DAVE CHAPPELLE - BLOCK PARTY - ORIGINAL MOVIE POSTER(Size 27"x40")

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A MIX OF DAVE CHAPELLE'S SKETCH COMEDY & MUSICAL INTERLUDES ASHE TAKES ON AN UNFORGETTABLE JOURNEY TO THROW THE DECADES MOSTOUTRAGEOUS PARTY.Few movies, documentary or otherwise, capture the relaxed exuberance of Dave Chappelle's Block Party. This is Chappelle's first project since his show on Comedy Central received so much popular and critical attention that he apparently had a psychological meltdown and fled to Africa to escape. You can still see a hint of weariness and wariness in his eyes--but even more you can see his relief to be launching a project that bears no expectations. Funded by his own money and free to all who attended, Chappelle set up a secret concert location in Brooklyn and pulled together a musical lineup of stellar acts, including Erykah Badu,! Kanye West, Mos Def, Jill Scott, Common, the Roots, Dead Prez, and the reunion of the Fugees, all of whom give vibrant performances. But Block Party doesn't just capture the show; at least a third of the movie is Chappelle wandering around Brooklyn or the Ohio neighborhood where he lives and interacting with the people he meets, many of whom he gives free tickets for the show. These scenes, combined with footage of the performers rehearsing or just gassing around before the show, offer a sense that for Chappelle performing is just an extension of his everyday life; that he takes just as much pleasure from goofing around with one person as he does goofing around in front of hundreds or thousands. Putting together this event becomes a unique self-portrait as well as an experience that rejuvenated Chappelle. If you surrender to the vitality of the show and Chappelle's loose comic jazz, you may find it rejuvenating too. --Bret FetzerA MIX OF DAVE CHAPELLE'S SKETC! H COMEDY & MUSICAL INTERLUDES ASHE TAKES ON AN UNFORGETTABLE J! OURNEY T O THROW THE DECADES MOSTOUTRAGEOUS PARTY.Few movies, documentary or otherwise, capture the relaxed exuberance of Dave Chappelle's Block Party. This is Chappelle's first project since his show on Comedy Central received so much popular and critical attention that he apparently had a psychological meltdown and fled to Africa to escape. You can still see a hint of weariness and wariness in his eyes--but even more you can see his relief to be launching a project that bears no expectations. Funded by his own money and free to all who attended, Chappelle set up a secret concert location in Brooklyn and pulled together a musical lineup of stellar acts, including Erykah Badu, Kanye West, Mos Def, Jill Scott, Common, the Roots, Dead Prez, and the reunion of the Fugees, all of whom give vibrant performances. But Block Party doesn't just capture the show; at least a third of the movie is Chappelle wandering around Brooklyn or the Ohio neighborhood where he lives and inter! acting with the people he meets, many of whom he gives free tickets for the show. These scenes, combined with footage of the performers rehearsing or just gassing around before the show, offer a sense that for Chappelle performing is just an extension of his everyday life; that he takes just as much pleasure from goofing around with one person as he does goofing around in front of hundreds or thousands. Putting together this event becomes a unique self-portrait as well as an experience that rejuvenated Chappelle. If you surrender to the vitality of the show and Chappelle's loose comic jazz, you may find it rejuvenating too. --Bret FetzerThe Dave Chappelle's Block Party soundtrack spotlights comedy superstar Dave Chappelle in all-new freestyle standup material, and also one-time-only performances by Mos Def, Erykah Badu, Common, Dead Prez, Jill Scott, Talib Kweli and the Roots, among others. The soundtrack captures the unprecedented combination of comedy and mu! sic, and was recorded on location as Mr. Chappelle threw a par! ty in do wntown Brooklyn, inviting local residents to experience these exclusive performances by the most progressive cutting edge urban artists in the music scene today.Don't you wish you were Dave Chappelle? The guy is funny as hell--and rich and famous for it. What's more, he's socially conscious and has impeccable taste in music. Thanks to Michel Gondry's triumphant, uplifting film, we got to see Chappelle live out his personal fantasy--a "block party" in Brooklyn's Bed-Stuy 'hood. The comedian handpicked his favorite hip-hop and R&B artists to participate, and the roster includes some of the most significant names of the past 10 years of "urban" music, including the Roots, Mos Def, Talib Kweli, Jill Scott, Erykah Badu, and Common. Unfortunately, the CD omits the Fugees reunion that formed the climax of the film and it also leaves out a stirring performance by Kanye West, the biggest rap star of the day. That said, the music that is here is often scintillating, especially by Badu! and Scott, who kill with their own tracks and spice up many of the rap tracks to boot. The one new cut (not in the film), Blackstar's "Born & Raised," keeps the quality high. Not surprisingly, the soundtrack simply can't reconstruct the positive vibrations and powerful messages of the movie, but it's still a worthwhile document of the magic that happened on a rainy September 2004 day at the corner of Downing and Quincy. --Marc GreilsamerBrand New Product

