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Petmate by Aspen Pet Take Two Adjustable Leash Extension - Dog Leashes Two dogs? One leash? No problem!The Double Doggie Story:While walking the family's two dogs, 11-year-old Preston Mann saw how easily the two separate leashes kept getting tangled. As a result, Preston invented a Y-shaped, dual dog leash with a tangle-free swivel joint, proving you are never too young to be brilliant.

Petmate by Aspen Pet Take Two Adjustable Leash with Cushion Grip - Dog Leashes from PETCO.com Two dogs? One leash? No problem!The Double Doggie Story:While walking the family's two dogs, 11-year-old Preston Mann saw how easily the two separate leashes kept getting tangled. As a result, Preston invented a Y-shaped, dual dog leash with a tangle-free swivel joint, proving you are never too young to be brilliant.

Cy Coleman and David Zippel's City of Angels is a seductive depiction of 1940s Los Angeles, capturing swinging jazz, torchy ballads, witty lyrics, and even a Manhattan Transfer-like Greek chorus (arranged by ManTran guru Yaron Gershovsky). James Naughton and Gregg Edelman star as Stone and Stine, respectively a tough Raymond Chandleresque PI and the writer who dreams up his adventures. Randy Graff plays Stone's long-suffering secretary and Dee Hoty the requisite femme fatale. Loads of atmosphere and tasty songs such as "What You Don't Know About Women," "With Every Breath I Take," "You're Nothing Without Me," and "You Can Always Count on Me" make City of Angels a modern classic. It won 1990 Tony Awards for Best Musical, Leading Actor (Naughton), Featured Actress (Graff), Best Book (Larry Gelbart), and Best Original Score. --David Horiuchi

City Of Angels: Original Broadway Cast Recording - VariousThis product is manufactured on demand using CD-R recordable media. Amazon.com's standard return policy will apply.

Emily Robison and Martie Maguire of The Dixie Chicks are releasing new music under the moniker Court Yard Hounds. The Court Yard Hounds' profoundly evocative songs tell stories woven into melodies that are both individual and universal. Robison is the lead vocalist and primary writer on most of the tracks, although Maguire takes over the lead on her own solo composition, "Gracefully". The new music spans sounds of folk, country, rock and Americana and includes a collaboration with Jakob Dylan on "See You in the Spring", the wry tale of a couple from the northernmost and southernmost parts of the country who find their biggest obstacle is climatic. The deluxe edition of Court Yard Hounds includes a behind-the-scenes DVD and two exclusive bonus tracks. Track listing: 1. Skyline 2. The Coast 3. Delight (Something New Under The Sun) 4. See You In The Spring (Duet With Jakob Dylan) 5. Ain't No Son 6. Fairytale 7. I Miss You 8. Gracefully 9. April's Love 10. Then Again 11. It Didn't Make A Sound 12. Fear Of Wasted Time Bonus tracks: 13. Well Behaved 14. Straw Cage

This program seems designed primarily to display soprano Sumi Jo's fabulous singing and famous stylistic eclecticism. However, it also exhibits an admirable religious inclusiveness, encompassing expressions of faith from the Latin liturgy to Negro spirituals; there is even a Richard Strauss song that is essentially a paean to love. An incongruous note is struck by a nun's song from an operetta by Benatzky that is a corny Viennese waltz and by a soundtracklike arrangement of a 16th-century Ave Maria. Ranging from Mozart to Broadway, this musical mix is held together by Sumi Jo's ravishingly beautiful, pure, warm voice and the way she can color and inflect it, and by her mastery of every style (though not every language; her German in particular is unintelligible). Her intonation is impeccable, her breath control incredible. Jo's top notes soar triumphantly, and she can sustain them indefinitely, with enough power left to make a crescendo at the end. Highlights include Ravel's "Kaddisch," which sends shivers down the spine; arias from operas by Rossini and Donizetti; and arias from sacred works by Gounod and Fauré. Of two spirituals, the second one is simpler and more convincing. The accompanying forces are excellent; James Conlon doubles as pianist when not conducting. Susan Graham also makes an appearance in the moving invocation "Take Care of This House" from Bernstein's 1600 Pennsylvania Avenue. --Edith Eisler

