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The joke of Licensed to Ill's cover--that the Beasties could crash their jet into the side of a mountain and keep on tickin'--serves as a good metaphor for a career that even some of their 1986 admirers thought might be over after the one-time-only shock of this full-length debut. That thousands of funk-junkie wannabes have since failed at re-creating its groove, breaking-the-law vibe, and ear-splitting mix of rock and rap is an even better joke. And funniest of all is the record itself, which packs dexterous boasts, aural puns, and lots and lots of yelling into a disc that can still be listened to with as much pleasure as it gave in '86. --Rickey Wright

BEASTIE BOYS LICENSED TO ILL

BEATLES THE ALBUM BLANCO (2CD) (EDICION LIMITADA)

Better known as the "White Album," this was meant to be the record that brought them back to earth after three years of studio experimentation. Instead, it took them all over the place, continuing to burst the envelope of pop music. Lennon and McCartney were still at the height of their powers, with Lennon in particular growing into one of rock's towering figures. But even McCartney could still rock, and the amazement on "Helter Skelter" was that he had vocal cords at the end. From Beach Boys knock-offs to reggae and to the unknown ("Revolution #9"), this has it all. Some records have legend written all over them; this is one. --Chris Nickson

2009 Collection Of Jonathan Richman Songs, Sung In Spanish (Most), French, Italian, And English. All Songs Were Recorded Between Jonathan'S Home In San Francisco And Tarifa (Spain), Right By The Gibraltar Strait And Just A Step From Africa. The Idea For This Album Is To Offer Songs Like 'Vampiresa Mujer (Woman Vampire)' To The Spanish Audiences, As Finding His Records In The Spanish Shops Is No Easy Task. This Album Features Some Previously Recorded Songs As Well As New Cuts. 12 Tracks.

Seven-disc set includes "Star Trek: The Motion Picture," "Star Trek II: The Wrath of Khan," "Star Trek III: The Search for Spock," "Star Trek IV: The Voyage Home," "Star Trek V: The Final Frontier," "Star Trek VI: The Undiscovered Country," and a disc full of extras.

