeSario) 9. Let's Go Rock and Roll 10. All I Want 11. Dancin' in the Streets - (with Teri DeSario) 12. Give It Up - (with KC) 13. Por Favor No Te Vayas :: Please Don't Go 14. Please Don't Go '92 - (USA radio edit) 15. Get Down Tonight - (A Tom Moulton mix) KC & The Sunshine Band includes: Harry Wayne Casey (vocals, keyboards); Anthony Battaglia (vocals, guitar, keyboards); Gary King (vocals, bass); Jerome Smith, Tommy Johnson, Steve Gordon, James Magnole (guitar); Victor Paliuca, Ernest Stewart, Blue Weaver (keyboards); Richard Finch (bass, drums, percussion); Emmanuel Taylor (bass); Robert Johnson, Harold Seay (drums); Fermin Goytisolo (congas, timbales, percussion); Oliver Brown, Jimmy "Bo" Horne (percussion). Additional personnel includes: Teri Desario, Beverly Champion, Betty Wright, Jeanette Williams, Maxine Waters (vocals); Mike Lewis (tenor saxophone); Whit Sidener (baritone saxophone); Ken Faulk, Vinnie Tanno, Jerry Hey (trumpet); Bill Reichenbach (trombone); Carlos Vega (drums); Paulinho Da Costa (percussion).

Standard of St. George (Alford); Kirkby Colliery Mephistopheles (Douglas); The YBS Band Castell Coch (Powell); Sellers Youth Band Pendragon (Allan); Vernon Building Society Band The Mouthpiece (Barry); The Mouthpiece.com Rosehill (Jakeway); Salvo Brass Arabian (Rimmer); Harrogate Band Belmont (Allan); Kirkbymoorside Band Spirit of Victory (Crossley); Warwick University Brass Band Carsharlton (Richardson); Dungannon Silver Honest Toil (Rimmer); Marsden Riverhead Brewery Band Cornish Cavalier (Moyle); Darley Dale Knight Templar (Allan); Black Dyke Band ORB (Anderson); Besses 'o the Barn Viva Pettee (Rimmer); Brindle The President (German); Fodens Band DOYEN label.

Based on a Larry McMurtry novel, this Martin Ritt film was a testament to the sex appeal of the young Paul Newman. Playing the title character--a total rotter who, by the end of the film, has double-crossed or screwed over everyone he knows, including his hard-working father and brother--Newman turns him into an intriguing antihero. Things are tough on the ranch and Hud's dad (Melvyn Douglas) needs help, but Hud is too busy looking out for number one, even as things fall apart. And guess who's going to land on his feet? Beautiful black-and-white cinematography by James Wong Howe won an Oscar, as did performances by Douglas and Patricia Neal. --Marshall Fine

Based on a Larry McMurtry novel, this Martin Ritt film was a testament to the sex appeal of the young Paul Newman. Playing the title character--a total rotter who, by the end of the film, has double-crossed or screwed over everyone he knows, including his hard-working father and brother--Newman turns him into an intriguing antihero. Things are tough on the ranch and Hud's dad (Melvyn Douglas) needs help, but Hud is too busy looking out for number one, even as things fall apart. And guess who's going to land on his feet? Beautiful black-and-white cinematography by James Wong Howe won an Oscar, as did performances by Douglas and Patricia Neal. --Marshall Fine

Jack Arnold's horror classic The Creature from the Black Lagoon spawned not one but two iconic images: the web-footed humanoid gill-man with a hankering for women and the leggy, luscious Julia Adams, the object of his desire, swimming the lagoon in a luminous white bathing suit. Not since King Kong has the "beauty and the beast" theme been portrayed in such sexually charged (though chaste) terms. Arnold turns an effectively B-movie plot--a small expedition up a remote Amazon river captures a prehistoric amphibian man, who escapes to wreak havoc on the team and kidnap his bathing beauty--into a moody, stylish, low-budget feature. The jungle exteriors turn from exotic to treacherous when the creature blocks their passage and strands them in the wilds. Much of the film is shot underwater, where the murky dark is animated by shimmering shards of sunlight, creating images both lovely and alien (the studio-built sets of the creature's underground lair are far less naturalistic, but serve their purpose). As with most of Arnold's '50s genre films, he's saddled with a less than magnetic leading man (in this case the colorless but stalwart Richard Carlson) and a conventional script, but he overcomes such limitations by creating a vivid and sympathetic monster (helped immeasurably by a marvelous suit of scales and fins) and establishing a mood thick with atmosphere. The film was originally shot in 3-D. --Sean Axmaker

Considered by many to be the greatest B movie ever made, the original-release version of Orson Welles's film noir masterpiece Touch of Evil was, ironically, never intended as a B movie at all--it merely suffered that fate after it was taken away from writer-director Welles, then reedited and released in 1958 as the second half of a double feature. Time and critical acclaim would eventually elevate the film to classic status (and Welles's original vision was meticulously followed for the film's 1998 restoration), but for four decades this original version stood as a testament to Welles's directorial genius. From its astonishing, miraculously choreographed opening shot (lasting over three minutes) to Marlene Dietrich's classic final line of dialogue, this sordid tale of murder and police corruption is like a valentine for the cinematic medium, with Welles as its love-struck suitor. As the corpulent cop who may be involved in a border-town murder, Welles faces opposition from a narcotics officer (Charlton Heston) whose wife (Janet Leigh) is abducted and held as the pawn in a struggle between Heston's quest for truth and Welles's control of carefully hidden secrets. The twisting plot is wildly entertaining (even though it's harder to follow in this original version), but even greater pleasure is found in the pulpy dialogue and the sheer exuberance of the dazzling directorial style. --Jeff Shannon

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