Bijou Apparel

200348 The 48 Blade Supertendermatic with Stainless Steel Columns enhances the effects of marinades and reduces cooking time. Features: -48 Blade meat tenderizer. -Maximizes cooking results from less expensive cuts of meat. -Includes protective storage cover for added safety. -Creates thin heating channels in the meat that allow for: -Reduced cooking times by up to 40pct. -Improved penetration and absorption of marinades and rubs by up to 8 times. -More even cooking across varying thicknesses for more consistent results. -Reduced shrinkage with no loss of natural juices. . -For ages 18 and up. Specifications: -Assembly not required. -Body material: ABS. -Blade material: Stainless steel. -Cleaning and care: -Easy clean-up. -Dishwasher safe. . -Limited lifetime warranty. -Overall dimensions: 1.5'' H x 5.75'' W x 4'' D.

Add an extra pillowcase to your Princess Rose Garden Dreams bedding ensemble.

An elegant 20" white birdcage for your cards.

Although Robert Preston and Barbara Cook put in stellar performances, it's the music that's the star of this hugely successful document of the 1958 Broadway smash. Written entirely by Meredith Willson, it drew from memories of his childhood in a small Midwestern town. Preston plays a traveling salesman/con artist, while Cook is the dull spinster "Marian the Librarian," whose love for Preston's character makes her come alive. "Seventy-Six Trombones" has become a marching band standard, while "Ya Got Trouble" (featuring dizzying fast-talk from Preston) and "'Til There Was You" (with a gorgeous vocal from Cook) remain well known even among those who have never seen the show. The latter was also a favorite of the Beatles, who covered it on their first album. --Dawn Eden

He may only come up to King Kong's shin, but Joe makes up in heart what he lacks in size. This sweet tale of a girl and her pet/best friend, an African gorilla with the soul of a kitten, pulls on a different set of heartstrings than the giant ape classic. Robert Armstrong practically repeats his role from King Kong as a Broadway producer who lures Jill Young (Terry Moore) and Joe, an ape she raised from baby (a splendidly realized stop-motion character created by Willis O'Brien, the creator behind Kong), to New York as the star attraction at his new nightclub. Caged in a cramped basement holding cell, the unhappy Joe finally goes berserk after a trio of drunks ply him with alcohol, and the city rules him a menace. In a desperate attempt to save Joe from execution, Jill rounds up her friends and confidants (including beefy love interest Ben Johnson) for a jailbreak. This human-scale drama is more subdued than its inspiration, but the nightclub rampage remains a terrifying scene in its mad destruction; and the climax, involving a raging fire at an orphanage (have these filmmakers no shame?!), still impresses. --Sean Axmaker

MIGHTY JOE YOUNG, A GORILLA, IS BROUGHT BACK TO THE UNITEDSTATES BY A YOUNG GIRL.

This, Anonymous 4's final recording, is a break from their usual "early music" periods and locations; it presents American music, religious in nature, from the 18th and 19th centuries. And it's absolutely beautiful from start to finish. Their normal, exquisite technique and purity here blend to sound the way we imagined the ladies' choir in church meetings in America past might have sounded: sweet, sincere, and with harmonies recognizable yet somehow fresh. Some of the songs begin with the women singing "fa, so la" exercises, which was called "shape note" singing because some places taught singing with notes as shapes--circle, rectangle, diamond, triangle. But it's the music that counts, and there are treasures here. They include two versions of "Amazing Grace," one familiar, one with an unusual melody and a piece called "Blooming Vale" which is as sophisticated as anything on their previous albums. "Shall We Gather at the River" is performed with a clarity and loveliness that makes us forget that it's normally sung as background to movies about the Great Depression. The foursome sometimes sing in rich harmonies and occasionally alone or in pairs or trios. This is glorious Americana and highly recommended. --Robert Levine

Sidney Lumet's directorial debut remains a tense, atmospheric (though slightly manipulative and stagy) courtroom thriller, in which the viewer never sees a trial and the only action is verbal. As he does in his later corruption commentaries such as Serpico or Q & A, Lumet focuses on the lonely one-man battles of a protagonist whose ethics alienate him from the rest of jaded society. As the film opens, the seemingly open-and-shut trial of a young Puerto Rican accused of murdering his father with a knife has just concluded and the 12-man jury retires to their microscopic, sweltering quarters to decide the verdict. When the votes are counted, 11 men rule guilty, while one--played by Henry Fonda, again typecast as another liberal, truth-seeking hero--doubts the obvious. Stressing the idea of "reasonable doubt," Fonda slowly chips away at the jury, who represent a microcosm of white, male society--exposing the prejudices and preconceptions that directly influence the other jurors' snap judgments. The tight script by Reginald Rose (based on his own teleplay) presents each juror vividly using detailed soliloquies, all which are expertly performed by the film's flawless cast. Still, it's Lumet's claustrophobic direction--all sweaty close-ups and cramped compositions within a one-room setting--that really transforms this contrived story into an explosive and compelling nail-biter. --Dave McCoy

Days of Wine and Roses is one film not to watch if you are melancholic by nature, as this tale of middle-class alcoholism rings very true. Jack Lemmon and Lee Remick are the besotted couple who find that life is not always fun when viewed through rosé-colored glasses. He's the San Francisco business executive who marries Remick and seduces her into a cocktail culture that soon overpowers them both. It is not a pretty picture when their life shatters around them, but this film is extremely compelling for their performances. It is matched only by Billy Wilder's Lost Weekend and the more explicit Leaving Las Vegas. This was nominated for five Academy Awards and won for the title song by Henry Mancini and Johnny Mercer. Filmed by Blake Edwards in 1962, it is based on a Playhouse 90 television production from 1958, starring Cliff Robertson and Piper Laurie. --Rochelle O'Gorman

Days of Wine and Roses is one film not to watch if you are melancholic by nature, as this tale of middle-class alcoholism rings very true. Jack Lemmon and Lee Remick are the besotted couple who find that life is not always fun when viewed through rosé-colored glasses. He's the San Francisco business executive who marries Remick and seduces her into a cocktail culture that soon overpowers them both. It is not a pretty picture when their life shatters around them, but this film is extremely compelling for their performances. It is matched only by Billy Wilder's Lost Weekend and the more explicit Leaving Las Vegas. This was nominated for five Academy Awards and won for the title song by Henry Mancini and Johnny Mercer. Filmed by Blake Edwards in 1962, it is based on a Playhouse 90 television production from 1958, starring Cliff Robertson and Piper Laurie. --Rochelle O'Gorman

Black and White Zebra Print Light Switch Cover is new and handcrafted utilizing unique process resulting in a stunning high gloss ceramic-like finish. SET OF MATCHING SCREWS IS INCLUDED giving it a perfect finishing touch. Made of durable metal material.