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A hungry alien substance has traveled to Earth following a doomed Lunar mission, and it's consuming everything it touches, leaving behind drifts of gray death. No life form stands a chance, but Clyde Jackson is tougher than most. He's seen war and he's been in plenty of foxholes. Now he's living through the end of the world one day at a time in a panic room that has become his only refuge. It's only a matter of time before the ventilation fails, an! d it'll only take a single gray speck to end it all...

Originally featured in The Absent Willow Review e-zine, DUST is the haunting meditation of a man recalling the final days of a once mighty and hopeful planet now quickly eroding to nothing under drifts of gray.A hungry alien substance has traveled to Earth following a doomed Lunar mission, and it's consuming everything it touches, leaving behind drifts of gray death. No life form stands a chance, but Clyde Jackson is tougher than most. He's seen war and he's been in plenty of foxholes. Now he's living through the end of the world one day at a time in a panic room that has become his only refuge. It's only a matter of time before the ventilation fails, and it'll only take a single gray speck to end it all...

Originally featured in The Absent Willow Review e-zine, DUST is the haunting meditation of a man recalling the final days of a once mighty and hopeful planet now quickly eroding to nothing under d! rifts of gray.SEVEN-YEAR-OLD MATTHEW DISAPPEARS one day on a w! alk into Horshoe, a dust bowl farm town in Depression-era Saskatchewan. Other children go missing just as a strange man named Abram Harsich appears in town. He dazzles the townspeople with the promises of a rainmaking machine. Only Matthew’s older brother Robert seems to be able to resist Abram’s spell, and to discover what happened to Matthew and the others.

“A remarkably effective sense of atmosphere.”â€"Kirkus Reviews, Starred

“Choose it for science-fiction fans who are ready for something a little different.”â€"School Library Journal, Starred

“Beautifully written novel . . . strong character development, an authentic setting, and some genuinely spooky moments.”â€"VOYA, Starred

A Governor General’s Award for Children’s Literature

An ALA Best Books for Young Adults


From the Hardcover edition.The hard got harder and the heavy got heavier on Dust's 1972 LP, a sought-after priz! e among collectors of American metal. Singer/guitarist Richie Wise and band manager/lyricist Kenny Kerner would produce Kiss' first two albums two years later, and you can hear early echoes of that here; includes Pull Away/So Many Times; Ivory; How Many Horses , and more!

Nine years ago, Jessie was in a car crash and died. After she was buried, she awoke and tore through the earth to arise, reborn, as a zombie. And there were others-gangs of undead roaming the Indiana woods, fighting, hunting, hidden. But when a mysterious illness threatens the existence of both zombies and humans, Jessie must decide whether to stay and fight or flee to survive...

Joan Frances Turner on Dust

It started wi! th George Romero, but then it almost always does. Friday nigh! t, Octob er sometime in the mid-1990s, and the original 1968 Night of the Living Dead was the only thing on television. I'd never seen it and had no particular interest in zombies, but the only alternative was my contracts law textbook so why not? And from the moment poor doomed Johnny solemnly intoned "They're coming to get you, Bar-buh-rah!", the movie had me, and it kept me, and the ending was a punch in the gut. The grainy black and white, the clumsy acting, the slapdash storyline and foolish self-destructive characters and almost nonexistent special effects weren't deterrents, they were the whole point. It all looked like ancient footage from some amateur documentary, and real people act foolish at the worst possible times. I never saw the remake, or any of the sequels: It wasn't the idea of zombies, themselves, that had me, it was that particular story. I didn't seek out any other.