Star Trek I : The Original Motion PictureBack when the first Star Trek feature was released in December 1979, the Trek franchise was still relatively modest, consisting of the original TV series, an animated cartoon series from 1973-74, and a burgeoning fan network around the world. Series creator Gene Roddenberry had conceived a second TV series, but after the success of Star Wars the project was upgraded into this lavish feature film, which reunited the original series cast aboard a beautifully redesigned starship U.S.S. Enterprise. Under the direction of Robert Wise (best known for West Side Story), the film proved to be a mixed blessing for Trek fans, who heatedly debated its merits; but it was, of course, a phenomenal hit. Capt. Kirk (William Shatner) leads his crew into the vast structures surrounding V'Ger, an all-powerful being that is cutting a destructive course through Starfleet space. With his new First Officer (Stephen Collins), the bald and beautiful Lieutenant Ilia (played by the late Persis Khambatta) and his returning veteran crew, Kirk must decipher the secret of V'Ger's true purpose and restore the safety of the galaxy. The story is rather overblown and derivative of plots from the original series, and avid Trekkies greeted the film's bland costumes with derisive laughter. But as a feast for the eyes, this is an adventure worthy of big-screen trekkin'. Douglas Trumbull's visual effects are astonishing, and Jerry Goldmith's score is regarded as one of the prolific composer's very best (with its main theme later used for Star Trek: The Next Generation). And, fortunately for Star Trek fans, the expanded 143-minute version (originally shown for the film's network TV premiere) is generally considered an improvement over the original theatrical release. --Jeff ShannonStar Trek II :The Wrath of KhanAlthough Star Trek: The Motion Picture had been a box-office hit, it was by no means a unanimous success with Star Trek fans, who responded much more favorably to the "classic Trek" scenario of Star Trek II: The Wrath of Khan. Inspired by the "Space Seed" episode of the original TV series, the film reunites newly promoted Admiral Kirk with his nemesis from the earlier episode--the genetically superior Khan (Ricardo Montalban)--who is now seeking revenge upon Kirk for having been imprisoned on a desolated planet. Their battle ensues over control of the Genesis device, a top-secret Starfleet project enabling entire planets to be transformed into life-supporting worlds, pioneered by the mother (Bibi Besch) of Kirk's estranged and now-adult son. While Mr. Spock mentors the young Vulcan Lt. Saavik (then-newcomer Kirstie Alley), Kirk must battle Khan to the bitter end, through a climactic starship chase and an unexpected crisis that will cost the life of Kirk's closest friend. This was the kind of character-based Trek that fans were waiting for, boosted by spectacular special effects, a great villain (thanks to Montalban's splendidly melodramatic performance), and a deft combination of humor, excitement, and wondrous imagination. Director Nicholas Meyer (who would play a substantial role in the success of future Trek features) handles the film as a combination of Moby Dick, Shakespearean tragedy, World War II submarine thriller, and dazzling science fiction, setting the successful tone for the Trek films that followed. --Jeff ShannonStar Trek III : The Search for Spock You didn't think Mr. Spock was really dead, did you? When Spock's casket landed on the surface of the Genesis planet at the end of Star Trek II, we had already been told that Genesis had the power to bring "life from lifelessness." So it's no surprise that this energetic but somewhat hokey sequel gives Spock a new lease on life, beginning with his rebirth and rapid growth as the Genesis planet literally shakes itself apart in a series of tumultuous geological spasms. As Kirk is getting to know his estranged son (Merritt Butrick), he must also do battle with the fiendish Klingon Kruge (Christopher Lloyd), who is determined to seize the power of Genesis from the Federation. Meanwhile, the regenerated Spock returns to his home planet, and Star Trek III gains considerable interest by exploring the ceremonial (and, of course, highly logical) traditions of Vulcan society. The movie's a minor disappointment compared to Star Trek II, but it's a--well, logical--sequel that successfully restores Spock (and first-time film director Leonard Nimoy) to the phenomenal Trek franchise...as if he were ever really gone. With Kirk's willful destruction of the U.S.S. Enterprise and Robin Curtis replacing the departing Kirstie Alley as Vulcan Lt. Saavik, this was clearly a transitional film in the series, clearing the way for the highly popular Star Trek IV. --Jeff ShannonStar Trek IV : The Voyage Home Jumping on to the end-of-the-century bandwagon a little early, Paramount Pictures released 10 of their top films in one 10-pack, the Millennium Collection, in 1998. All the films are presented in their widescreen editions; one, Breakfast at Tiffany's, is offered in this format for the first time. The set includes 5 Best Picture Oscar winners and films that took home an additional 33 Academy Awards. All the tapes are available to buy individually. The pack, with a handsome mosaic of faces from the movies, also features collector gift cards (a movie version of baseball cards) and a commemorative booklet detailing the productions of all 10 films. The collection is oddly weighted toward the last 25 years, offering only one film from the 1950s and one from the 1960s. Your taste in current cinema will define the value of the set. Besides Tiffany's, one of Audrey Hepburn's finest films, the collection contains: The Ten Commandments with Charlton Heston, Grease with John Travolta, Francis Ford Coppola's Apocalypse Now and The Godfather, the funny, whale-saving Star Trek IV--The Voyage Home, Tom Cruise's hit Top Gun, the smash hit Ghost with Demi Moore, Mel Gibson's Celt fest Braveheart, and Forrest Gump with Tom Hanks. --Doug ThomasStar Trek V :The Final FrontierMovie critic Roger Ebert summed it up very succinctly: "Of all of the Star Trek movies, this is the worst." Subsequent films in the popular series have done nothing to disprove this opinion; we can be grateful that they've all been significantly better since this film was released in 1989. After Leonard Nimoy scored hits with Star Trek III and IV, William Shatner used his contractual clout (and bruised ego) to assume directorial duties on this mission, in which a rebellious Vulcan (Laurence Luckinbill) kidnaps Federation officials in his overzealous quest for the supreme source of creation. That's right, you heard it correctly: Star Trek V is about a crazy Vulcan's search for God. By the time Kirk, Spock, and their Federation cohorts are taken to the Great Barrier of the galaxy, this journey to "the final future" has gone from an embarrassing prologue to an absurd conclusion, with a lot of creaky plotting in between. Of course, die-hard Trekkies will still allow this movie into their video collections; but they'll only watch it when nobody else is looking. After this humbling experience, Shatner wisely relinquished the director's chair to Star Trek II's Nicholas Meyer. --Jeff ShannonStar Trek VI : The Undiscovered CountryStar Trek V left us nowhere to go but up, and with the return of Star Trek II director Nicholas Meyer, Star Trek VI restored the movie series to its classic blend of space opera, intelligent plotting, and engaging interaction of stalwart heroes and menacing villains. Borrowing its subtitle (and several lines of dialogue) from Shakespeare, the movie finds Admiral Kirk (William Shatner) and his fellow Enterprise crew members on a diplomatic mission to negotiate peace with the revered Klingon Chancellor Gorkon (David Warner). When the high-ranking Klingon and several officers are ruthlessly murdered, blame is placed on Kirk, whose subsequent investigation uncovers an assassination plot masterminded by the nefarious Klingon General Chang (Christopher Plummer) in an effort to disrupt a historic peace summit. As this political plot unfolds, Star Trek VI takes on a sharp-edged tone, with Kirk and Spock confronting their opposing views of diplomacy, and testing their bonds of loyalty when a Vulcan officer is revealed to be a traitor. With a dramatic depth befitting what was to be the final movie mission of the original Star Trek crew, this film took the veteran cast out in respectably high style. With the torch being passed to the crew of Star Trek: The Next Generation, only Kirk, Scotty, and Chekov would return, however briefly, in Star Trek: Generations. --Jeff Shannon

