Signature Series

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The AMW Series is a great durable and compact pocket scale for those who are seeking the on the go high-tech portable scale. The backlit LCD display helps make the numbers viewable and easy to read. The intuitive protective cover provides protection for the scale. With the smooth stainless steel weighing surface clean up is easy.

Features

• Durable and compact digital pocket scale for easy portability
• Weighs items up to 1000 grams in 0.1 gram increments
• Easy-to-read, backlit LCD display; intuitive, flip-open lid protects the smooth, stainless-steel weighing surface
• Powered by 2 AAA batteries, a set of which comes included
• Backed by a 10-year warranty

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Introducing the M-500 from Fast Weigh Scales! This hip little scale is one of the hottest and most economical scales on the market today! The removable cover keeps the scale protected when not in use and also doubles as an expansion tray. Just replace the plastic cover when your done using it, and you can safely toss the scale in your handbag or pocket with no worries. Features: * A stylish yet economical weighing solution! * Weighs up to 500g in 0.1g increments. * Super portable - take it anywhere! * The protective cover doubles as an expansion tray. Capacity 500g / 17.64oz / 16.08ozt / 321.5dwt Readability 0.1g / 0.005oz / 0.005ozt / 0.1dwt Scale Dimensions 3.4 x 2.3 x 0.75 " Platform Dimensions 2.1 x 2.2 " Warranty 5 Year Limited Warranty Power 2 x AAA Batteries (included)

Features

• Take this handy digital scale on the go without worrying about power cords or scratches
• Removable cover keeps scale protected when not in use and also doubles as an expansion tray
• Designed to weigh items up to 500 grams in 0.1 gram increments
• Back-lit LCD display makes for easy viewing
• Powered by 2 AAA batteries, which come included; backed by a 5-year warranty

List Price: $22.95
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Don't be fooled by the imitations. The Blade Scale from American Weigh is the original pocket scale with a retractable backlit display. Now the Blade Scale comes bundled with an extra large expansion tray and carrying pouch to hold everything. With a 10 year American Weigh Warranty and such a low, low price, it only makes sense to choose the original Blade Scale.

Features

• Handy digital pocket scale with retractable backlit display; Black
• Weighs up to 1000 grams in 0.1 gram increments; Ships Pre-Calibrated; Calibrates with a 500g weight (sold separate); Tolerance ±0.2g
• Comes bundled with two expansion trays including an extra large one with deep sides for weighing loose items
• Auto-Off after 60 seconds of non-use; Platform Size: 2.7 x 2.7 in; Auto-Zero Tracking; Integrated Overload Protection
• 10 Year Limited Warranty; Powered by two AAA batteries (included)

List Price: $29.95
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Description