This first theatrical outing for the ubiquitous Olsen twins is their take on The Parent Trap meets The Prince and the Pauper. One plays a foster child under the care of a single social worker (Kirstie Alley) whose marital status prevents her from adopting her favorite charge. The other is the neglected daughter of a "bazillionaire" (Steve Guttenberg), who's about to marry a gold-digging socialite (played nastily by Jane Sibbett, Ross's first ex-wife on TV's Friends). The foster kid comes to a charity camp abutting the rich girl's summer estate and--presto--the identical strangers meet, hatch a plan to solve both their dilemmas, and switch identities. Directed by Andy Tennant (Ever After), this PG-rated film features some decent G-rated chemistry between Alley and Guttenberg and surprisingly uncloying performances by Mary-Kate and Ashley. The rating is for mild language. (Ages 5 and up) --Kimberly Heinrichs

For reasons that are still fuzzy even by the time final credits roll for Double Take, Wall Street hotshot Daryl Chase (Orlando Jones), framed for both financial wrongdoings and murder, heads to Mexico after exchanging identities with fast-talking Freddie (Eddie Griffin), who is either the key to his freedom or the engineer of his demise. The incomprehensible and supposedly madcap twists and turns that follow make mindless buddy flicks like Rush Hour seem giants of brainy plotting in comparison. The film even features one of those unintentionally hysterical moments in which the villain stops to explain the entire charade to characters who supposedly already know what's going on--and it still doesn't make any sense. None of this would matter, of course, if everything was propelled by some sort of internal screwball logic that had it playfully bouncing over its plot holes. But writer-director George Gallo can't streamline his potential assets--Jones's suave likeability and Griffin's take-no-prisoners crassness--into something that moves. Some of the throwaway comic asides work ("You keep campaigning for this ass-whuppin', you gonna get elected"), but every single one of the extended bits is painfully strained and overdone. Griffin, in particular, becomes desperately obnoxious, and saddling him with clumsy comments on race and social status in a comedy that is ultimately about neither doesn't help. Try 48 Hours instead. --Steve Wiecking

For reasons that are still fuzzy even by the time final credits roll for Double Take, Wall Street hotshot Daryl Chase (Orlando Jones), framed for both financial wrongdoings and murder, heads to Mexico after exchanging identities with fast-talking Freddie (Eddie Griffin), who is either the key to his freedom or the engineer of his demise. The incomprehensible and supposedly madcap twists and turns that follow make mindless buddy flicks like Rush Hour seem giants of brainy plotting in comparison. The film even features one of those unintentionally hysterical moments in which the villain stops to explain the entire charade to characters who supposedly already know what's going on--and it still doesn't make any sense. None of this would matter, of course, if everything was propelled by some sort of internal screwball logic that had it playfully bouncing over its plot holes. But writer-director George Gallo can't streamline his potential assets--Jones's suave likeability and Griffin's take-no-prisoners crassness--into something that moves. Some of the throwaway comic asides work ("You keep campaigning for this ass-whuppin', you gonna get elected"), but every single one of the extended bits is painfully strained and overdone. Griffin, in particular, becomes desperately obnoxious, and saddling him with clumsy comments on race and social status in a comedy that is ultimately about neither doesn't help. Try 48 Hours instead. --Steve Wiecking

The traditional two-blade gentleman''s pocket knife gets a modern update thanks to designer Bob Lum. The Gerber Double Take is a lightweight knife with double liner lock safety, a thumb stud for one-handed opening, and a stainless steel serrated wharncliffe and a fine edge clip point blade. Available April, 2007.