Paul Green

"I just couldn't design a cookware line without adding a collection of beautiful oven-to-table stoneware. They're essential for some of my favorite recipes, like sweet and savory pies, quick breads and meatloaf, and of course, casseroles galore. I like how they look and feel just like hand-thrown pottery, and the raised swirl pattern makes my heart sing!" - Paula Deen Features: Crafted in a unique swirl pattern, this stoneware baker is designed to bake and entertain Southern style. Each stoneware baker is uniquely glazed so that no two pieces are alike. Ideal for prepping, baking, serving and reheating. Designed for oven use, microwave, refrigerator and freezer use..

Paula Deen's 12-Piece Speckled Porcelain Cookware Set looks gorgeous on the stovetop and cooks beautifully, too. Set includes: 2 3/4-qt covered saut

TP30 Features: -Inspired by one of the greenest cities in the United States.-Material: Melamine.-Dishwasher safe. Dimensions: -Overall dimensions: 4.5'' W x 4.5'' D.

This unique collection of piano and vocal duets by jazz'sreigning queen of the keys, Beegie Adair, and the excitingyoung chanteuse, Jaimee Paul, highlights songs from theturn of the 20th century. With compositions originating fromthe 1860s to the 1930s, this sentimental treasure troveincludes such favorites as Let Me Call You Sweetheart, Sweet& Low, A Pretty Girl Is Like A Melody, Shine On Harvest Moonand many more. Adair's light melodic touch combined withPaul's charming and emotive interpretation of the lyrics ofthese classic compositions creates a historical, yet endearingpiece of musical work from beginning to end.

This unique collection of piano and vocal duets by jazz's reigning queen of the keys, Beegie Adair, and the exciting young chanteuse, Jaimee Paul, highlights songs from the turn of the 20th century. With compositions originating from the 1860s to the 1930s, this sentimental treasure trove includes such favorites as Let Me Call You Sweetheart, Sweet & Low, A Pretty Girl Is Like A Melody, Shine On Harvest Moon and many more. Adair's light melodic touch combined with Paul's charming and emotive interpretation of the lyrics of these classic compositions creates a historical, yet endearing piece of musical work from beginning to end

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The movie version of Kander and Ebb's Chicago was long in the making, but it's well worth the wait. Director Rob Marshall's main change was to turn the classic musical numbers into fantasy sequences, but of course this isn't obvious on CD. Most importantly, the arrangements are bursting with life while being true to the show's spirit, and the casting is simply inspired. Catherine Zeta-Jones actually started her career on the British boards (she was in The Pajama Game and 42nd Street), so her turn as slinky Velma Kelly isn't that surprising; Renée Zellweger as Roxie Hart is more of a leftfield choice, but she shows she can handle the singing demands with pizzazz. The real revelation may well be rapper Queen Latifah, who belts out "When You're Good to Mama" with a marvelous affinity for the material. OK, so the R&B reprise of "Cell Block Tango/He Had It Coming" by Queen Latifah, Macy Gray, and Lil' Kim fails to convince, while Anastacia's "Love Is a Crime" is just blah (rest easy, purists, it's over the end credits). On the other hand, the CD provides two bonuses: "Class," which was cut from the movie, and "I Move On," a great duet written by Kander and Ebb for the final cut. It's really easy to mess up film adaptations of Broadway shows. Happily, Chicago proves it can be done right. --Elisabeth Vincentelli

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Sensing that the Beatles, Stones, and Who were radically transforming rock music by turning it literate and conceptual, Ray Davies decided the Kinks should be his vehicle to explore his unusual longing for a simpler time when the English empire was not in decline. A reliance on English music hall tradition and sentiments indicated in titles such as "Last of the Steam-Powered Trains," "Picture Book," and "Village Green" clearly show Davies's nostalgia streak. Davies's singing has always been rough and non-Kinks fans may have trouble getting past his sloppy pitch. But for those listening closely, the tales are one of a kind. --Rob O'Connor

