Self Portrait

Build fun craft creations with Cut-able Photo Magnets! These cool photo-holding magnets feature a self-adhesive front on a flexible magnetic back. Simply place your favorite photo directly on the adhesive front then stick the magnet anywhere you like. Plus, you can cut or trim the magnet with a pair of scissors for a totally customized creation! The magnetic sheets measure 8.5" x 11", so they are large enough to accommodate full-sized portraits, or they can easily be trimmed for smaller photo sizes. You can make a photo cutout of the kids to stick on the fridge, trim a photo of your sweetheart for your school locker, or make a magnet of your favorite vacation spot and stick it up at work! These Cut-Able Photo Magnets make fun crafts for families, and great gifts for friends!

The Van Gogh Disappearing Ear Mug celebrates the romantic, yet mad, gesture Van Gogh gave his girlfriend! The next best thing to cutting off your own ear, this Van Gogh Mug only requires you to pour in 10 oz of your favorite hot beverage and watch Vincent Van Gogh's ear disappear! Comes in a full color gift box, making it an easy gift for the artist in your life. Mug measures 3 1/4" in diameter.

This officially licensed 12 ounce ceramic mug features a colorful, cartoon self portrait of John Lennon. The mug measures approximately 3.25" wide by 4.25" long by 3.8" tall by 3.5" deep with the mug handle.

Mercurial bassist and bandleader Charles Mingus was signed to Columbia Records for the briefest of time during 1959. His Columbia recordings, however, remain some of the most inspired, mood-jumping jazz in history. The flowing sadness of "Goodbye Porkpie Hat" (unedited here for the first time on CD!) rings like a funeral chorus that pitches headlong into a celebration of Lester Young's life and improvising flexibility, rather than his death. And there's the funky furnace blast of "Boogie Stop Shuffle" (also unedited!), which reaches its glory with Booker Ervin's Texas tenor sax, wrapped tight in bluesy tone. With the index of emotions captured, these songs nail why Mingus is possibly the most relevant jazzer for the '90s generation. He swings and shouts and hollers and somersaults. His tunes either induce foot-stomping with their intensity or reach for poignant yearning with their lyrical tapestry of orchestral colors. --Andrew Bartlett

Our Seller's Notes and Fine Print :...PLEASE NOTE CAREFULLY THIS SALE IS ONLY FOR DISC ITSELF, FRONT INSIDE INSERT...

She was famous as both artist and model, infamous as political revolutionary and social libertine, and Frida Kahlo's controversial life couldn't help but seem the stuff of great musical theater. Her story is brought to the screen by director Julie Taymor, whose musical compatriot here is also her husband; Elliot Goldenthal, student of both Copland and Corigliani, shrewdly sublimates his modernism in service of the rich, evocative music and songs of Mexico and Central America. Utilizing performers that range from the contemporary (Lila Downs) to the folk-classic (Costa Rican legend Chavela Vargas; Brazilian star Caetano Veloso) and traditional (Los Cojolites, El Poder Del Norte, Trio Huasteca, Caimanes de Tanquin, and others), Goldenthal generously displays the true breadth of Mexican folk music, while seamlessly infusing it with the minimalist corners of his own underscore and some winning songwriting of his own. The result is one of 2002's most compelling soundtracks. The enhanced CD features include musical film excerpts, as well as a video conversation between Goldenthal and star Salma Hayek and text interviews with the composer and director Taymor. --Jerry McCulley

SOUNDTRACK FRIDA

Self Portrait stands as a truly perverse collection. Released in 1970 at a time when those on the radical left were hungering for their then-unimpeachable hero to reclaim his role as the conscience of his generation, Bob Dylan instead delivered a pop-inflected collection largely made up of rather indifferently performed covers. Youth culture was at a boiling point and the one figure the vanguard of The Movement hoped would galvanize all those street-fighting men and women was . . . crooning "Blue Moon"? In hindsight, Self Portrait is, at best, pleasant. The uncharacteristically lush likes of "All The Tired Horses," "Wigwam," and "Copper Kettle" are mighty nice, in fact. But then the tepid covers of "The Boxer," "Early Mornin' Rain," and "Gotta Travel On," as well as perplexingly lifeless live versions of "Like a Rolling Stone" and "She Belongs to Me" drag the whole set down and leave one wondering what Dylan was thinking when he selected such a provocative title for such an unrevealing album. --Steven Stolder

