The parchment or Klaf is the essence of the Mezuzah. The text includes the most important Jewish prayer, the Shema. The scroll is handwritten in Israel, on parchment, by a professional scribe and comes in its original sealed package. According to Jewish Law every Mezuzah should contain a kosher scroll. Only Mezuzah scrolls purchased from The Artazia Collection include mounting instructions of the Mezuzah case as well as an English translation of the Hebrew text.

22-piece kit includes embossed lid for Do Not Open Until date, Profile of the Bride & Groom, how-to guide, Message to the Future® stationery set with matching envelopes, check list, certificate and over 160 full-color stickers to make a photo album, label video tapes, seal the capsule and more. 12'' tall x 6.5'' wide.

2010 UK CD album comprising the accompanying soundtrack to 'Oil City Confidential', the last film in Julien Temple's trilogy on British music in the 1970s. It is a prequel to his landmark filmsabout punk figureheads, the Sex Pistols ['The Filth & The Fury'] and Joe Strummer ['The Future Is Unwritten']. The Sex Pistols and Joe Strummer's roles are well known, but Dr Feelgood played a pivotal role in creating the conditions for the cultural explosion of punk. Drawing on their first four albums, the soundtrack consists of 23 tracks including 20 Feelgood numbers [of which 10 are live] and three tracks by other artists who were a major influence on them: Johnny Kidd & The Pirates and The Paramounts. Kicking things off is a live version of Wilko and Mick Green's 'Going Back Home', followed by a cover of 'Route 66' and legendary first single 'Roxette'. With other highlights including more inimitable blues & R&B covers such as 'I Can Tell', 'I'm A Hog For You Baby', 'I'm A Man', 'Riot In Cell Block Nine', as well as 10 more Dr Feelgood songs penned by the prolific Wilko, which showcase his writing talents and the band's legacy: a blueprint for a cultural revolution!

The hurricane-force Aussies reign in their primal power with a varied, gentle, and remarkably tuneful progression on what's come before. "Truganini" is the icebreaker while hardluck charmer "In the Valley" and the retro psychedelia of "Renaissance Man" are standouts. Jeff Bateman

The Murray FeissWB1220ORB is a 1LT Wall Sconce in the Oil Rubbed Bronze Finish. This light fixture is from the ADA Collection and is Underwriters Laboratories (UL) & Underwriters Laboratories of Canada (ULC) Approved.

"AMEROCK" CABINET KNOBS * Inspirations collection. * 1-3/8" diameter. * Oil rubbed bronze. * Guardian lifetime guarantee. * 10 pack.

The manager of a Central American oilfield offers big money to drivers who will take two loads of nitroglycerine over a tortuous mountain road to put

The latest testosterone-saturated blow-'em-up from producer Jerry Bruckheimer and director Michael Bay (The Rock, Bad Boys) continues Hollywood's millennium-fueled fascination with the destruction of our planet. There's no arguing that the successful duo understands what mainstream American audiences want in their blockbuster movies--loads of loud, eye-popping special effects, rapid-fire pacing, and patriotic flag waving. Bay's protagonists--the eight crude, lewd, oversexed (but lovable, of course) oil drillers summoned to save the world from a Texas-sized meteor hurling toward the earth--are not flawless heroes, but common men with whom all can relate. In this huge Western-in-space soap opera, they're American cowboys turned astronauts. Sci-fi buffs will appreciate Bay's fetishizing of technology, even though it's apparent he doesn't understand it as anything more than flashing lights and shiny gadgets. Smartly, the duo also tries to lure the art-house crowd, raiding the local indie acting stable and populating the film with guys like Steve Buscemi, Billy Bob Thornton, Owen Wilson, and Michael Duncan, all adding needed touches of humor and charisma. When Bay applies his sledgehammer aesthetics to the action portions of the film, it's mindless fun; it's only when Armageddon tackles humanity that it becomes truly offensive. Not since Mississippi Burning have racial and cultural stereotypes been substituted for characters so blatantly--African Americans, Japanese, Chinese, Scottish, Samoans, Muslims, French ... if it's not white and American, Bay simplifies it. Or, make that white male America; the film features only three notable females--four if you count the meteor, who's constantly referred to as a "bitch that needs drillin'," but she's a hell of a lot more developed and unpredictable than the other women characters combined. Sure, Bay's film creates some tension and contains some visceral moments, but if he can't create any redeemable characters outside of those in space, what's the point of saving the planet? --Dave McCoy