Flash forward to 2003, and Carnival of Souls. More cheap black ! and white, shot on a shoestring in the middle of nowhere, and when Mary Henry's hand emerged from the depths of a Kansas lake long after she should have drowned they had me, again. Were those technically zombies, though, or were they ghosts? It had to be the former, for no ghost appears in the flesh as she did, walks among the living almost but not quite one of them, inspires their unwitting yet visceral disgust: They could, so to speak, smell the decay all inside her. That fascinated me, as did the titular carnival at the Saltair Pavilion. Zombies like to dance, it turns out, to eerie, calliope-style music that seems to come from nowhere. Interesting.

What George Romero started Herk Harvey finished, and I couldn't get zombies, themselves, out of my mind. They were ubiquitous, actually, when you started paying attention, but the more I learned about zombies and the popular imagination the duller and less satisfying it all was. Zombies, it turned ! out, were nothing but a joke. Talk funny. Walk funny. Ugly.! Smelly . Filthy. Can't speak English right. Eat disgusting food. Spread disease. Mentally inferior. Lights on, nobody's home. They'll steal and devour everything you hold dear, including yourself. Shoot them. Kill them. Cleanse the earth of their kind. It's a moral imperative.

I was urged at every step, in this particular mythology, to ally myself with The Good Guy, the clean upright English-speaking human alpha male and his ragtag gun-toting buddies who were making the world safe for the One True Species, one bullet-riddled skull at a time. The hell with that. Zombies--actually, Jessie's absolutely right, let's dispense with that misappropriated West African word--the undead are nothing but people who died. Your mother, "Good" Guy, your spouse, your sibling, your child, your friend, your neighbor, you yourself, and what if you only think they're all monsters? What if dead people still have minds of their own, can laugh and fight and form fri! endships and love each other and grieve--and kill, as you do, for malice and sport as much as from hunger? What if the moans and groans you hear are an actual language? What if the undead have a "life" span, slowly aging and decaying and crumbling into dust just as inert bodies do in the coffin? What if the creature in your crosshairs still remembers you, loves you, can't plead for what you once were to each other before you pull the trigger?

(For that matter, what if your incredibly tedious guns don't even do the job? That's the first determination I made when I sat down to write Dust, that there would be no Deus Ex Firearms whatsoever. Fire itself, that'd work to kill them, but then fire has the disadvantage of spreading like, well, wildfire. As does bio-weaponry, but then we're getting ahead of ourselves.) If Dust could be summed up in one sentence, it would be a lyric from Stephen Sondheim's Sweeney Todd: "The history of the worl! d, my sweet, is who gets eaten and who gets to eat." It presu! pposes a world where the living dead are not some new aberration but have existed alongside the humans they once were for thousands of years, an uneasy harmony occasionally broken up by unfortunate incidents such as, say, the famous Pittsburgh Massacre of '68. Other elements came into play: the Greek myth of Erysichthon, which haunted me since I first read it as a child, about a man the gods punish for his hubris with a hunger so insatiable he ultimately devours...himself. Luc Sante's beautiful, unsentimental prose poem "The Unknown Soldier," in which the forgotten dead assert their right to speak for themselves. The eerie photographs and morbid newspaper clippings from Michael Lesy's Wisconsin Death Trip. The unsettling banjo music in the end credits of the cult horror film The Last Broadcast, which inspired the notion that the undead express their strongest emotions through telepathic music: "brain radios." That and eerie waltzes in Carnival of Souls in! spired the spontaneous psychic dances, the only moments of true peace and harmony the undead ever enjoy.

