Kenneth Johnson

This charming, super-casual collection began as a children's record and later became a "family" record--a designation that reflects the contributions of Nelson's daughter Amy as well as the inclusion of more "adult" material. It's difficult to think of another artist who'd pull together such a unique selection of songs. Nelson tackles odd kid-friendly little ditties from country's past such as "I'm My Own Grandpa" (a 1948 hit for Lonzo & Oscar), the Western swing favorite "Won't You Ride in My Little Red Wagon," and Jimmie Dolan's boogie "Playin' Dominoes and Shootin' Dice," a drinking-and-fighting song that is presumably a cautionary tale for the little ones. The more traditional children's fare ("Four Leaf Clover," "Playmate," title track) comes early on, but by the end of the disc Nelson seems to have lost interest in the album's original premise, moving to hardcore blues ("Outskirts of Town"), Mickey Newbury's psychedelic folk rock ("I Just Dropped In"--daddy, how do you trip on a cloud?), and Newbury's sober, complex "33rd of August." Amy Nelson wrote and sang two delightful kiddie tunes while papa Willie adds one new original, the jaunty, optimistic "Wouldn't Have It Any Other Way." To be sure, Rainbow Connection is a low-key, informal affair, and what would sound sloppy by most other artists is of course endearing by Willie. In the end, this "family CD" is like a bowl of chocolate ice cream: it ain't as special as a sundae or even a cone, but who doesn't like chocolate ice cream? --Marc Greilsamer

Rainbow Connection by Willie NelsonThis product is manufactured on demand using CD-R recordable media. Amazon.com's standard return policy will apply.

The first 12 chapters of R. Kelly's over-the-top hip-hopera stars the singer as a married lothario whose one-night stand results in a series of shocking and sordid revelations about life, love and sex. After waking up in the apartment of his latest conquest, he encounters cheating spouses, secret gay lovers, a nosy neighbor, and a midget...midget...midget. Cat Wilson, Rolando Boyce, LeShay Tomlinson, Malik S. Middleton co-star. Uncensored version; 100 min. Soundtrack: English; audio commentary; featurette.

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Oliver Parker, a stage and film actor (Hellraiser), made his directorial debut with this scaled-back version of Shakespeare's play about the paranoid Moor, Othello (Laurence Fishburne), and his manipulative friend, Iago (Kenneth Branagh). Parker gets the story so lean he starts running a little short on the author's subtext, and if it's possible to overemphasize the banality of Iago's scheming and Othello's malleability, he does so. The director throws out what is universal in the story and makes it all seem merely ordinary, human, and unfortunate, which is the opposite of what watching Shakespeare should be. In the end, it's hard to care what these characters have done to one another. Branagh's Iago is a little flat and unfocused, while Fishburne is excellent as a quieter Othello than we're accustomed to. With Irène Jacob (Red) as Desdemona. --Tom Keogh

Joy Ride follows the familiar conventions of road-movie thrillers with enough vitality to make everything old seem new again. A confirmed master of neo-noir suspense, director John Dahl (Red Rock West, The Last Seduction) sets a consistent tone of humor and horror as Lewis (Paul Walker) and his black-sheep brother Fuller (Steve Zahn) drive from Salt Lake City to pick up Lewis's friend Venna (Leelee Sobieski) in Boulder, Colorado. En route, they play a practical joke via CB radio, inviting vengeful terror as an unseen trucker (voiced with exquisite menace by Silence of the Lambs villain Ted Levine) pursues them with relentless, homicidal aggression. Inevitable comparisons to Steven Spielberg's Duel fail to appreciate Dahl's unique talent for energizing B-movie formulas while injecting his own brand of rib-tickling excitement. While Zahn deserves extra credit in his first top-billed role, Joy Ride wins a badge of honor for everyone involved. --Jeff Shannon

It's all fun and games whene two brothers (Paul Walker and Steve Zahn) take off cross-country to bring home a pretty college friend (Leelee Sobieski). But the jokes end when a prank backfires and they find themselves stalked by a vengeful trucker who won't give up his relentless chase until somebody pays with their life.