The 1998 testosterone-saturated blow-'em-up from producer Jerry Bruckheimer and director Michael Bay (The Rock, Bad Boys) continues Hollywood's millennium-fueled fascination with the destruction of our planet. There's no arguing that the successful duo understands what mainstream American audiences want in their blockbuster movies--loads of loud, eye-popping special effects, rapid- fire pacing, and patriotic flag waving. Bay's protagonists--the eight crude, lewd, oversexed (but lovable, of course) oil drillers summoned to save the world from a Texas-sized meteor hurling toward the earth--are not flawless heroes, but common men with whom all can relate. In this huge Western-in-space soap opera, they're American cowboys turned astronauts. Sci-fi buffs will appreciate Bay's fetishizing of technology, even though it's apparent he doesn't understand it as anything more than flashing lights and shiny gadgets. Smartly, the duo also tries to lure the art-house crowd, raiding the local indie acting stable and populating the film with guys like Steve Buscemi, Billy Bob Thornton, Owen Wilson, and Michael Duncan, all adding needed touches of humor and charisma. When Bay applies his sledgehammer aesthetics to the action portions of the film, it's mindless fun; it's only when Armageddon tackles humanity that it becomes truly offensive. Not since Mississippi Burning have racial and cultural stereotypes been substituted for characters so blatantly--African Americans, Japanese, Chinese, Scottish, Samoans, Muslims, French ... if it's not white and American, Bay simplifies it. Or, make that white male America; the film features only three notable females--four if you count the meteor, who's constantly referred to as a "bitch that needs drillin'," but she's a hell of a lot more developed and unpredictable than the other women characters combined. Sure, Bay's film creates some tension and contains some visceral moments, but if he can't create any redeemable characters outside of those in space, what's the point of saving the planet? --Dave McCoy

Bruce Willis and and an all-star cast of roughneck oil drillers blast off on a mission to save the planet in Michael Bay's doomsday space epic.

Henri-Georges Clouzot's gripping 1953 thriller throws four men into a primal struggle against the jungle armed with modern machinery and their own nerves and endurance. The squalid, isolated South American town of Las Piedras is a veritable refuge turned prison for criminals from all over the world. When an oil fire ignites 300 miles away, dozens of desperate volunteers apply for the dangerous job of driving highly volatile nitroglycerin across rugged jungle roads--for a $2,000 payday. The bulk of the film charts the slow, grueling trek over bumpy, pothole-dotted dirt roads and worse. A dangerous cutback forces the trucks to back over a rotting wooden platform built over a cliff, a boulder in the road must be blasted away, and a river of oil (gushing from a broken pipeline) must be forded--all with one ton of explosive nitro resting in the back of each truck. The ordeal forges a tough-guy trust between German Bimba (Peter Van Eyck) and Italian Luigi (Folco Lulli) but tears apart Frenchmen Mario (Yves Montand) and Jo (Charles Vanel). Former gangland hotshot Jo finds his once-fearless exterior cracked, while Mario discovers in himself a new grit and tenacity. Clouzot's stark, simple imagery and painstaking attention to detail create a riveting tension that never lets up, intensified by the ruthless drive of Mario, who proves he will do anything--anything--to get his truck through. William Freidkin remade the film in 1977 as the stylish Sorcerer. --Sean Axmaker

One of the most nerve-wracking and exciting films ever made, Henri-Georges Clouzot's masterpiece won the Grand Prize at the 1953 Cannes Film Festival. An American oil company enlists four tough drifters for a high-paying suicide mission-transporting explosives across the rough terrain of Central America. Criterion is proud to present Wages of Fear in its original 148-minute version.

Notice a complete turnaround in 24 days and all around eye firming; smoothing and brightening. Olay Regenerist Eye Lifting Serum contains a concentrated form of an exclusive amino-peptide complex that hydrates to firm and visibly lift skin around the entire eye area. Skin's natural glow will be restored and skin is left feeling velvety smooth. The results? Visibly lifts; smooths and brightens the entire eye area for firm eyelids; smooth corners and even-tone under eyes. Use alone or create your own regimen with other Regenerist skin care products. Gentle; fragrance free; dermatologist and opthamologist tested; non-greasy; suitable for everyday use.

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