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DEJA RE-VU
"THE DUNWICH HORROR" (SPECIAL EDITION) The 1970 film is well worth rediscovering. And now is the time, thanks to Arrow Video's new Blu-ray Special Edition release. Restored from the original 35mm camera negative, the picture is sharp, the colors vivid and the sound is crystal clear. Dean Stockwell stars as Wilbur Whateley, an attractive young man who can't quite hide the fact that he is deeply disturbed. Seeking to unleash evil entities, known as "The Old Ones," he despises the village of Dunwich. Long ago, its residents hanged his great-grandfather and they have shunned his descendants ever since. To achieve his heinous goals, Wilbur needs the Necronomicon, an infamous book housed in a New England university library. Lecturer Dr. Henry Armitage stands in his way. Wilbur turns his attention to Nancy, a naive student (Sandra Dee) to further his scheme. Gradually he takes control of her and plans to use her in a dark ritual that will open the gates to demonic forces, "The Old Ones." Executive producer Roger Corman and American International Pictures had enjoyed tremendous success with their series of Edgar Allen Poe adaptations. So they turned their attention to another literary horror master, H.P. Lovecraft. Though this version of "The Dunwich Horror" is far from faithful to the author, it stands as a very effective film. Curtis Hanson (who later directed such films as "L.A. Confidential") co-wrote the screenplay. Daniel Haller imaginatively directed the movie. He had previously helmed "Die Monster, Die!" and "Devil's Angels." He had served as production designer on many of Corman's classics, including "The Masque of the Red Death," "X: The Man with the X-Ray Eyes" and "The Pit and the Pendulum." He later became a busy TV director, filming episodes of such series as "Charlie's Angels," "Battlestar Galactica" and "Matlock." For "The Dunwich Horror," Haller wisely chose to go the Val Lewton route, suggesting, rather than shoving shocks in the viewer's face. The violence, nudity and monsters are mostly flashed in quick cuts, masked by visual effects. These segments have a psychedelic flair, appropriate to the time. Though the film has some echoes of "Rosemary's Baby," it remains relatively understated. Haller maintains a sinister, suspenseful air throughout. He also elicits some strong performances from his cast. Sandra Dee, eager to change her "Gidget" image, is vulnerable and consistently credible as Nancy. The role of Wilbur was originally to have been played by Peter Fonda, but he backed out. Stockwell is ideal for the role. There's something peculiar and unnerving about his Wilbur. Despite the character's horrible intentions, Stockwell manages to stir a speck of sympathy, as the persecuted outsider. The stellar cast also includes Donna Baccala, Ed Begley, Lloyd Bochner, Sam Jaffe and "Rocky" star Talia Coppola (later known as Talia Shire, following her marriage to composer David Shire). The theramin-tinged score, by Les Baxter, brilliantly ramps up the eerieness and tension. As usual with Arrow special editions, this release includes great bonus features. The most fascinating of the new extras is titled "The Sound of Cosmic Terror." It presents erudite music historian David Huckvale, who gives us an intricate analysis of the film's score, composed by Exotica icon Baxter. Huckvale delves into the range of influences Baxter, an AIP veteran, employs for this spooky outing, including the score's classical antecedents. He makes clear where sound effects were blended into the music and how Baxter came up with ingenious variations on his main theme. Additionally, in "After Summer After Winter," science-fiction/fantasy writer Ruthanna Emrys, author of "The Innsmouth Legacy" series, discusses the frightening mythos Lovecraft explored. In "The Door into Dunwich," film historian Stephen R. Bissette and horror author Stephen Laws converse about Lovecraft and, in particular, "The Dunwich Horror." Also included are the theatrical trailer and a breezy new audio commentary. This new Arrow special edition allows viewers to fully appreciate a genre picture that deserves more attention.
THE ANIMALS - "RETROSPECTIVE" The 22-track "Retrospective" collection, spanning 1964 to 1970, was first released on CD in 2004. Now, at last, the set is available on 180-gram vinyl. The two-LP package contains the group's most memorable songs. On vinyl, The Animals' sound leaps forth and grabs the listener from start to finish. The original lineup possessed a riveting tension and authenticity. Eric Burdon provided the edgy lead vocals. Alan Price, himself a sensationally soulful singer, gave the band its secret sauce, thanks to his swirling Vox Continental organ riffs. Hilton Valentine added catchy guitar lines. Bassist Chas Chandler and drummer John Steel built the powerful foundation. In the early days, spurred on by genius producer Mickie Most, they reinvented blues classics like John Lee Hooker's "Boom Boom" and Sam Cooke's "Bring It On Home to Me." They took the traditional "House of the Rising Sun" and, with Price's arresting arrangement, made it an international smash. Other top tracks in this set include "I'm Crying," "Baby Let Me Take You Home," "Don't Let Me Be Misunderstood," "It's My Life," "See See Rider, The Goffin-King song "Don't Bring Me Down" and Barry Mann & Cynthia Weil's "We Gotta Get Outta This Place." Sides three and four focus on later 60s material Burdon recorded with his own version of The Animals, most notably "San Francisco Nights," "Monterey" and "Sky Pilot," as well as his chart success with War, "Spill The Wine." This vinyl set is a must-have for any true rock 'n' roll aficionado. It sounds fantastic, totally alive. And The Animals remain as endearingly scruffy and untamed as ever.