Emilio Estevez and the original Ducks are back in this fast-moving comedy starring the most popular hockey team in movie history! After the Ducks win scholarships to a snooty private school, Coach Bombay (Estevez) announces that he's moving on to greener pastures with the Goodwill Games. Shortly after the team arrives at Eden Hall Academy, they inherit a new coach who turns out to be their worst nightmare when he strips Charlie Conway (Joshua Jackson) of his position as captain! Then, with their scholarships on the line, they face their toughest rival -- the 10-time championship varsity team! The Ducks and their opponents engage in a series of hilarious pranks to warm up for their battle on the ice. And in a thrilling and climactic third-period battle, the Ducks must prove why they are called the Mighty Ducks! "The quack attack is back!" (USA Today) -- and D3 will have you and your family cheering!

The Wire: The Complete First Season After one episode of The Wire you'll be hooked. After three, you'll be astonished by the precision of its storytelling. After viewing all 13 episodes of the HBO series' remarkable first season, you'll be cheering a bona-fide American masterpiece. Series creator David Simon was a veteran crime reporter from The Baltimore Sun who cowrote the book that inspired TV's Homicide, and cowriter Ed Burns was a Baltimore cop, lending impeccable street-cred to an inner-city Baltimore saga (and companion piece to The Corner) that Simon aptly describes as "a visual novel" and "a treatise on institutions and individuals" as opposed to a conventional good-vs.-evil police procedural. Owing a creative debt to the novels of Richard Price (especially Clockers), the series opens as maverick Detective Jimmy McNulty (Dominic West, in a star-making role) is tapping into a vast network of drugs and death around southwest Baltimore's deteriorating housing projects. With a mandate to get results ASAP, a haphazard team is assembled to join McNulty's increasingly complex investigation, built upon countless hours of electronic surveillance. The show's split-perspective plotting is so richly layered, so breathtakingly authentic and based on finely drawn characters brought to life by a perfect ensemble cast, that it defies concise description. Simon, Burns, and their cowriters control every intricate aspect of the unfolding epic; directors are top-drawer (including Clark Johnson, helmer of The Shield's finest episodes), but they are servants to the story, resulting in a TV series like no other: unpredictable, complicated, and demanding the viewer's rapt attention, The Wire is "an angry show" (in Simon's words) that refuses to comfort with easy answers to deep-rooted societal problems. Moral gray zones proliferate in a universe where ruthless killers have a logical code, and where the cops are just as ambiguous as their targets. That ambiguity extends to the ending as well; season 1 leaves several issues unresolved, leaving you begging for the even more impressive developments that await in season 2. --Jeff Shannon The Wire: The Complete Second Season It hardly seems possible, but The Wire's second season is even better than the first. The "visual novel" concept of this masterful HBO series is taken even further in a rich, labyrinthine plot revolving around the longshoremen of Baltimore's struggling cargo docks, where corruption, smuggling, and murder draw the attention of detective McNulty (Dominic West). What follows is a series of events which at first seem unrelated (including 13 bodies found in a cargo container), and then the ongoing effort to topple the drug empire of "Stringer" Bell (Idris Elba) and the imprisoned Avon Barksdale (Wood Harris), whose business is suffering from short supply, high demand, and disruption of distribution. The dutiful diligence of a Marine Police Patrol Officer and the moral outrage of the longshoremen's union leader are also factored into the suspicious goings-on at the loading docks, and what unfolds in these 12 episodes is an American crime epic easily on par with the Godfather saga. Yes, it's that good. Detailed synopsis is pointless; The Wire must be seen, heard, and absorbed to fully appreciate the way in which over 40 characters are flawlessly incorporated into a sprawling but tightly disciplined plot that deals, in the larger sense, with the deindustrialization of America and the struggle of longshoremen