The Sylvania Motion-Activated Battery-Powered Safety Light lets you add an extra level of safety to almost any area. Battery-powered operation and an indoor/outdoor design mean you can place this bright white LED wherever you need it most. With easy installation, automatic shut-off, and the reliability of LED technology, this light is sure to give you peace of mind.Motion-ActivatedBattery-Powered Safety LightMotion activation provides light when you need it13-foot, 130-degree motion detection rangeBattery power lets you place light anywhereSplash-proof design work indoors and outMount with adhesive, magnetic, or screw hardwareAutomatic shut-off saves energyThis motion-activated LED Light provides a reliable source of light and peace of mind.Battery-Powered LED Works AnywhereThe Sylvania LED Motion Sensor Light is ideal for garages, decks, entryways, hallways, stairways, and any areas where safety and security is a concern. Because it runs on three 'AAA' batteries (included), this LED doesn't require an outlet, so you can install it just about anywhere. It includes hardware for three different mounting options: adhesive, magnetic, or screw mounting, and its splash-proof, indoor/outdoor housing further increases your placement options.This super-bright, versatile LED can even function as a portable flashlight--its possibilities are nearly endless.Illumination When You Need ItThe LED Motion Sensor Light automatically turns on at dark, or it can be set to turn on when it senses motion within a 130-degree, 13-foot radius. You can disable the photo and motion sensor to switch the light to manual mode, and you can set the programmable auto shut-off function (10 seconds) to conserve energy.About Sylvania: Seeing the World in a New LightSince 1901, Sylvania has been a provider of lighting solutions and a broad range of specialty applications for homes, businesses, and automobiles. Sylvania's goal is for everyone to see the world in a new light. Light is vital to life, it enables us to see, grow, work, and play, and it makes life richer and more comfortable. That's why Sylvania develops energy-efficient light sources and systems that deliver comfortable and attractive illumination.What's in the BoxMotion-sensor LED light; three 'AAA' batteries; and mounting hardware for adhesive, magnetic, and screw mounting.The LED Motion Sensor Light automatically turns on at dark, or it can be set to turn on when it senses movement.

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It’s said that the original is the greatest, and there can be no more vivid proof than Raiders of the Lost Ark, the first and indisputably best of the initial three Indiana Jones adventures cooked up by the dream team of Steven Spielberg and George Lucas. Expectations were high for this 1981 collaboration between the two men, who essentially invented the box office blockbuster with ‘70s efforts like Jaws and Star Wars, and Spielberg (who directed) and Lucas (who co-wrote the story and executive produced) didn’t disappoint. This wildly entertaining film has it all: non-stop action, exotic locations, grand spectacle, a hero for the ages, despicable villains, a beautiful love interest, humor, horror… not to mention lots of snakes. And along with all the bits that are so familiar by now--Indy (Harrison Ford) running from the giant boulder in a cave, using his pistol instead of his trusty whip to take out a scimitar-wielding bad guy, facing off with a hissing cobra, and on and on--there’s real resonance in a potent storyline that brings together a profound religious-archaeological icon (the Ark of the Covenant, nothing less than "a radio for speaking to God") and the 20th century’s most infamous criminals (the Nazis). Now that’s entertainment. --Sam Graham

Indiana Jones (Harrison Ford) is no ordinary archeologist. When we first see him, he is somewhere in the Peruvian jungle in 1936, running a booby-trapped gauntlet (complete with an over-sized rolling boulder) to fetch a solid-gold idol. He loses this artifact to his chief rival, a French archeologist named Belloq (Paul Freeman), who then prepares to kill our hero. In the first of many serial-like escapes, Indy eludes Belloq by hopping into a convenient plane. So, then: is Indiana Jones afraid of anything? Yes, snakes. The next time we see Jones, he's a soft-spoken, bespectacled professor. He is then summoned from his ivy-covered environs by Marcus Brody (Denholm Elliott) to find the long-lost Ark of the Covenant. The Nazis, it seems, are already searching for the Ark, which the mystical-minded Hitler hopes to use to make his stormtroopers invincible. But to find the Ark, Indy must first secure a medallion kept under the protection of Indy's old friend Abner Ravenwood, whose daughter, Marion (Karen Allen), evidently has a "history" with Jones. Whatever their personal differences, Indy and Marion become partners in one action-packed adventure after another, ranging from wandering the snake pits of the Well of Souls to surviving the pyrotechnic unearthing of the sacred Ark. A joint project of Hollywood prodigies George Lucas and Steven Spielberg, with a script co-written by Lawrence Kasdan and Philip Kaufman, among others, Raiders of the Lost Ark is not so much a movie as a 115-minute thrill ride. Costing 22 million dollars (nearly three times the original estimate), Raiders of the Lost Ark reaped 200 million dollars during its first run. It was followed by Indiana Jones and the Temple of Doom (1985) and Indiana Jones and the Last Crusade (1989), as well as a short-lived TV-series "prequel."