One of the most controversial albums in Bob Dylan's remarkable catalog, the 1970 double-LP Self Portrait continues to exercise a considerable fascination amongst Dylan devotees. Released on the heels of the artist's gamechanging Nashville Skyline, Self Portrait offered a quirky assortment of studio and live tracks, encompassing Dylan originals as well as covers of familiar pop and folk numbers, recorded with an all-star musical cast. At the time of its original release, the sprawling, unconventional Self Portrait generated an immense amount of discussion and disagreement amongst Dylan's admirers. The ongoing controversy surrounding the album has been fueled over the years by Dylan himself. At various times, Dylan has defended Self Portrait as a heartfelt artistic statement, dismissed it as a joke and described it as a concerted effort to escape the pressures of his unwanted status as the voice of a generation. Whatever the artist's actual intentions, Self Portrait retains a unique niche in the hearts of Dylan devotees, and is often cited as an early landmark in the birth of alternative country. Self Portrait's highlights include the Dylan originals "Wigwam," later featured in the Wes Anderson film The Royal Tenenbaums; "Living the Blues," subsequently covered by artists ranging from Leon Redbone to Antony Hegarty; and "The Mighty Quinn (Quinn the Eskimo)," which Manfred Mann had turned into a British Invasion hit in 1968. The latter song is one of a quartet of live tracks drawn from Dylan's legendary performance with The Band at the historic Isle of Wight festival, along with memorable versions of the Dylan standards "Like a Rolling Stone," "Minstrel Boy" and "She Belongs to Me." Also featured are Dylan's readings of a variety of outside material, ranging from his iconic interpretation of the rural folk song "Copper Kettle" to his distinctive takes on such familiar tunes as Paul Simon's "The Boxer," Gordon Lightfoot's "Early Mornin' Rain" and the vintage Everly Brothers hits "Let It Be Me" and "Take a Message to Mary." Sundazed has restored this one-of-a-kind release to its original double-LP format. Mastered from the original analog master tapes, the album is pressed on high-quality, high-definition vinyl, with meticulously reproduced original gatefold cover art.

Slapping together bizarre new songs, apparent parodies (as with Paul Simon's The Boxer ) and Basement Tapes outtakes, this 1970 double-album seemed designed to confuse-yet it still hit #4! Versions of Like a Rolling Stone; The Mighty Quinn , and It Hurts Me Too join All the Tired Horses; Wigwam; Woogie Boogie , and more.

Jean-Luc Godard's most recent filmic adventure into the past and future of cinema is...JLG/JLG. Godard stars in JLG/JLG as a fictional character of his own creation musing about in his home in Rolle, Switzerland. In the dead of winter, he suffers the rude interruption of criticcs and the cheeky services of a pretty maid, while contemplating the end of western culture, cinema and his own mortality. A busy day...but still with time for tragedy, tennis and television.

Hepburn is both subject and host of a unique self-portrait which includes numerous excerts from her films.

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Faucet Hole Spacing:3 Holes - 8' Center, Finish/Color:White Portrait Self-Rimming LavatoryCharming, traditional styling integrates with the Portrait Suite. Choice of Single Hole faucet drilling, 4' centers, or 8' centers Crafted of Vitreous China to provide a durable, non-porous product with a hard, glossy finish Will Comply with the Americans with Disabilities Act when installed per requirements of the accessibility Guidelines, Section 4.19 Lavatories & Mirrors, of the Act Water Depth: 5'Note: Faucet and drain not included.