in a changing economical climate. Offering a privileged and occasionally frightening glimpse of the inner workings of shipping ports and cargo transports, The Wire is also a detailed exposé of organized crime and blue-collar corruption, and an authentic, well-informed study of political maneuvering among police and city officials. There's not a single false note to be found in the cast, direction, or writing of this phenomenal series, hailed by many critics as "the best show on television." With all due respect to HBO's other excellent series, The Wire tops them all. --Jeff Shannon The Wire: The Complete Third Season With volatile issues of Baltimore city political reform as its narrative focus, the third season of The Wire superbly maintains the series' astonishingly consistent status as the greatest "novel for television" ever created. While the Baltimore police department's wire-tapping investigations continue to monitor the intricate and now legitimately fronted drug ring of Russell "Stringer" Bell (Idris Elba, smooth as ever), detective Jimmy McNulty (Dominic West) continues his loutish ways, navigating through a series of shallow sexual conquests while doing some of the best cop-work of his career. Stringer's ex-convict partner Avon Barksdale (Wood Harris) is back in the picture and bent on eliminating a drug-dealing competitor named Marlo (Jamie Hector), and Baltimore P.D. Major Howard "Bunny" Colvin (Robert Wisdom) tries his own defiantly independent brand of street justice by essentially legalizing drugs in "Hamsterdam," where isolated sections of the city are established as open drug-dealing zones, utterly without the knowledge or approval of Colvin's superiors. As city councilman Tommy Carcetti (Aiden Gillen) plots his own ruthlessly ambitious strategy for the mayor's seat, Baltimore officials, McNulty's wire unit, and the entire Baltimore P.D. stand poised for the inevitable fallout from street-level and executive-level manipulations of power. Of course, this is just the tip of a very large iceberg, as The Wire continues its labyrinthine yet tightly controlled chronicle of over 50 characters, major and minor, who are all flawlessly woven into the fabric of these 12 remarkable episodes. For season 3, series creator David Simon continued to recruit a top-drawer lineup of reputable writers (including novelists Richard Price, Dennis Lehane, and George Pelecanos) and directors (including Ernest Dickerson, Tim Van Patten, and Agnieszka Holland), and by the time a major character is killed in the season's penultimate episode (arguably the series' finest yet), it's clear that The Wire has earned its crown as the most ambitious and intelligent crime drama in the history of American television. DVD extras are excellent, as usual, including five illuminating episode commentaries (an absolute must for devoted fans of the series), a Q&A session with cast & crew moderated by renowned TV critic and author Ken Tucker, and a classroom conversation with Simon that delves deeper into the creative process of the series. Having deservedly earned its renewal for a fourth season (out of a projected five, according to Simon), The Wire delivers surprises aplenty (keep a close watch for startling revelations) while proving, yet again, that cable-TV is the place to be for anyone seeking respite from the relative mediocrity of mainstream network programming. --Jeff Shannon The Wire: The Complete Fourth Season Even if you missed the first three seasons (the character guides and thorough episode recaps on HBO's website are recommended), and with only one season left, it's not too late to get in under The Wire. In fact, season 4 is an accessible introduction for those who know The Wire only by its street cred as arguably the very best show on television. For them especially, this season will be, as befitting its theme, a real education. Without resorting to melodramatics that other ratings-challenged series employ to gain that frustratingly elusive audience, The Wire shakes things up this season in a way that is true to the series and its characters. A major character, Dominic West's McNulty, plays a minor role as a contented street cop and family man, while a former supporting player, Jim True-Frost's Roland Pryzbylewski, goes to the head of the class as a new eighth grade teacher at beleaguered Edward Tilghman Middle School. It may take a couple of episodes to