Woman Boots

Color:Chrome 3-Tier Revolving Shoe TreeAdjustable height tiers hold up to 18 pair of shoes. Wire racks revolve for easy access. Weighted bottom adds to stability. Carrying handle.

Measures 6 in. X 3-3/4 in.. Limited lifetime warranty.

Nineteen ninety-eight: The same year he dances with Soy Bomb at the Grammys, his record label finally issues Bob Dylan's ultimate live document. A classic case of not giving the audience what they want but what they need, Mr. Dylan's oft-bootlegged 1966 gig begins with lovely and supple folk that foreshadows folk music's turn from protest song to introspection. The album's true highlight is the legendarily ill received and rocked-out electric set, with Dylan backed by members of the Band. There are too many perfect, on-fire guitar solos by Robbie Robertson to count, and Dylan himself responds to the audience's angry bewilderment with equal parts menace, grace, and brilliance. --Mike McGonigal

The greatest live recording in rock & roll history was--officially, at least--buried in the vaults of Columbia Records for more than a quarter of a century. But no more: Live 1966: The "Royal Albert Hall" Concert has surfaced on two discs mixed and mastered from three-track source tapes that put the myriad pirated recordings to shame. More important, Live 1966 documents a momentous artistic showdown between a willful, inflamed, and utterly fearless performer and his headstrong core following. The Dylan of the mid '60s had made the leap from socially conscious voice of his generation to surrealistic electric poet, a transformation that was met with contempt by a vocal element of his audience. The most telling moment of the recording centers on the standoff: A folk zealot in the audience shouts, "Judas!" earning cheers from the contentious crowd. Dylan responds by snarling, "I don't believe you. You're a liar," then turns to his group, the Hawks (soon to become the Band), and, as the intro to "Like a Rolling Stone" takes shape, commands, "Play loud!" A crucial moment and, time has demonstrated, the correct call. --Steven Stolder

It's Joan Osborne who sums it up best in the promotional material accompanying this tribute album: " Dolly Parton is a gifted artist cleverly disguised as a media superstar and sex bomb." Osborne's got it right. Beyond and beneath Parton's well-publicized and oft-caricatured curves and angles, lurks the heart and soul of one of modern country music's very best songwriters--the best, perhaps, since the great Loretta Lynn. In fitting celebration of the 35th anniversary of the release of Just Because I'm A Woman, Parton's very first solo album, contemporary leading ladies of country and pop, including Norah Jones, Alison Krauss, Shania Twain, Joan Osborne, Melissa Etheridge, Emmylou Harris, and Sinead O'Connor have offered up worthy new interpretations of some of Parton's classic compositions. That said, some of the highlights here are from lesser-known singers: Mindy Smith's haunting rendition of "Jolene," Kasey Chambers' bitter-sweet take on "Little Sparrow," and Allison Moorer's tender turn on "Light Of A Clear Blue Morning." --Bob Allen

DOLLY PARTON Just Because Im A Woman (2003 US 13-track CD album featuring well known artists covering Dollys tracks includes tracks from Melissa Etherisge Joan Osborne Shania Twain and Emmylou Harris also includes the title track performedby Dolly herself complete with lyric booklet picture sleeve SUG-CD-3980-A)

Shania Twain comes full circle on this album, cowriting 11 out of 12 cuts and proving that she can do more than sing. Once again she crosses over into pop-rock territory with this multiplatinum affair, bringing legions of new fans into the country camp. Peppered with hits such as "Whose Bed Have Your Boots Been Under?" and "Any Man of Mine," Twain's sophomore effort features crisp and clear vocals and country-flavored pop arrangements. Husband and cowriter "Mutt" Lange, known for his production work with hard hitters Def Leppard, has produced a fresh sound for country, enhancing the traditional with a more gritty, gutsy sound; even the more delicate tunes resemble those power-pop tunes from the 1980s. This is music for all occasions: danceable, romantic, and powerful. --Paula Ghergia

SHANIA TWAIN The Woman In Me (Original 1995 US 12-track CD including picture sleeve + lyrics)

Despite the fact that Ilsa was killed at the conclusion of her notorious debut film, Ilsa, She Wolf of the SS, she returns (seemingly unaged) decades later as the strutting headmistress of a sadistic charm school for a power-mad sheik's harem of sex slaves. She masterminds a conspiracy to turn her trainees into veritable sex bombs--they explode upon orgasm--and auctions them off to her master's rivals. Meanwhile, a Henry Kissinger look-alike leads an investigation into the sheik's affairs with a couple of double agents, including one studly guy who tames Ilsa with his insatiable sexual prowess. Campier than the first film, it still offers its share of sick torture scenes and brutal violence (one man takes a hammer and chisel to a woman's bridgework to please her new master, who purrs, "I do not like the scrape of teeth"). Dyanne Thorne delivers an appropriately over-the-top performance, full of eye-rolling glares and German-inflected growling. Russ Meyer regular Haji and sex star Uschi Digard costar as harem slaves, and Tanya Boyd and Marilyn Join are delightfully memorable as Ilsa's well-oiled kung-fu-kicking Nubian sidekicks. Despite rumors to the contrary, Spalding Gray is not in this film and would surely appreciate it if people stopped saying he was. --Sean Axmaker

This intermediate-to-advanced video from the trendy gym Crunch will work all your muscles, including your heart. The intense half-hour workout is divided into seven-and-a-half-minute segments. Instructor Susan Hitzman and her class of young, perfect hardbodies (showing off incredibly tight, sculpted midriffs) demonstrate strengthening moves that combine upper- and lower-body muscles, for example, doing an overhead press with weights and a squat simultaneously, varying the rhythm for intensity. And, of course, it wouldn't be "boot camp" without pushups. "Remember, I would rather you gave me 4 excellent pushups than 12 sloppy ones!" Hitzman announces. By the end you'll be begging for mercy, because each segment has progressively harder pushup variations, including some you've never tried. Hitzman also gives you your fill of lunges and cardio moves such as jumping jacks. Meanwhile the upper-body strength exercises get progressively more difficult with each segment, as do the abdominal routines. Hitzman is a fine, innovative instructor, cueing clearly with plenty of instruction for doing the moves correctly. If you think you've done it all, Boot Camp will make a man or woman of you! --Joan Price

A weird trip back in time takes you to the nights when fans of professional wrestlers yelled their lungs out in support of Gorgeous George, Haystacks Calhoun, and Andre the Giant. Wrestling fans of today, who spend as much time trying to follow the soap opera story lines as watching the matches, may at first find some of the classic matches on this tape to be fairly bland. In the old days there were no fancy pyrotechnics, the costumes were seldom more than a pair of trunks and some boots, and the action was usually filmed (and televised) in glorious black and white. But while wrestlers in the old days wore less glitter, the early grapplers knew how to use gimmicks to draw a crowd. The greatest showman of them all, Gorgeous George, whose flowing locks and snobby demeanor couldn't mask his dirty tactics, is seen during his prime in the 1950s. A punishing match from the not-so-distant past shows a young Randy Savage getting mauled within a steel cage by Jerry Lawler. And to satisfy the "something to offend everyone" quota, there is even a bizarre match from the 1970s between two female little people, one of whom is dressed as Pocahontas. --Robert J. McNamara

YOGA FOR BEGINNERS AND BEYOND - DVD Movie