Even as Bella (Kristen Stewart) prepares to graduate high school, her relationships with the vampiric Edward (Robert Pattinson) and lupine Jacob (Taylor Lautner) grow more complicated. The scourge of a villainous female bloodsucker (Bryce Dallas Howard) growing her undead brood and targeting Bella for revenge leads her romantic rivals into an uneasy partnership to protect her. Third chapter drawn from Stephenie Meyer's "Twilight" series co-stars Billy Burke, Anna Kendrick. AKA: "Eclipse." 124 min. Widescreen (Enhanced); Soundtracks: English Dolby Digital 5.1, Spanish Dolby Digital 5.1; Subtitles: English (SDH), Spanish.

The third installment of Stephenie Meyer's blockbuster vampire series is its most action packed, both in terms of fight scenes and human-vampire-werewolf lovin'. In Eclipse, the vampiric Cullen clan and the werewolves--their sworn enemies--unite against an army of "newborn" vampires, whose remnants of human blood in their veins makes them stronger and more uncontrollable, causing a string of murders in the Seattle area. They've been created by the vengeful vampire Victoria (Bryce Dallas Howard, taking over for Rachelle Lefevre), still keen on destroying human Bella (Kristen Stewart). Thus, Bella is under careful watch, and her undead love Edward (Robert Pattinson) and werewolf best friend Jacob (Taylor Lautner) spend a lot of time arguing over who is the better man for her. (In one hilarious scene where Bella's freezing and only Jacob has the lupine body heat to warm her, he looks over at Edward and cracks, "I am hotter than you." Go Team Jacob!) But there's more at the heart of the triangle than love: Bella, against Edward's warnings, doesn't want to grow older than him and would willingly give up contact with her parents, the chance to grow old with children, and more to be turned into a bloodthirsty vampire. (Jacob's trump card is that Bella wouldn't have to give up her mortality to be with him.) But the unfolding of this love triangle is even clumsier than it was on the page; you're never really convinced Bella has romantic feelings for Jacob, even during their climactic kiss on top of the mountain. This is likely to confuse non-readers of the book series, as Stewart emotes nothing that intones there's a real competition here (clearly, she's Team Edward). Pattinson, on the other hand, appears to have overcome his awkwardness to become a much cooler Edward; Howard, while missing Lefevre's mischief as Victoria, brings her own touch of soft-spoken manipulation; and Billy Burke, as Bella's father Charlie, continues to steal every scene he's in. The other Cullens also get far more play here, notably Rosalie (Nikki Reed), whose revealing back story is touching and tragic, and Jasper (Jackson Rathbone), who trains everyone in combat and who, halfway through the movie, adopts a sudden Southern accent that he didn't have before, once it's revealed he was a Confederate soldier (on a side note, it's mentioned in the books that Jasper can calm the emotions of others, but that trait isn't used in the movie). The climactic fight scene is well staged by director David Slade (30 Days of Night, Hard Candy); the violence, while not bloody, is still more abundant and disturbing than in the previous films; and the sex, while not actually happening between anyone (yet), is certainly on everyone's mind (but Edward wants to get married first). It seems the characters, and the series, are growing up. --Ellen A. Kim