orient yourself to the Baltimore backrooms, squad rooms, classrooms, and street corners where The Wire's intense dramas play out, and new viewers may miss something in character nuance, but they will easily grasp the big picture. A politically motivated shake-up sends Major Crimes detectives Freamon (Clarke Peters) and Greggs (Sonja Sohn) to Homicide. The gloves come off in the mayoral race between black incumbent Clarence Royce (Glynn Turman) and idealistic white challenger Tommy Carcetti (Aidan Gillen). Gang leader Marlo (Jamie Hector) quietly and deliberately becomes the city's new drug kingpin, managing to subvert all surveillance efforts. Meanwhile, while "Prez" tries to reach his students, four highly at-risk kids will be drawn into the drug trade. Mere synopsis does not do The Wire justice. The series deftly juggles its myriad storylines and characters, all of whom make an impression, from Marlo's cold-blooded enforcers, Snoop (Felicia Pearson) and Chris (Gbenga Akinnagbe), to boxing instructor "Cutty" (Chad L. Coleman), determined to keep his young charges off the corners. There is not a false note in the performances or the writing. Richard Price (Clockers) and Dennis Lehane (Mystic River) again contributed episodes. That this series has only been nominated for only one Emmy (for writing) is a travesty. As engrossing as the finest novels and in a class by itself, this isn't television; it's The Wire. --Donald Liebenson The Wire: The Complete Fifth Season A barroom toast to Det. Jimmy McNulty (Dominic West), a one-man good cop/bad cop, offered in The Wire's final episode could very well serve as this series' epitaph: "When you were good, you were the best we had." Season five bears witness to this. The 10 riveting, wrenching episodes focus on yet another beleaguered Baltimore institution, The Baltimore Sun daily newspaper, whose staff, much like the police, is forced to do more with less. One editor (Clark Johnson) struggles to maintain the paper's journalistic standards in the face of declining ad revenues, employee buyouts and bureau closures. An ambitious reporter (Tom McCarthy) undermines him by taking a page out of the Stephen Glass/Jayson Blair playbook, manufacturing sensational quotes, and eventually, whole stories, while bean-counter management encourages its rising star and keeps its eye on the (Pulitzer) prize. Meanwhile, on the streets, the year-long investigation of rising drug lord Marlo Sansfield (Jamie Hector) and the 22 bodies found in "the vacants" has been discontinued and police morale is at an all-time low (the money promised to the department has been diverted to the schools). McNulty manufactures a serial killer case that will have far-reaching repercussions in the mayor's office, where Tommy Carcetti (Aidan Gillen) is mounting a run for governor a mere two years into his term. "I wonder what it would be like to work at a real police station," McNulty rages at one point. The Wire, as ever, is all about real. It's a gritty and unflinching look at life in one of roughest districts of a "broke-ass city." There is street justice for some characters, and street injustice for others. Some meet sad, sudden, or shocking ends that defy TV convention. Referring to Marlo, McNulty declares early on, "He does not get to win; we get to win." The hard-earned victories are mostly small, or come with a price. Not that The Wire does not offer glimmers of hope. Bubbles (Andre Royo) struggles to maintain his sobriety (Steve Earle portrays the leader of his 12-step program and also does the theme song honors this season), and the final episode features a cameo by Jim True-Frost as the once overwhelmed teacher, "Prez," who now seems to have the hang of the job. The ratings-strapped and criminally Emmy-snubbed The Wire has always been a critic's darling with a passionate fan base. To the show's credit, it did not make itself more accessible in its final season (consequently, its send-off did not receive near the fanfare of The Sopranos or Sex and the City). That should not dissuade newcomers to the show. It is heavy lifting, and if you're just joining The Wire, a visit to the show's official website for orientation is recommended. But buy it, watch it, and be patient. It's so worth it. From the masterful storytelling to the peerless ensemble, it just doesn't get any better than The Wire. But that's not exactly news. --Donald Liebenson