This restored, animated valentine to the Beatles offers viewers the rare chance to see a work that's been substantially improved by its technical facelift, not just supersized with extra footage. Recognizing that its song-studded soundtrack alone makes Yellow Submarine a video annuity, United Artists has lavished a frame-by-frame refurbishment of the original feature, while replacing its original monaural audio tracks with a meticulously reconstructed stereo mix that actually refines legendary original album versions. What emerges is a vivid time capsule of the late '60s and a minor milestone in animation. The music represents the quartet's zenith--Rubber Soul, Revolver, and Sgt. Pepper's Lonely Hearts Club Band. The story line, cobbled together by producer Al Brodax and a committee of writers, is a broad, feather-light allegory set in idyllic Pepperland, where the gentle citizens are threatened by the nasty, music-hating Blue Meanies and their surreal arsenal of henchmen, with the Beatles enlisted to thwart the bad guys. Visually, designer Heinz Edelmann mixes the biomorphic squiggles, day-glo palette, and Beardsley-esque portraits of Peter Max with rotoscoped still photographs and film; Edelmann's animated collages also nod to Andy Warhol and Magritte in properly psychedelic fashion, which works wonderfully with such terrific songs. High orthodox Beatlemaniacs can still grouse that the animated Fab Four are (literally) flat archetypes, but that's missing the sheer bloom of the music or the giddy, campy fun of the visuals. Making sense of the story is second to submerging blissfully in the sights and sounds of this video treat. --Sam Sutherland

The wonderful Leslie Caron stars in this Oscar-winning musical fable with a touch of the bizarre. Caron plays Lili, a recently orphaned waif hopelessly in love with a carnival magician. Mel Ferrer plays Paul, a gruff puppeteer who can express his softer side only through his puppets. Sound weird? It is. Caron's performance is lovely. She is, as always, a graceful dancer, but she is also able to pull off the much more difficult task of making Lili pure and innocent without being icky--she talks to Paul's puppets with complete conviction. (The puppets, by the way, are incredibly creepy.) Younger viewers will take Lili at face value, but adults may well get sucked into its unintentional dark side: homelessness, suicide, emotional repression, and giant dancing puppets all come into play. Also enjoyable is Zsa Zsa Gabor, who does a great job standing around looking pretty as the magician's assistant. --Ali Davis

A shy young orphan who learns the truth about love with the help of a crippled puppeteer (Mel Ferrer).

WallMonkeys wall graphics are printed on the highest quality re-positionable, self-adhesive fabric paper. Each order is printed in-house and on-demand. WallMonkeys uses premium materials & state-of-the-art production technologies. Our white fabric material is superior to vinyl decals. You can literally see and feel the difference. Our wall graphics apply in minutes and won't damage your paint or leave any mess. PLEASE double check the size of the image you are ordering prior to clicking the 'ADD TO CART' button. Our graphics are offered in a variety of sizes and prices. WallMonkeys are intended for indoor use only. Printed on-demand in the United States Your order will ship within 3 business days, often sooner. Some orders require the full 3 days to allow dark colors and inks to fully dry prior to shipping. Quality is worth waiting an extra day for! Removable and will not leave a mark on your walls. Our catalog of over 10 million images is perfect for virtually any use: school projects, trade shows, teachers classrooms, colleges, nurseries, college dorms, event planners, and corporations of all size.

WallMonkeys wall graphics are printed on the highest quality re-positionable, self-adhesive fabric paper. Each order is printed in-house and on-demand. WallMonkeys uses premium materials & state-of-the-art production technologies. Our white fabric material is superior to vinyl decals. You can literally see and feel the difference. Our wall graphics apply in minutes and won't damage your paint or leave any mess. PLEASE double check the size of the image you are ordering prior to clicking the 'ADD TO CART' button. Our graphics are offered in a variety of sizes and prices. WallMonkeys are intended for indoor use only. Printed on-demand in the United States Your order will ship within 3 business days, often sooner. Some orders require the full 3 days to allow dark colors and inks to fully dry prior to shipping. Quality is worth waiting an extra day for! Removable and will not leave a mark on your walls. Our catalog of over 10 million images is perfect for virtually any use: school projects, trade shows, teachers classrooms, colleges, nurseries, college dorms, event planners, and corporations of all size.