DIANA PANTON - "BLUE" The superlative Canadian jazz vocalist counts two Junos among her many awards. "Blue" completes her trilogy exploring the nature of love. 2009's Juno-nominated "pink" captured the innocent elation of all-encompassing first crush. 2015's "RED," a Juno winner, celebrated genuine, profound passion. Her latest, "blue," delves sensitively into the melancholy that follows a relationship's disintegration. Panton's extraordinary vocal gifts enthrall the listener right from the opening measures. And throughout, she brings a shimmering sincerity to every note. Her phrasing is perfect, bringing out the true emotion of each line. On "blue," she lends her exquisite voice to well chosen standards, making them her own. Her interpretations unfailingly enhance what the songwriters are expressing. Panton caresses a lyric and sensually embraces the melody. She begins with a lovely medley -- "Where Do You Start? (Alan & Marilyn Bergman/Johnny Mandel) paired with "Once Upon a Time" (Lee Adams, Charles Strouse). It starts a cappella before piano gracefully glides into the musical story. Keyboardist/arranger Don Thompson's playing matches Panton's subtle, nuanced, sigh-inducingly pretty singing. Panton softly swings on the Cy Coleman/Joseph McCarthy tune, "I'm Gonna Laugh You Right Out of My Life," as well as "This Will Make You Laugh" (Irene Higginbotham), which was first recorded by the King Cole Trio in 1941. Paul McCartney's "Yesterday" has been recorded more than 1,600 times, but never more captivatingly than on Panton's version with its silky Brazilian texture. She delivers a gorgeous rendition of Stephen Sondheim's "Losing My Mind," from "Follies." That number benefits from ravishing string work by Pendercki Quartet. "The Meaning of the Blues" was composed in 1957 by Bobby Troup with lyrics by Leah Worth. It was written for Troup's wife, Julie London. It was subsequently recorded by many legendary instrumental artists, including Miles Davis, Stan Kenton and Woody Herman. Panton gives the ballad a special magic. Panton presents other poignant performances on "To Say Goodbye" (Lani Hall, Edu Lobo, Torquato Neto), originally recorded by Sergio Mendes & Brasil '66, and "The Trouble with Hello is Goodbye," written by Alan & Marilyn Bergman and Dave Grusin. Phil Dwyer's sax passage adds sultriness to the latter song's sadness. On Rodgers & Hart's "Nobody's Heart," Reg Schwager sweetens the yearning and vulnerability of the vocal with his delicate guitar phrases. For the closer, "You Are There," Panton returns to the unadorned intimacy of just her expressive voice and Thompson's tasteful, understated piano stylings. All of the superb musicians, including Jim Vivian on bass, enrich Panton's alluring voice. Panton and her entire company make sure that every one of the 16 tracks here is a gem. Panton's voice can beautifully breathy or powerfully penetrating, depending what the song demands. A wonderful wistfulness enfolds the evocative album. It's never been more of a pleasure to hear the sounds of heartache. TERMINATORS OF ENDEARMENT - "BUILDING A BETTER HELL" Bay Area singer-songwriter Michael Monahan and his merry band of musicians have a fresh batch of terrific tunes. His songs are deliciously droll and irresistibly off-beat. Monahan creates catchy numbers brimming with astute lines and smart observations. He's savvy, Kemosabe. In the title track, our silver-tongued devil sings satirically, "Satanic, democratic movie stars are eating at the baby buffet. The righteous are in Dallas paying homage to the zombie JFK." And later, "Sacrifices have to be made to build a better hell." No, Monahan is not the second coming of John Denver. That's not sunshine he's dropping on your shoulder. An engaging change of pace comes with his "A Train Isn't Waiting," a beautiful, plaintive tune that features a wistfully wailing harmonica. "Signs and Wonders" bubbles with the kind of quirky charm that made They Might Be Giants so appealing. "Party in the Morgue" is a "Monster Mash" for the 21st century. Horror fans will chuckle knowingly through the wonderfully loungey "Bela Lugosi Meets a Brooklyn Gorilla," which laments the decline of everyone's favorite vampire. Have a penchant for the bizarre? It'll be difficult to top tunes like "The Three Stigmata of Smiley Burnette," a salute to the western sidekick who provided comic relief for Roy Rogers and Gene Autry before landing a regular role on "Petticoat Junction." Monahan has the last laugh with "You're Gonna Die." Banjo contributes to the lively country ditty "Heaven Help Me When Hell Breaks Loose." Sing Along to the surf-rock pleaser "Punch a Nazi!" Looking for a way to pass the time? "Goin' to Memorials" might be the answer. And just remember, don't blame yourself -- it's "God's Will (or Someone Else's Fault)." Monahan cleverly confronts his cynicism, as well as the curse of aging, in the bouncy and brainy "All Down Hill," in which he grumbles, "All the things I dearly love are killing me." Feel like "Hell"? The darkly perceptive humor of Terminators of Endearment will lighten your load. Their songs are instantly memorable and unlike anything you've heard before.