COMPLETE BIBLE (KING JAMES VERSION) - DVD Movie

List Price: $49.92
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The best-known of Errol Flynn's movies are already out there on DVD, so surely there can't be much left over to keep the second volume of the Errol Flynn Signature Collection from being an anticlimax. Except it's not. The new boxed set includes a splendid historical adventure, two aviation movies impressive in different ways, and a late swashbuckler that operates as a droll gloss on the star's persona. Plus (wait for it...) it also contains the best movie Errol Flynn ever made, and very likely his best performance as well. Let's take that last one first. Raoul Walsh's Gentleman Jim (1942) is a great, boisterous gift box of a movie, a high-spirited biopic of late-19th-century prizefighter James J. Corbett. The setting is San Francisco in the Gay '90s, with Flynn/Corbett starting out as a brash, egotistical bank teller fast with his mouth and light on his feet. Given a chance to crash high society, he becomes a pugilist for the amusement of the nabobs, then sets out on a boxing career that will bring him glove-to-glove with the Great John L. ... Sullivan, that is, and portrayed with Walshian gusto by Ward Bond. Gentleman Jim is fragrant with period atmosphere, exhilarating in its feeling for space and back-slapping human contact, and so big-hearted and exuberant that it finally invites the audience right into the film. Alexis Smith--as a socialite who ribs Corbett mercilessly--and Flynn conduct a strikingly egalitarian mating duel. The supporting cast includes Jack Carson, Alan Hale, and the epically grumpy William Frawley, and the whirlwind montages are by future director Don Siegel. This is great fun--and a masterpiece to boot. The adventure movie is The Charge of the Light Brigade (1936), Flynn's second star vehicle in Hollywood. A step up in scale and gloss from Captain Blood, this Michael Curtiz picture is historical poppycock but thrilling spectacle, with exotic doings in India and Asia Minor building to the horrendous siege of Chukoti, then a lateral move to the Crimea for the big Tennyson finish every perennial schoolboy in the audience has been waiting for. The Flynn of this swashbuckler-one-step-removed isn't the buoyant and boyish fellow we expect; he even comes in second to fellow Bengal Lancer (and dull brother) Patric Knowles for the heart of Olivia De Havilland. But he wears nobility well, and there's genuine tenderness in his performance. The camerawork and editing of the Charge will lift your heart rate, and the large supporting cast includes Donald Crisp, Nigel Bruce, Spring Byington, C. Henry Gordon, and Flynn pal David Niven. Niven and Flynn are together again in The Dawn Patrol (1938), a memorable WWI tale of British airmen flying perilous missions in flimsy planes, and the flight commanders who have to send them out to do it. Basil Rathbone (in a rare departure from villainy in a Flynn movie) plays the tortured commandant whom hotshot Flynn will be obliged to succeed. Although this is the Dawn Patrol most people know, it's actually the remake of a 1930 Howard Hawks classic. The original has a starker feel (inseparable from its early-talkie creakiness), as if its airbase were at the edge of the known world. The more up-to-date Flynn version, directed by Edmund Goulding, is smoother entertainment, with a stronger supporting cast--but all the flying footage is from Hawks's movie. The other aviation drama is Dive Bomber (1941), a big hit just before America's entry into WWII. Flynn plays it more sober than usual (no pun intended) as a Navy flight surgeon helping to lick the challenge of high-altitude sickness. There's no good reason for the movie to last 132 minutes, and both the macho griping of aviator Fred MacMurray and the garish treatment of the peripheral females (including Alexis Smith in her first featured role) get tiresome. But these are worth enduring for the breathtaking flight scenes in vivid Technicolor--which looks every bit as great as it must have in 1941. Director Michael Curtiz, in what would be his last film with Flynn, even sets up the ground scenes to include low-altitude flyovers. The Adventures of Don Juan (1948), made near the end of Flynn's Warner years, is a footnote to the star's swashbuckling legacy and a not-very-inside joke on his reputation as real-life Don Juan; the picture is at least as interested in eliciting chuckles as serving up thrills. Director Vincent Sherman lacked the brio of Curtiz and the gusto of Walsh, but he ably steers the actor past self-parody to a reasonably graceful performance. Again, the real excitement is the ultra-radiant Technicolor--a perhaps inadvertent result of veteran film noir cameraman Woody Bredell lighting the movie as though he were still working that black-and-white territory. Viveca Lindfors supplies urbane love interest as the Queen of Spain, and Robert Douglas stands in for Basil Rathbone as villain-in-chief. Consistent with previous Warner practice, all but one of the features in Volume 2 come packaged with a "Warner Night at the Movies" set of shorts: cartoons, comedy shorts, trailers for contemporaneous WB movies, and sometimes newsreels. The disc of Gentleman Jim also includes an audio-only bonus, a radio reenactment featuring Flynn and costars Alexis Smith and Ward Bond. Probably because of its two-hour-plus running time, Dive Bomber is accompanied only by its trailer and a brief documentary, in which historian Rudy Behlmer shares a choice anecdote about Mike Curtiz attempting to direct airplanes. Unfortunately, of Flynn and his various directors, only Vincent Sherman was still available to do a commentary track (on Adventures of Don Juan, which also includes Behlmer commentary); Sherman passed away in 2006 at the age of 99. --Richard T. Jameson

The swashbuckling romantic lover Don Juan is sent back to Spain in disgrace, where he discovers the oppression of the people and wins the heart of the queen; a fictionalized account of events leading up to the suicidal charge on Russian forces by the BritGenre: Feature Film-DramaRating: NRRelease Date: 27-MAR-2007Media Type: DVD

Features

• ADVENTURES OF DON JUAN ? Blade-flashing duels, devil-may-care bravado ? a glorious Flynn swashbuckler. THE CHARGE OF THE LIGHT BRIGADE ? Flynn?s British Lancers take the reins for one of film?s greatest action sequences. THE DAWN PATROL ? Dogfights above, challenges of command below: Flynn and David Niven team in a landmark tale of World War 1 flyboys. DIVE BOMER ? They go first so that others may

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After a meteoric rise to fame as the leader of the Tijuana Brass, one of the most successful groups of the '60s, Herb Alpert focused on running A&M Record's, the indie powerhouse he had founded with partner Jerry Moss. His second artistic journey began with the release of "Rise," a sultry dance instrumental, in 1979. It became the biggest hit of his career, winning a Grammy and climbing to number one on the Billboard chart, making him the only recording artist to have a number one record as a vocalist and as an instrumentalist. Alpert and his nephew Randy "Badazz" Alpert, who had cowritten "Rise," created an entire album around his new, laidback sound, and Rise, the album, was born, topping the charts and providing a significant new chapter to Alpert's already accomplished career.