All 60 episodes of the series are collected in this 23-disc set that includes exclusive, all-new bonus features. **60 episodes on 23 discs. 60 1/2 hrs.**

Features include: •MPAA Rating: PG•Format: DVD•Runtime: 315 minutes

This follow-up to the surprise Disney hit about a hockey team of misfits brings Emilio Estevez back to the role of the kids' yuppie coach. This time, Estevez assimilates his Ducks into the higher-stakes Team USA in the Junior Goodwill Games, an opportunity that could bring fame and money. Entirely perfunctory, this sequel is basically an excuse to revisit the eccentricities of some of the younger characters, extend some of their conflicts into adolescence, and showcase their allegedly entertaining but ethically dubious abilities on the ice. Estevez is okay, but even he had enough after this movie. --Tom Keogh

In Shaun of the Dead, it was the zombie movie and the anomie of modern life. In Hot Fuzz, Edgar Wright and Simon Pegg set their sights on the buddy cop blockbuster and the eccentric English village. The two worlds collide when overachieving London officer Nicholas Angel (Pegg) is promoted to sergeant. The catch is that he's being transferred to Agatha Christie country. His superiors (the comic trifecta of Martin Campbell, Steve Coogan, and Bill Nighy) explain that he's making the rest of the force look bad. On the surface, Sandford is a sleepy little burg where the most egregious crimes, like loitering, are committed by hoody-sporting schoolboys. In truth, it's a hotbed of Willow Man-style evil. Upon his arrival, Chief Butterman (Jim Broadbent) partners Angel with his daft son, Danny (Nick Frost, Pegg's Shaun co-star), who aspires to kick criminal "arse" like the slick duo in Bad Boys II. When random citizens start turning up dead, he gets his chance. With the worshipful Danny at his side, Angel shows his cake-eating colleagues how things are done in the big city. As in Shaun, their previous picture, Wright and Pegg hit their targets more often than not. With the success of that debut comes a bigger budget for car chases, shoot-outs, and fiery explosions. Though Hot Fuzz earns its R-rating with salty language and grisly deaths, the tone is more good-natured than mean-spirited. A wall-to-wall soundtrack of boisterous British favorites, like the Kinks, T-Rex, and Sweet, contributes to the fast-paced fun. --Kathleen C. Fennessy

The team that brought you "Shaun of the Dead" targets the buddy cop genre with this mix of action and laughs. When London's most revered officer (Simon Pegg) is reassigned to a small, sleepy village and saddled with an inept partner (Nick Frost), he expects to go out of his mind with boredom. That is, until a series of bizarre deaths leads Pegg to believe that the peaceful burg is harboring a grisly secret. Jim Broadbent, Timothy Dalton also star. 121 min. Widescreen (Enhanced); Soundtracks: English Dolby Digital 5.1 EX, French Dolby Digital 5.1 EX, Spanish Dolby Digital 5.1 EX; Subtitles: English (SDH), French, Spanish; audio commentary by Pegg, Wright; deleted scenes; featurettes; outtakes; storyboards; TV spots; theatrical trailers.

If you've joined the tens of thousands across the nation who love playing Phase 10, maybe you're ready to take it up a notch. Not only is this advanced version more challenging, it also comes in a collectible tin. Each player has a set of 10 cards with 10 phases. After a hand is dealt, the players select the phase they think they can complete. As the game progresses, the phases become more challenging. Didn't make the phase? You're out of the game! Comes with 146 cards and instructions, all in a colorful tin. For 2 to 4 players.

Its simple, its fast and it works. bestseller book

Change can be a blessing or a curse, depending on your perspective. The message of Who Moved My Cheese? is that all can come to see it as a blessing, if they understand the nature of cheese and the role it plays in their lives. Who Moved My Cheese? is a parable that takes place in a maze. Four beings live in that maze: Sniff and Scurry are mice--nonanalytical and nonjudgmental, they just want cheese and are willing to do whatever it takes to get it. Hem and Haw are "littlepeople," mouse-size humans who have an entirely different relationship with cheese. It's not just sustenance to them; it's their self-image. Their lives and belief systems are built around the cheese they've found. Most of us reading the story will see the cheese as something related to our livelihoods--our jobs, our career paths, the industries we work in--although it can stand for anything, from health to relationships. The point of the story is that we have to be alert to changes in the cheese, and be prepared to go running off in search of new sources of cheese when the cheese we have runs out. Dr. Johnson, coauthor of The One Minute Manager and many other books, presents this parable to business, church groups, schools, military organizations--anyplace where you find people who may fear or resist change. And although more analytical and skeptical readers may find the tale a little too simplistic, its beauty is that it sums up all natural history in just 94 pages: Things change. They always have changed and always will change. And while there's no single way to deal with change, the consequence of pretending change won't happen is always the same: The cheese runs out. --Lou Schuler

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1961 Topps #24 - Ken Johnson

1968 Topps #342 - Ken Johnson