ROBERTA DONNAY - "BLOSSOM-ing!" Donnay is naughtily alluring on "Roberta's Blues," the opener, a Billie Holliday number adapted by Dearie. Donnay fetchingly purrs on Dave Frishberg's "Peel Me a Grape." The pleasingly pretty "You Fascinate Me So" and "It Amazes Me", both by Carolyn Leigh and Cy Coleman, are other ideal selections. In French, Donnay elegantly glides through "Plus Je T'embrasse. Also featured are a couple of outstanding tunes co-written by Dearie -- "Inside a Silent Tear" and "A Paris." There's a touch of whimsy in "Moonlight Savings Time" and "If I Were a Bell" that enchants. Donnay's lovely interpretation of the Gershwins' "Someone to Watch Over Me" is a pure delight. She expresses a yearning in her soft and sensual rendition of "Spring in Manhattan." "Unless It's You" (Johnny Mandel/Morgan Ames) also stands among her most beautiful vocal performances. Donnay closes with a sweet and buoyant "Put On a Happy Face." And trust me, you'll be smiling all through this exceptional album. Like Dearie, Donnay possesses a voice that exudes personality and a gentle, yet potent, positive energy; a tone and phrasing style that are instantly recognizable as her own. Donnay and Dearie each display a natural gift for making every melody a pleasure. They also display a deep understanding of lyrics. Sophisticated pianist Mike Greensill, who deftly co-arranged with Donnay, joins splendid backing musicians Ruth Davies on bass, Mark Lee on drums and José Neto on guitar to perfectly complement the singer. She has shown in the past that she can expertly perform jazz, blues, folk and rock. Now the versatile Donnay does Dearie justice in this wonderful tribute. Roberta is an extraordinarily talented artist who continues to blossom.
OSCAR WARS: A HISTORY OF HOLLYWOOD IN GOLD, SWEAT, AND TEARS Enjoy all the history and highlights via Michael Schulman's new book, "Oscar Wars." He takes readers behind the scenes to discover the in-fighting, rivalries, campaigning, upsets, snubs and triumphs. Among the memorable battles Schulman describes is one involving Orson Welles and Herman J. Mankiewicz, squabbling over "Citizen Kane" screenwriting credit. Then there was the sibling feud between Olivia de Havilland and Joan Fontaine, each vying to be the first sister to win the golden statuette. The awards began as something of an afterthought, when the Academy was founded. With its unparalleled star power and glamorous fashions, the epic celebration has become a global sensation. Schulman recounts so many of the great stories of legendary Oscar figures, from the award-obsessed Frank Capra to the respect-starved Bette Davis to Hattie McDaniel's landmark win. Schulman delves into all the lore, including the numerous tales about how the prize wound up with the nickname "Oscar." The changes in Hollywood, and society, are reflected in the Academy's handling of everything from the advent of talkies to streaking to #OscarsSoWhite. Oscar had to adapt to wars and social movements. The event was no stranger to controversy. And there were the infamous lowlights over the years, among them the much ridiculed Snow White/Rob Lowe musical extravaganza opening, courtesy of producer Allan Carr; the mistaken announcement of "La La Land" as Best Picture;" and, as mentioned in Schulman's afterword, Will Smith's shocking attack on Chris Rock. Schulman's homage to Oscar proves to be well researched, fascinating and highly entertaining. And the winner is... any film fan who buys this book.