Eating, in this world, is identity: The living eat dead meat. The dead eat meat so recently living that it's still warm and pulsing with life. The dead find the living's dietary habits as abominable, disgusting, taboo as the reverse. Every human alive, in our world as well as theirs, pins a far greater part of their self-image than they realize on what goes into their mouths. It was a joke then that Jessie, the fervent vegan in life, began a ravenous flesh-hunter in death, and yet it was also entirely to be expected.

Armed with the facts--such as they were--in September 2003 I jotted down a sparse page of disjointed notes: character names, story locales (the Calumet Region of northwest Indiana, besides being my easily accessible home geography, was both underserved in fiction and had enough urban-suburban-rural-industrial variety to m! ake it interesting), a little folkloric rhyme the undead liked! to sing amongst themselves but never made it into the book. The slang--"hoo" for humans, "rotter" and "feeder" and "bloater" and " 'maldie" for each other--also came early because it was fun to think up. Jessie simply walked in right at the start and announced herself, an angry, lonely girl abused in life, abandoned in death, yearning for love and acceptance but furious at the world. It was inevitable she'd take instantly to the jarring, aggressive, insatiably hungry culture of the undead, also inevitable that she'd write off her human family entirely only to have them return to be her undoing. Joe started as a parody, one of those "teen angel" hoods-with-a-heart-of-gold from the fifties pop songs who dies in a drag race gone wrong, and then he surprised me by showing himself as lonely and yearning as Jessie, if not more so, under the brutal surface. It was inevitable, again, that they'd both fall in love. Florian, a literal walking skeleton, was always meant to be the paterf! amilias of Jessie's surrogate family, but I never expected him to turn out gentle, genuinely wise, the only true parent she ever really had.

Actually they all surprised me, as I worked little by little on draft one, draft two, draft three through 2003, 2004, 2005, 2006, 2007. Renee, the lamb thrown into a pit of snarling wolves, grew up amazingly fast and became not just Jessie's friend, but her ally. Linc--only kindhearted from Jessie's perspective, no human would want to run into him--was supposed to be merely Joe's foil, the "geek" to his "jock," but then quietly, stubbornly, relentlessly worked his way up from the margins of the story to the center. Teresa, the gang leader, was even more selfish and cruel that I'd imagined. (The rival gang the Rat Patrol were exactly as selfish and cruel as I'd imagined, so at least I had some control over the proceedings.) Lisa, Jessie's neurotic mess of a human sister, proved she could be there for Jessie in de! ath as she never was in life. Jim, her brother, began as the ! most car dboard sort of villain, missing only a mustache to twirl, then I remembered that the truest antagonists are those who genuinely believe they're acting out of kindness and love. Only when Jim tried to "save" Jessie, did it become clear how much he--like all Good Guys--utterly feared and despised what she'd become. Death him/her/itself, the trickster, the demon, the angel, the destroyer, the salvager, was there from the beginning, though he didn't announce himself right away to me any more than to Jessie: Like any trusting parent, he first and foremost wanted to let his undead children try and fend for themselves.

Since the first inspiration for Dust was a pair of B-movies, other midnight drive-in fixtures seemed entirely appropriate: The meteor that causes extraterrestrial chaos upon landing. The semi-secret laboratory with "noble" purpose gone horribly wrong. The pandemic plague--but why just consider what would happen if the living became undead, wh! y not consider what might happen if the undead were brought back to life? Untouchable life, even? What if Death the trickster, in his eagerness to consume the earth, thus ultimately ended up tricking himself?

It's all well and good to talk about Herk Harvey and banjos and falling meteors, but what truly inspired Dust was of course my own fear of death. There's another song, by the musician Exuma, that embodies it: "You won't go to heaven, you won't go to hell/You'll remain in your graves with the stench and the smell." What if the "afterlife" took place right on earth, and you rotted slowly, inexorably, feeling the first bugs nest and hatch on your body? What if you actually had to watch your loved ones grieving you, as Jessie and Renee both did, and be yards away and yet an eternity removed, unable now to be anything to them but a monster? What if pain, fear, longing, grief, the hungers of the body don't stop when life stops? What i! f Death isn't an angel of mercy, but a real live son of a bitc! h?

