Cali Custom Guitars

PANASONIC NIS300TR 3-WAY AUTO-OFF STEAM IRONNON-STICK TITANIUM SOLEPLATE; ADJUSTABLE STEAM CONTROL; SPRAY MIST; 3-WAY AUTO SHUT-OFFELECTRONIC SENSOR AUTOMATICALLY SHUTS OFF IRON AFTER 10 MIN, IF LEFT IN UPRIGHT POSITION, OR AFTER 60 SEC, IF TIPPED OVER ON SIDE OR LEFT UNMOVED ON SOLEPLATE

Panasonic 1200W Steam Iron with Curved SolePlate, Retractable Cord Reel, and Anti-Calcium SystemFeatures:Stainless Steel Curved SoleplateAnti-Calcium SystemAdjustable Steam (High/Low)

The ORIGINAL PEST OFFENSE Electronic Pest Repellers Model #:POBD-I-01 Chemical free solution to pest control. This patented technology is an easy and safe solution that requires no maintenance or disposal of rodents or insects. Pest simply leave the home. Effective to rid home of mice, rats, and roaches. Microprocessor creates a force field in your home to prevent insects and rodents from nesting or feeding within the walls by sending electronic pulses through the wiring of the home, random digital cycling prevents pests from adapting to PEST OFFENSE. One PEST OFFENSE unit is effective for one level of the average size home, plug into any 110 volt outlet and simply walk away. Indicator light confirms it is work correctly. Plus has a built-in surge protector and nightlight. PEST OFFENSE is SAFE for: dogs, cats, ferrets, rabbits, birds, fish, snakes, turtles, reptiles, and hermit crabs and PEST OFFENSE is NOT recommended if you own: hamsters, gerbils, guinea pigs, minks, chinchillas, tarantulas, and other similar pets.

The enhanced portion contains a screensaver, links to Websites, and the ability to play the music through the computer.Genre: Soundtracks & ScoresMedia Format: Compact DiskRating: Release Date: 5-DEC-2000

The best soundtracks are like movies for the ears, and O Brother, Where Art Thou? joins the likes of Saturday Night Fever and The Harder They Come as cinematic pinnacles of song. The music from the Coen brothers' Depression-era film taps into the source from which the purest strains of country, blues, bluegrass, folk, and gospel music flow. Producer T Bone Burnett enlists the voices of Alison Krauss, Gillian Welch, Emmylou Harris, Ralph Stanley, and kindred spirits for performances of traditional material, in arrangements that are either a cappella or feature bare-bones accompaniment. Highlights range from the aching purity of Krauss's "Down to the River to Pray" to the plainspoken faith of the Whites' "Keep on the Sunny Side" to Stanley's chillingly plaintive "O Death." The album's spiritual centerpiece finds Krauss, Welch, and Harris harmonizing on "Didn't Leave Nobody but the Baby," a gospel lullaby that sounds like a chorus of Appalachian angels. --Don McLeese

Guggenheim follows three star rock musicians for a year, exploring their musical roots and innovations on the electric guitar.

Three generations of rock guitarists come together for It Might Get Loud, a 2009 documentary directed by Davis Guggenheim (An Inconvenient Truth). These are not just your garden-variety guitar gods: Jimmy Page, in his mid-'60s at the time of the film, founded Led Zeppelin, who dominated the 1970s following the breakup of the Beatles. As a member of U2, 48-year-old David Evans, better known as the Edge, created one of the most distinctive and influential sounds of the past quarter century. And 34-year-old Jack White (of the White Stripes, the Raconteurs, and the Dead Weather) was described by one music publication as "the most significant rock 'n' roll figure of the past ten years." Guggenheim, who followed the three around for the better part of a year, takes us into their individual lives, past and present. There are shots of Page as a young London session musician, with the Yardbirds and Zeppelin, at Headley Grange (the estate where much of the fourth Zep album was made), and at home with his record collection. The Edge takes us to the Dublin classroom where U2 first rehearsed, as well as to the practice room he uses now (never a virtuoso soloist, he developed a style based on texture and a mind-boggling array of effects); and White, whose insistence on authenticity is admirable but perhaps a tad self-conscious, constructs a "guitar" from a plank of wood, a piece of wire, and a Coke bottle (he also plays a recording by the primitive bluesman Son House, featuring just voice and handclaps, that White says is still his biggest inspiration). The three also converge on a Hollywood sound stage, where they chat and a do a little jamming on Zep's "In My Time of Dying" (with all three playing slide guitar) and the Band's "The Weight." It's hard to say if the film's appeal will extend beyond guitar freaks and fans of these particular bands, but at the very least, It Might Get Loud offers some interesting insight into the soul and inspiration behind some of pop's best and most popular music. --Sam Graham

Captures one of the first big rock events, which featured the top pop acts of the era.

