Bijou Apparel

Yes, it will have a steaming hot pot of coffee ready and waiting when you wake up, and the insulated stainless steel carafe will keep it hot for a long time. You can also grab a cup during the brew process if you like. Easy to operate and easy on the eye, this might just be the coffeemaker you've been waiting for.

Lots of folks dislike the burnt flavor that coffee gets when it sits in a glass pot over a heating element. To avoid this, coffee shops often brew right into large thermal pots to keep the coffee warm without it becoming overcooked. The Zojirushi Fresh Brew does that, too, but in home-sized batches. It looks great, too, with a glossy black body and stainless steel carafe and brew basket. To brew, lift the lid and swing the water outlet spout to one side while the filter is being loaded; the spout will return to its proper position when the lid is closed. A small red ball in the water gauge makes it extra simple to read. And an electronic clock module also serves as a timer that will start the brewer at a specified time. The carafe's lid is designed to be on during brewing, with a small cap to help keep the heat in after it's ready. The Fresh Brew also has a pause-and-serve function that stops the flow for 30 seconds while a cup of coffee is served. To clean the brewer unit, use a solution of white vinegar and water, following the instructions in the accompanying booklet. The unit is not immersible. The exterior can be wiped with a damp soft rag; do not use abrasives or scouring pads. The filter reservoir is removable; clean with warm soapy water and rinse thoroughly. The coffee brewer measures 15 by 12 by 9 inches (includes carafe handle when unit is completely assembled), and it uses #4 cone-shaped disposable paper filters. The Fresh Brew comes with a detailed instruction booklet. Zojirushi guarantees its products with a one-year limited warranty. --Garland Withers

BF-24B Most wood speaker stands are low budget, low performance designs, constructed of particle board, plywood, or low grade hardwoods. Sanus Systems Basic Foundations III are the first MDF speaker supports to combine great aesthetics and stability, with high performance at a reasonable price. Each Basic Foundations III speaker stand features a black ash finish and includes rubber bump-ons and steel spike feet. Proudly made in the U.S.A. Features: -Furniture-grade appearance with upscale performance -Twin contoured pillars give support and rigidity -Constructed of medium density fibercore to minimize resonance -Triangular isolation pads at top plate for protection and acoustic isolation -Force-fit floor spikes -Top plate dimensions: 6.5'' W x 6.5'' D -Bottom plate dimensions: 11.5'' W x 10'' D -Price is per pair -Ships ready-to-assemble Assembly Instructions

NNH765BF Features: -Color: Black. -Inverter turbo defrost technology. -Cook-a-round automatic turntable . -One-touch sensor cooking with 18 categories. -One-touch sensor reheat. -5 Cooking stages. -Quick minute / add minute feature. -10 Power levels. Specifications: -1250 Watts. -1.6 Cubic foot with 15'' diameter turntable. -Dimensions: 19.7 H x 21.7 W x 12 D. The Panasonic Inverter Microwave Oven has well-tempered power to cook with ease, speed, and quality. Inverter technology takes advantage of multiple power levels, and maintains the best color, shape, texture, and flavors of your food. Evenly distributed levels of microwave energy allow foods to no longer undercook in the center and have hard, overcooked edges. Panasonic has perfected their Inverter Turbo Defrost process, which allows you to defrost foods even faster. Inverter Turbo Defrost technology is an advanced microwave process using the Inverter low-power delivery feature. It distributes microwave energy with the most appropriate combination of regularity and irregularity. One-Touch Sensor Cooking adjusts power levels and calculates cooking times automatically, making reheating and cooking a variety of foods easier than ever.

When it was released during Hollywood's golden year of 1939,The Wizard of Oz didn't start out as the perennial classic it has since become. The film did respectable business, but it wasn't until its debut on television that this family favorite saw its popularity soar. And while Oz's TV broadcasts are now controlled by media mogul Ted Turner (who owns the rights), the advent of home video has made this lively musical a mainstay in the staple diet of great American films. Young Dorothy Gale (Judy Garland), her dog, Toto, and her three companions on the Yellow Brick Road to Oz--the Tin Man (Jack Haley), the Cowardly Lion (Bert Lahr), and the Scarecrow (Ray Bolger)--have become pop-culture icons and central figures in the legacy of fantasy for children. As the Wicked Witch who covets Dorothy's enchanted ruby slippers, Margaret Hamilton has had the singular honor of scaring the wits out of children for more than six decades. The film's still as fresh, frightening, and funny as it was when first released. It may take some liberal detours from the original story by L. Frank Baum, but it's loyal to the Baum legacy while charting its own course as a spectacular film. Shot in glorious Technicolor, befitting its dynamic production design (Munchkinland alone is a psychedelic explosion of color and décor), The Wizard of Oz may not appeal to every taste as the years go by, but it's required viewing for kids of all ages. --Jeff Shannon