If you like taking pictures of yourself -- or pictures of friends and family that include yourself -- there's no substitute for the new Photo Wand! Photo Wand is an easy-to-use telescoping camera mount -- you attach your camera to the end of it (it screws into the tripod socket on the bottom of your camera), press the self-timer button, extend it, and say cheese. There's no simpler way for you to get in pictures.There are many times when there's no safe or convenient place to put a camera on top of a tripod. And digital cameras are just too expensive to trust handing them over to some stranger to take a picture of you and your friends. That's when you'll really be glad you brought your Photo Wand with you. Whether you want to put your face on My Space or anywhere else in cyberspace -- or just want pictures for your photo album -- you will love the Photo Wand. It's great for parties and after work get-togethers and everyone wants to be in the picture. No more having to choose who gets left out of the picture.The old fashioned way of holding the camera at arm's length just doesn't do the trick. Your arm's too short to get a complimentary picture -- when the camera is too close, the perspective is distorted and the flash is too harsh -- faces tend to look like they belong in a horror movie. The Photo Wand will give you a self-portrait that won't scare people off. Guaranteed. (Well, not really. But it really does take a better picture than having the camera too close to your face). The Photo Wand extends all the way out to more than 27 inches. Besides self-portraits, it's terrific for shooting over people's heads when you're in a crowd or when you want to get a bird's eye view of a scene. There's also the opportunity to have a lot of fun in surprising your friends and family by unexpectedly taking candid shots of them from around corners with the Photo Wand. Only the boundary of your imagination limits how much fun you can have with Photo Wand!

After a 10-year break from the role that made him a TV superstar, Peter Falk returned as rumpled LAPD homicide detective Lt. Columbo in 1989, appearing in feature-length episodes of The ABC Mystery Movie. The first five of those TV movies are collected here as the Mystery Movie Collection 1989 comprising what is essentially the long-delayed "eighth season" (and part of the ninth) of Columbo, the popular series that made its debut on NBC in 1971. Now signed to ABC with a lucrative new contract, Falk returned to his iconic role as if he'd never left, still wearing the same worn-out overcoat, still driving the same old 1959 Peugeot rust-bucket (with his lazy Bassett Hound "Dog" in the passenger seat), still making frequent references to the never-seen "Mrs. Columbo," and still annoying nervous murder suspects with his politely cunning approach to solving homicides in Los Angeles. As created by TV mystery masters Richard Levinson and William Link, the Columbo series was nothing if not formulaic, but the fun of watching these 93-minute TV movies comes from seeing how that formula still works like a charm: The first half-hour shows how the killers commit and conceal their crimes (Columbo is a police procedural, not a whodunit), and the remaining hour shows Columbo grilling his suspects, slowly turning up the heat until the killer's goose is summarily cooked. With his trademark line "Just one more thing...," Falk fits his role like an old shoe, and the show's writers played on the character's beloved status by milking humor from Columbo's well-established mannerisms, such as leaving the room after gently probing suspects for telling clues, then returning (after a pregnant pause) to deliver "one more thing "--his crime-solving coup de grace (aptly referred to by Rockford Files creator Stephen J. Cannell as Columbo's trademark "dart to the heart.") The Mystery Movie Collection emphasizes a colorfully Southern Californian element of crime and eccentricity, from the beheading of a magician in "Columbo Goes to the Guillotine" (with Anthony Andrews hamming it up as the killer) to the malicious misdeeds of "Murder, Smoke and Shadows," in which Spielbergian movie-mogul wunderkind (Fisher Stevens) stages an electrocution murder on the backlot of Universal Studios. "Sex and the Married Detective" is a lightly comedic film noir send-up, in which a sex therapy radio-host (Lindsay Crouse) invents a sexy alter ego to eliminate her cheating lover. In "Grand Deceptions," Robert Foxworth's misdeeds on a military training base aren't clever enough to fool Columbo, and in "Murder: A Self Portrait," Patrick Bachau plays a selfish lothario with three lovers (wife, ex-wife, and girlfriend) who decides that three's a crowd and his ex (Fionnula Flanagan) has got to go! Clever enough to hold anyone's attention, these murders are smartly conceived and entertainingly solved, and the performances and direction are uniformly strong. But the obvious appeal of Columbo is Columbo himself, and with Falk in the role he was born to play (even though it was originally offered to Bing Crosby!), the character remained so popular that he appeared in 19 more TV movies between 1990 and 2003. The Mystery Movie Collection includes one DVD bonus feature: a 30-minute tribute to "America's Top Sleuths," as chosen in a 2007 online survey by viewers of the newly-launched Sleuth TV network. Columbo ranks #2 (out of 10), a close runner-up to Tom Selleck's Magnum P.I. --Jeff Shannon