Filmed in 1964 at the Santa Monica Civic Auditorium, this is arguably the very best rock-concert movie ever made, packed start to finish with nearly two hours of absolutely essential performances by an unprecedented group of American and British rock, pop, soul, and Motown legends. Dig this lineup: Marvin Gaye, the Supremes (look for Teri Garr as one of the dancers during "Where Did Our Love Go?"), Chuck Berry, Smokey Robinson and the Miracles, Gerry and the Pacemakers, Leslie Gore, Jan and Dean, a phenomenal James Brown and the Flames, followed (!) by the Rolling Stones rising to the occasion after Brown's legendary performance (Keith Richards has said that performing after Brown was perhaps the biggest mistake the band ever made). Never released on home video, The T.A.M.I. Show was the holy grail of rock-concert movies. Those who have had to make do with substandard and incomplete bootlegs will agree that it was worth the wait for this collector's edition that restores the long-lost Beach Boys set (listen to director Steve Binder's audio commentary for the story behind its removal). --Donald Liebenson

He may only come up to King Kong's shin, but Joe makes up in heart what he lacks in size. This sweet tale of a girl and her pet/best friend, an African gorilla with the soul of a kitten, pulls on a different set of heartstrings than the giant ape classic. Robert Armstrong practically repeats his role from King Kong as a Broadway producer who lures Jill Young (Terry Moore) and Joe, an ape she raised from baby (a splendidly realized stop-motion character created by Willis O'Brien, the creator behind Kong), to New York as the star attraction at his new nightclub. Caged in a cramped basement holding cell, the unhappy Joe finally goes berserk after a trio of drunks ply him with alcohol, and the city rules him a menace. In a desperate attempt to save Joe from execution, Jill rounds up her friends and confidants (including beefy love interest Ben Johnson) for a jailbreak. This human-scale drama is more subdued than its inspiration, but the nightclub rampage remains a terrifying scene in its mad destruction; and the climax, involving a raging fire at an orphanage (have these filmmakers no shame?!), still impresses. --Sean Axmaker

Experiment in Terror, a stylized noir thriller, was director Blake Edwards's second film in 1962, the first being a devastating portrait of alcoholism, Days of Wine and Roses. Neither film would seem standard fare for a filmmaker best known for his sophisticated slapstick comedies. For Experiment in Terror, Edwards perfected the stylish black-and-white cinematography he used to great effect in the 1950's TV series Peter Gunn. Glenn Ford plays a stalwart G-man out to thwart psychopathic extortionist Ross Martin's plans to force bank clerk Lee Remick to rob the bank where she works. San Francisco locations have never looked better or more ominous. One particularly chilling scene unfolds in the loft of an artisan who makes mannequins for a living ... though not for long. Blake Edwards's experiment in suspense grabs hold of you from the very beginning and doesn't let go until the final showdown at Candlestick Park. The film also features a near-legendary score by Henry Mancini. --Kristian St. Clair

The Air King 6-inch 2-speed clip-on fan is great for use in any area where space is limited, such as offices, kitchens, beauty salons, toll booths, and stores. The convenient, spring-loaded clip is easy-to-attach to a variety of surfaces, making this fan especially versatile. It comprises a zinc-plated-steel front grill with an impact-resistant-plastic rear grill and a polypropylene blade for long-lasting durability. Rotary switches on the back allow you to turn the fan on or off, and change between its two speeds. The 2-speed 1/300 HP permanently lubricated motor provides a quiet performance and produces a lot of air flow. Additionally, this fan is OSHA approved and a 7-foot, 3-conductor type SPT power cord is provided for long reach. It measures 8.125-by-6.25-by-10.375-inches (LxWxH) and weighs 2.10 pounds. What's in the Box Clip-on fan and a 7-foot, 3-conductor type SPT power cord

Personal Fan W/Clip