2007 digitally remastered edition of Alpert's phenomenally selling album from 1979 presented in an LP replica sleeve with the original artwork.

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Another system from the best, Denise Austin. This one focuses on creating a strong central core utilizing power cords. Cords can be purchased on Amazon or you can use your own.

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Leiji Matsumoto helped to create the modern boom in anime with his series Space Battleship Yamato, released in the U.S. as Star Blazers. A long, episodic fable about an interstellar journey on an updated version of an old railway train, Galaxy Express boasts an enthusiastic cult following. Tetsuro is a boy living in the slums of a future Earth; his mother was killed by the evil cyborg, Count Mecha, who hunts humans for sport. To achieve his revenge, he must get to a distant planet where he can trade his mortal body for a deathless mechanical one. A mysterious woman named Maetel rescues him from the robo-police and travels with him among the planets via the Galaxy Express railway. Tetsuro's search for vengeance builds into a war between humans and cyborgs. As the battle reaches its climax, Matsumoto's popular creations, the space pirates Captain Harlock and Queen Emeraldas, arrive with unexpected assistance. Tetsuro ultimately learns that true beauty is always ephemeral, a concept that runs through Japanese art and culture. For years, Galaxy Express 999 was available in English only in an edited version that fans demoted as a mutilation; the Signature Edition from Viz is complete and uncut. (Ages 13 and older for violence and brief nudity) --Charles Solomon

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Anglophiles and Britcom aficionados will welcome the video of this delightful 1974 series based on the books by Charlotte Bingham. Happily, the sparkling dialogue and engaging characters wear much better than the actors' horribly dated '70s wardrobes. John Alderton and his real-life wife, Pauline Collins, star as C.D. and Clara, the George Burns and Gracie Allen of Hampstead, right down to the "Say goodnight, Clara" that closes each episode. This boxed set contains the first seven episodes of the series. Episode 1 sets the stage as C.D. and Clara, who have been married, Clara notes, "nearly 10 years next Thursday a week on Monday," recall how they met at "Freddie's awful party." Framed by the couple's light banter, each of these episodes flashback chronologically to their often comically confused courtship and marriage. Oddly enough, we do not see them joined in (again, Clara's words) "holy deadlock," but instead join C.D. and Clara as they embark on their honeymoon and endeavor to keep their newly married status a secret (why they keep it a secret is a bit unclear) by pretending to be a boring, frustrated long-married couple. "Life with Clara," C.D. observes at one point, "is not a bowl of cherries, it's a dish of blouse buttons." And in less expert hands, Clara could get tiresome quickly ("I tend to get things rather muddled," she confesses early on), but Pauline Collins (perhaps best known for her signature role as Shirley Valentine) plays her with a mischievous twinkle that make her leaps of illogic endearing. She particularly shines in episode 4, in which she resists C.D.'s efforts to make her dress more fashionably than like "the remnant of a disbanded folk group." --Donald Liebenson

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A big-budget summer epic with money to burn and a scale worthy of its golden Hollywood predecessors, Ridley Scott's Gladiator is a rousing, grisly, action-packed epic that takes moviemaking back to the Roman Empire via computer-generated visual effects. While not as fluid as the computer work done for, say, Titanic, it's an impressive achievement that will leave you marveling at the glory that was Rome, when you're not marveling at the glory that is Russell Crowe. Starring as the heroic general Maximus, Crowe firmly cements his star status both in terms of screen presence and acting chops, carrying the film on his decidedly non-computer-generated shoulders as he goes from brave general to wounded fugitive to stoic slave to gladiator hero. Gladiator's plot is a whirlwind of faux-Shakespearean machinations of death, betrayal, power plays, and secret identities (with lots of faux-Shakespearean dialogue ladled on to keep the proceedings appropriately "classical"), but it's all briskly shot, edited, and paced with a contemporary sensibility. Even the action scenes, somewhat muted but graphic in terms of implied violence and liberal bloodletting, are shot with a veracity that brings to mind--believe it or not--Saving Private Ryan, even if everyone is wearing a toga. As Crowe's nemesis, the evil emperor Commodus, Joaquin Phoenix chews scenery with authority, whether he's damning Maximus's popularity with the Roman mobs or lusting after his sister Lucilla (beautiful but distant Connie Nielsen); Oliver Reed, in his last role, hits the perfect notes of camp and gravitas as the slave owner who rescues Maximus from death and turns him into a coliseum star. Director Scott's visual flair is abundantly in evidence, with breathtaking shots and beautiful (albeit digital) landscapes, but it's Crowe's star power that will keep you in thrall--he's a true gladiator, worthy of his legendary status. Hail the conquering hero! --Mark Englehart

Stills from Gladiator (Click for larger image)

Autographed Excellent Condition!