The Fab Four from Liverpool--John Lennon, Paul McCartney, George Harrison, and Ringo Starr--in their first movie. Nobody expected A Hard Day's Night to be much more than a quick exploitation of a passing musical fad, but when the film opened it immediately seduced the world--even the stuffiest critics fell over themselves in praise (highbrow Dwight Macdonald called it "not only a gay, spontaneous, inventive comedy but it is also as good cinema as I have seen for a long time"). Wisely, screenwriter Alun Owen based his script on the Beatles' actual celebrity at the time, catching them in the delirious early rush of Beatlemania: eluding rampaging fans, killing time on trains and in hotels, appearing on a TV broadcast. American director Richard Lester, influenced by the freestyle French New Wave and British Goon Show humor, whips up a delightfully upbeat circus of perpetual motion. From the opening scene of the mop tops rushing through a train station mobbed by fans, the movie rarely stops for air. Some of the songs are straightforwardly presented, but others ("Can't Buy Me Love," set to the foursome gamboling around an empty field) soar with ingenuity. Above all, the Beatles express their irresistible personalities: droll, deadpan, infectiously cheeky. Better examples of pure cinematic joy are few and far between. --Robert Horton

HARD DAY'S NIGHT, A (MIRAMAX COLLECTOR'S

Combines two live performances of the British rock band Queen.

From Wikipedia: When tempestuous Mary Lennox, born in India to wealthy parents, is orphaned by a cholera epidemic, she is sent to live with her reclusive and embittered Uncle Archibald Craven and her ill-behaved, bedridden cousin Colin at their desolate and decaying estate known as Misselthwaite Manor. Dickon, the brother of one of the house maids, tells her of a garden secreted behind a hidden door in a vine-covered wall. When a raven unearths the key, the two enter and discover the garden is overgrown from neglect since Craven's wife died there in an accident. They decide to keep their discovery a secret, and begin to restore it to its original grandeur. Under the influence of the Secret Garden, Mary becomes less self-absorbed, Colin's health steadily improves, and Archibald's curmudgeonly personality fades away.

The folks at Pixar can do no wrong with Monsters, Inc., the studio's fourth feature film, which stretches the computer animation format in terms of both technical complexity and emotional impact. The giant, blue-furred James P. "Sulley" Sullivan (wonderfully voiced by John Goodman) is a scare-monster extraordinaire in the hidden world of Monstropolis, where the scaring of kids is an imperative in order to keep the entire city running. Beyond the competition to be the best at the business, Sullivan and his assistant, the one-eyed Mike Wazowski (Billy Crystal), discover what happens when the real world interacts with theirs in the form of a 2-year-old baby girl dubbed "Boo," who accidentally sneaks into the monster world with Sulley one night. Director Pete Doctor and codirectors David Silverman and Lee Unkrich follow the Pixar (Toy Story) blueprint with an imaginative scenario, fun characters, and ace comic timing. By the last heart-tugging shot, kids may never look at monsters the same, nor artists at what computer animation can do in the hands of magicians. --Doug Thomas

Monsters generate their city's power by scaring children, but they are terribly afraid themselves of being contaminated by children, so when one enters Monstropolis, top scarer Sulley find his world disrupted. Plot Synopsis: James P. Sullivan (AKA "Sulley") and Mike Wazowski pick up their paychecks at Monsters Inc., the utility company that generates energy from the goose bumps of children. Sulley, the No. 1 scream-generator at the plant accidentally lets in a little girl into the monster world. Since monsters are actually terrified of children it's a major cause for alarm and a major headache for Sulley and Mike.

Covering the entire 20th century in one video series is an ambitious project, but one that Peter Jennings and ABC News are up to. In The Century: America's Time, a 12-part documentary on six videotapes that is a companion to the book of the same name, Jennings guides us through a century of technology and advancement like no other. As he says in his introduction to episode 1, "Seeds of Change," "Unlike previous centuries where leadership was defined by royalty and other rulers, the 20th century more than any other was shaped by the will and actions of the common man." The series is a sweeping presentation of the United States of the 1900s and tries to encompass a mind-boggling amount of history. And while at moments the videos may leave you longing for more, Jennings does an excellent job of creating smooth segues between disparate pieces. The first episode, for instance, begins with the influx of immigrants at the turn of the century and touches on Jim Crow laws, moving pictures, planes, Henry Ford, the sinking of the USS Maine, child labor, suffragettes, the Panama Canal, imperialism, and more, right up to the beginning of World War I. The archival footage is stunning and interviews with historians, veterans, journalists, POWs, politicians, authors, celebrities, and common people help bring the past to life again. Mickey Spillane discusses the speakeasies of the 1920s; Dennis Hopper talks about Easy Rider in the '60s; Tom Wolfe reads from The Bonfire of the Vanities for the episode on the '80s. Eudora Welty, E.L. Doctorow, Martin Scorsese, John Updike, Pat Buchanan, Oliver Stone, Stephen E. Ambrose, among many others, lend their voices to this documentary. Yet, despite the great names, at times the pictures and people are allowed to speak for themselves, without intrusive narration--the stark images of the Challenger explosion or the sad words of a political activist mourning the death of his partner to AIDS are more powerful because of it. This chronological tale (with the exception of the last episode, "Then and Now," which is arranged thematically) is an insightful and poignant reminder of all the marvels--and tragedies--of America in the 20th century. --Jenny Brown