As it turns out, then, for me as for everyone else the undead were an embodiment of fear. But they surprised me, yet again, by becoming embodiments of hope as well. Life doesn't end after death, not really. To become something new, alien, unimagined, is not to lose oneself, one's identity and thoughts and needs and wants, they just express themselves a little differently. Nobody's lost to anyone forever; if there is no afterlife, there is at least the "eternity" of memory. To lose one family is to gain another. Betrayal by loved ones can lead to new, stronger bonds that are about real trust. Nearly everyone's stronger and more capable than they imagine, when put to the test. Flesh is just flesh and if it rots, well, that's only natural.

But that's all very Hallmark Hall of Fame and ultimately it was also about having some fun whistling in the graveyard. Dust was a chance to play with all sorts of notions of life and death: ! ordinary mortal existence, living consciousness trapped in dead decaying bodies, seemingly "live" flesh rotting and dying from the inside out, invulnerable immortality through the back door. As Jessie says, "How many kinds of living and dead and living dead and dead living had I been in just these few months, these few days, after the stasis of plain old human living and dying? I deserved some kind of existential medal." Tell me about it, it was hard to keep up. It also felt like finding the pulse of something real, and true, about life and death under all the campiness of traditional zombie mythology. Both the B-movie folklore and the insomniac anxieties inspired the book in equal measure, and both deserve their due. It starts with a silly story, some actors shuffling around sideways in worn-out clothes, and ends with real people, real fears, real hopes. But then, it almost always does.

--Joan Frances Turner

*Winner of the Gov! ernor General’s Award
*Winner of the Mr. Christie's Awa! rd
*An American Library Association Best Books for Young Adults
*Nominated for an Edgar Award (Mystery Writers of America)

For fans of Stephen King and Ray Bradbury...

Imagine a depression-era town where it hasn’t rained for years. A pale rainmaker with other-worldly eyes brings rain to the countryside and mesmerizes the townspeople, but the children begin to disappear one by one. Only young Robert Steelgate is able to resist the rainmaker’s spell and begin the struggle to discover what has happened to his missing brother and the other children.

"Read the riveting first chapter of Dust and you're already past the point of no return. Arthur Slade writes with the art and grace of a hypnotist, and you won't be able to put this book down. It's sensational!" Kenneth Oppel, New York Times bestselling author of AIRBORN and SKYBREAKER.

About the Author:
Arthur Slade was raised on a ranch in the Cypress Hills of southwest Saskatc! hewan and began writing at an early age. He has been writing fiction full time for fifteen years and is the author of sixteen bestselling books, including the "Northern Frights" series, "Jolted," and "The Hunchback Assignments." He currently lives in Saskatoon, Canada.*Winner of the Governor General’s Award
*Winner of the Mr. Christie's Award
*An American Library Association Best Books for Young Adults
*Nominated for an Edgar Award (Mystery Writers of America)

For fans of Stephen King and Ray Bradbury...

Imagine a depression-era town where it hasn’t rained for years. A pale rainmaker with other-worldly eyes brings rain to the countryside and mesmerizes the townspeople, but the children begin to disappear one by one. Only young Robert Steelgate is able to resist the rainmaker’s spell and begin the struggle to discover what has happened to his missing brother and the other children.

"Read the riveting first chapter of Dust and you're alread! y past the point of no return. Arthur Slade writes with the ar! t and gr ace of a hypnotist, and you won't be able to put this book down. It's sensational!" Kenneth Oppel, New York Times bestselling author of AIRBORN and SKYBREAKER.

About the Author:
Arthur Slade was raised on a ranch in the Cypress Hills of southwest Saskatchewan and began writing at an early age. He has been writing fiction full time for fifteen years and is the author of sixteen bestselling books, including the "Northern Frights" series, "Jolted," and "The Hunchback Assignments." He currently lives in Saskatoon, Canada.Picking up dust just got easier with the Oxo Good Grips Double Duster. Our double-sided Duster features a flexible side with long, fluffy fibers that get into nooks and crannies and can remove dust from objects with a light touch. Flip the Duster over and use the cloth side when more direct contact is needed. To remove stubborn spots on mirrors or glass, use the tip of the cloth side. On either side, our Duster provides a generous surface for efficient! cleaning while maintaining a slim profile to get into tight spaces. To clean the microfiber head, simply unsnap it from the Duster. For best results, wash in cold water without fabric softener or bleach and dry without using heat.