SIZE: 5 feet wide - Wall Graphic of Paul Revere. Revere was an important figure in the Revolution for his role as a messenger. Paul revere was well known for his "midnight ride" , where he warns the Americans of the British arrival on his horse. He was a skilled silversmith and later recognized the potential for manufacturing metal in large-scale. This product is made in the USA and produced in 7 to 10 business days plus the shipping time to your location. This contour cut repositionable vinyl decal is printed on Phototex film.

In the wake of Guy Ritchie's reimagining, the BBC puts its own stamp on Arthur Conan Doyle's sleuth--and sets him in a London filled with cell phones and laptops. In the pilot, director Paul McGuigan (a keen visual stylist) introduces Sherlock Holmes (Atonement's Benedict Cumberbatch) as a "high-functioning sociopath" and Dr. John Watson (The Office's Martin Freeman) as an army veteran with posttraumatic stress disorder. Through a mutual friend, the two become flatmates at 221B Baker Street (Una Stubbs plays their landlady). Holmes, who consults with Scotland Yard inspector Lestrade (Rupert Graves) on his trickier cases, drafts Watson to assist him. In "Study in Pink," four people commit suicide by poison. When Holmes sets out to establish a link, he falls right into the culprit's clutches. Other cases concern a smuggling operation ("The Blind Banker") and a mad bomber ("The Great Game"). Though he doesn't make a formal entrance until episode three, an infamous figure from Sherlock's future has a hand in each mystery, while the detective's brother, Mycroft (co-creator Mark Gatiss), first appears when he tries to hire Watson for a case of his own, an offer that gives the good doctor pause. Through his job at a medical office, Watson also meets Sarah (Zoe Telford), who becomes his girlfriend. Part of the fun of Jeremy Brett's Holmes (and Agatha Christie's Poirot) came from the period details, so this update takes a little getting used to--as does the occasional mumbled line--but Cumberbatch and Freeman share an enjoyable Odd Couple rapport, marked by flashes of deadpan wit, which compensates for the absence of deerstalker caps (Holmes favors scarves) and journals (Watson maintains a website). Extras include commentary on the finale, the original pilot, and a featurette, in which cocreator Steven Moffat (Doctor Who) notes that Cumberbatch was his only choice for the title role. --Kathleen C. Fennessy

Two-disc set includes the pilot, "A Study in Pink," "The Blind Banker," and "The Great Game." 7 2/3 hrs. total. Standard; Soundtrack: English Dolby Digital stereo; Subtitles: English; audio commentary; featurette. **4 episodes on 2 discs. 7 2/3 hrs.**

All 13 episodes from season two--including "Seven Thirty-Seven," "Bit by a Dead Bee," "Negro y Azul," "Mandala," and "ABQ"--are featured in a four-disc set. 10 1/4 hrs. total. Widescreen (Enhanced); Soundtrack: English Dolby Digital 5.1; Subtitles: French; audio commentary; deleted scenes; featurettes; music video; webisodes; photo gallery; gag reel; more. **13 episodes on 4 discs. 10 1/4 hrs.**

As Breaking Bad's first year concluded, chemistry teacher Walt (two-time Emmy-winner Bryan Cranston) and his meth-making partner, Jesse (Emmy-nominee Aaron Paul), hooked up with drug kingpin Tuco (Raymond Cruz), and the money started to roll in. They expected some degree of danger--but not a homicidal maniac. When DEA agent Hank (Dean Norris) starts to close in on Tuco, he kidnaps the duo, who eventually escape, but the experience creates a host of new complications, leaving Jesse temporarily homeless and driving a wedge between Walt and his pregnant wife, Skyler (Anna Gunn), and their 15-year-old son, Walt Jr. (R. J. Mitte). In his commentary, creator Vince Gilligan explains that the "chickens come home to roost" in season 2 as Walt's criminal activity catches up with him. In effect, he lives out the psychological version of The Fly, with his double life merging into one, such that he starts to become as ruthless as Tuco. Hank, meanwhile, gets a promotion that expands his jurisdiction to El Paso, while Skyler takes an accounting job that could cause her to "break bad" in season 3. If this AMC hit lacked a sense of humor, it just might be too hard to take. Aside from Walt's incurable illness and Hank's post-traumatic stress disorder, there's a head crushing, a shooting, an explosion, and an overdose. Though Walt and Skyler get few humorous moments, Jesse, Hank, and ambulance-chasing attorney Saul (Mr. Show's Bob Odenkirk, an inspired addition) make the most of theirs. Jesse even gets a girlfriend (Krysten Ritter), who comes with a wary father (John de Lancie)--but there's still more shadow than light (not counting those panoramic desert shots). Strong stuff, but it's impossible to look away. Extensive extras include commentaries, deleted scenes, and featurettes on every episode. --Kathleen C. Fennessy Stills from Breaking Bad: The Complete Second Season (Click for larger image)