Legendary Peter Falk is back checking his pockets for clues as everyone's favorite trenchcoat wearing Police Lieutenant in five immensely popular TV movies on DVD for the first time ever in the Columbo TV Movie Collection 1989. Smart, witty and entertaining, Columbo is on the beat of unlikely criminals who always think they can outsmart TV's most probing and perceptive detective. Join a dossier of guest stars, including Fisher Stevens and Lindsay Crouse, in this landmark TV movie set that opens a new chapter on the Columbo legacy! Disc One "Columbo Goes to the Guillotine" There's much more than meets the eye when Columbo investigates the death of a magician who supposedly was killed by one of his own clever magic tricks. "Murder, Smoke and Shadows" Columbo searches for clues on the cutting-room floor when he suspects a high-powered film director of hiding evidence of murder. Disc Two "Sex and the Married Detective" Does the heart rule the head, or vice versa? Columbo ponders the answer to this timeless question and others when he must out-wit a sex therapist involved in a crime of passion. "Grand Deceptions" Rank and reputation prove to be particularly difficult obstacles when Columbo looks into the murder of a respected military General by one of his overly-ambitious Colonels. Disc Three "Murder, a Self Portrait" It's no murder-by-numbers when Columbo investigates the deadly relationships between a savvy artist, his troubled ex-wife, his attention-starved current wife, and his live-in model. Starring: Peter Falk

Four of director David Lean's adaptations of writer Noel Coward's plays are collected in this set. First, Lean's debut solo directorial effort, "This Happy Breed" (1944) is a fine, understated drama that looks at a typical, working-class British household and how it's affected by the events of the years between World Wars I and II. Robert Newton, Celia Johnson, John Mills, and Kay Walsh star. Then, Coward adapted his own witty stage farce for this (literally) spirited screen version of "Blithe Spirit" (1945). Rex Harrison is a writer whose research into the occult leads him to muddled medium Margaret Rutherford, who accidentally conjures up the ghost of Harrison's first wife. Kay Hammond co-stars as the trouble-making spectre. Four-disc set also includes the Criterion Collection versions of "In Which We Serve" and "Brief Encounter" (1945). 6 3/4 hrs. total. Standard; Soundtrack: English PCM mono; "making of" featurettes; audio commentary; interviews; bonus TV episode; documentary "David Lean: A Self Portrait" (1971); theatrical trailers; booklet.

Joseph Campbell, author of The Hero with a Thousand Faces, a scholar who achieved legendary status as an explicator of myths, is reverently profiled in this documentary that encompasses his long life and career. During his childhood in New York City, Campbell was taken to see "Buffalo Bill" Cody's Wild West Show at Madison Square Garden. Young Campbell was fascinated by the Native Americans in Cody's performing troupe and eventually became obsessed with mythology. As he came to realize that myths worldwide had the same underpinnings, he also discovered his life's work. This documentary mentions Campbell's affinity for the writings of James Joyce and Carl Jung, and there is ample footage of Campbell, casual in flannel shirts, giving lectures salted with references to Buddhism, Christianity, classical mythology, St. Augustine, and the rituals of plains Indians. In later life, Campbell is seen being honored at a banquet at which George Lucas rises to give him credit for helping to inspire the writing of Star Wars. After Campbell's death in 1987, heated controversies arose about his work, but this documentary is an overwhelmingly positive look at his writings, lectures, and personality. --Robert J. McNamara

The ideals that guided the life of teacher/author/mythologist Joseph Campbell are presented through interviews and classroom sessions. The teachings repeat a basic thread of Campbell's writing, that every life fulfills a mythic model and each person casts themselves as hero or pawn. 57 min. Standard; Soundtrack: English.