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Good Lad Baby-Girls Infant Dress With Legging, Black, 24 Months

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The Best of Dudley Do-Right, Vol. 1

• DoRight always does right somehow! He's back! The only Mountie ever to arrest a redwood tree . for loitering!!! With a little dumbluck, this squarejawed Canadian always gets his man." .Featuring Dudley's most hilarious casefiles!Learn how he joined the Mounties in "Mother Whiplash's Log Jam"! Empathize with his unrequited love for the fair and lovely Nell in "Niagara Falls." Pity his

Follow the hilarious exploits of the dedicated but hapless young Mountie as he struggles to outwit the evil Snidely Whiplash.
Genre: Feature Film-Comedy
Rating: PG
Release Date: 6-JAN-2004
Media Type: DVDBrendan Fraser (George of the Jungle, The Mummy) brings his considerable charm to this awkward live-action version of the classic cartoon Dudley Do-Right. The first half of the movie lays out the basic elements of the cartoon (none-too-bright Canadian ! Mountie battles melodrama villain Snidely Whiplash with pluck and dumb luck) with little wit or imagination, but lots of pratfalls and broad gags. But about halfway into it, when Whiplash has taken over the town of Semi-Happy Falls and become its leading citizen, the movie takes a curious turn: Since Whiplash has become, to all appearances, a good guy, Dudley decides the only way to fight him is to turn into a bad guy. Next thing you know, Dudley is decked out in black leather and cruising around on a motorbike while Whiplash fumes impotently. Bullwinkle fans may decry this departure, but it gives the movie a much-needed burst of energy and the opportunity for some entertainingly surreal images--like Whiplash up to his neck in a mudbath with cucumber slices on his eyes, consulting with his henchmen about dealing with that unpredictable Do-Right. With Alfred Molina, Sarah Jessica Parker, and Monty Python's Eric Idle. --Bret FetzerDoRight always does righ! t somehow! He's back! The only Mountie ever to arrest a redwo! od tree ... for loitering!!! With a little dumbluck, this squarejawed Canadian always gets his man." .Featuring Dudley's most hilarious casefiles!Learn how he joined the Mounties in "Mother Whiplash's Log Jam"! Empathize with his unrequited love for the fair and lovely Nell in "Niagara Falls." Pity his pathetic allergy in "Marigolds"! Each cartoon pits him against that nefarious ne'erdowell Snidely Whiplash! Wittily written and voiced, these timeless classics are a fond salute to oldtime melodrama and remain some of the funniest cartoons ever made.

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Bloodrayne (Unrated Director's Cut)

• BloodRayne is the action-packed film in the vein of Elektra and stars an incredible all star cast including Kristanna Loken, Ben Kingsley, Michelle Rodriquez, Billy Zane, Michael Madsen, and Meat Loaf. This comic book super-hero battles to save humanity from the dawn of an advancing vampire army. Features terrific action scenes and special effects. Format: DVD MOVIE Genre: ACTION/ADVENT

BLOODRAYNE - DVD Movie

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Bride of the Wind

• british
• romance
• dragonslayer
• virginia
• unwanted marriage

The daughter of a wealthy Virginia planter, innocent Rose Woodbine curses cruel fate for leading her to the court of the British King Charles -- and into an unwanted marriage with handsome and dangerous Lord Pierce Deforte, a man she dares never love.

His soul searing desire for the stunning Rose had once blinded Pierce to the treacherous machinations of his enemies. Now banished from his beloved England, he lives the life of a pirate -- seeking vengeance on those who betrayed him... including the beautiful temptress whom he once held dear. On a storm-tossed sea they are united once more -- he, no longer a noble, but the notorious brigand called Dragonslayer. And she, one his bride, is now his helpless prisoner -- forced to submit to his fury, his will...and the blistering, sensuous need that chains h! er captive heart.

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