PETER ASHER: A LIFE IN MUSIC Asher gained fame as half of the harmonizing folk-pop duo Peter and Gordon. At the height of the '60s British Invasion, they recorded such hits as "Woman," "A World Without Love," "Nobody I Know," "I Go to Pieces" and "Lady Godiva." A former child actor from a musical family, Asher was closely entwined with The Beatles. His sister Jane was Paul McCartney's girlfriend. When the Fab Four founded Apple Records, Asher served as head of A&R for the label. He signed and produced the then little known singer-songwriter James Taylor. Asher left Apple and moved to America so he could guide Sweet Baby James to stardom. Asher next took Linda Ronstadt to the pinnacle of the pop scene as her manager and producer. He also produced great albums by J.D. Souther and Bonnie Raitt. In the 90s, the Grammy-winning Asher became Senior Vice-President at Sony Music Entertainment. But he eventually returned to performing, producing and management. A 2005 benefit for the paralyzed Mike Smith, lead singer of the Dave Clark 5, brought Asher back together with his old duo partner, Gordon Waller. Following Waller's passing, Asher kept giving concerts, often with Jeremy Clyde of Chad & Jeremy renown. In 2015, in recognition of his service to the British music industry, Asher was awarded the designation Commander of the Order of the British Empire (CBE). In addition to the artist himself, Author David Jacks interviewed scores of Asher-associated luminaries who enable the reader to fully appreciate the scope of the subject's musical skills, dedication and passion. Clearly those who have worked with Asher regard him with tremendous affection and admiration. Among those whose quotes inform this richly told biography are Ronstadt, Taylor, Raitt, Souther, Carole King, Marianne Faithfull, Graham Nash, David Crosby, Randy Newman, Jackson Browne, Aaron Neville, Cher, Hans Zimmer, Steve Martin and Edie Brickell. In addition to musical performers, Jacks includes thoughts from elite producers and studio musicians. Those include Sir George Martin, Lou Adler, Richard Perry, Hal Blaine, Waddy Wachtel and Danny Kortchmar. Also offering recollections is comic/actor Robin Williams, who collaborated with producer Asher on a live comedy album. Jacks spent more than a decade assembling this book. He digs deep into each phase of Asher's career, every one them successful and impactful. Rare photos enhance the text. This is an incredibly detailed, impressive story of a remarkable life. HOLLYWOOD: THE ORAL HISTORY Jeanine Basinger (trustee of the American Film Institute and the National Board of Review and founder of Wesleyan University's Cinema Studies Department) and Sam Wasson, authors of numerous other film books, pored over tens of thousands of hours of material spanning Hollywood's entire narrative, from distant past to the present. For the book, they have uncovered and included the most significant gems, the most insightful and memorable quotes served up by great actors, directors, producers, screenwriters and more. Within these 700-plus pages, you'll discover details relating to every aspect of filmmaking. You'll get insider information on so may film classics and movie legends. Jack Lemmon recalls Marilyn Monroe's insecurities on set. Warren Beatty and director Arthur Penn talk about the making of "Bonnie and Clyde." Several of her directors describe the process of working with Bette Davis. Fellow directing masters like Billy Wilder and Leo McCarey offer their opinions on the unique magic touch of Ernst Lubitsch Prominent directors discuss the founding of their guild. Art director Robert Boyle recounts his experiences working with Alfred Hitchcock on "The Birds." Mervyn LeRoy, Lewis Milestone and animator Friz Freleng open up about Walt Disney. King Vidor, Adela Rogers St. Johns and Katherine Hepburn dish on Louis B. Mayer. Hoot Gibson and Harold Lloyd reminisce fondly about the silent era. Jerry Lewis waxes nostalgic, remembering his friendships with Charlie Chaplin and Stan Laurel. Meryl Streep explains how she felt in her film debut. George Lucas tells of the difficulties getting "Star Wars" off the ground, as studio execs didn't see the movie's potential. This book is an essential addition to the libraries of every casual or serious film buff. TRY NOT TO HOLD IT AGAINST ME: A PRODUCER'S LIFE A Bronx native, Schlossberg managed to make his mark in many areas of show biz. Barely into his twenties, he worked for ABC and then BBC. He was the youngest film buyer for a national theatre chain. He hosted a radio show. He set up an independent film company and in 1977, he became Paramount Pictures' vice-president of production. He produced "Ten From Your Show of Shows," celebrating the classic sketch comedy show with its all-star cast on stage and in the writers' room. He relates a poignant story of Sid Caesar interacting with a group of children at a benefit for a school for the deaf. Schlossberg produced a Woody Allen one-act play. He helped Warren Beatty successfully relaunch "McCabe and Mrs. Miller," a disappointment in its initial run. Along the way, Schlossberg sprinkles important lessons he has learned, for instance, "Don't piss off the mail boy." He may turn out to be Barry Diller, David Geffen or Michael Ovitz. Schlossberg fills the pages with delightful stories involving friends and business associates like Michael Palin, David Mamet, Neil Simon, Tom Courtney, Alan Arkin, Mike Nichols, Twiggy, Burt Reynolds, Elizabeth Berkley, Eli Wallach, Liza Minelli, Bob Hope, Shirley MacLaine, Robert Duvall and George C. Scott. There's a surprising story about a young Harvey Weinstein. On the other end of the spectrum, Schlossberg had the honor of meeting three U.S. presidents. With a foreword by comedy legend Elaine May, this is a highly entertaining book. Schlossberg writes in a warm, candid, conversational tone, as he allows us to peek behind the curtains. His show business anecdotes prove to be funny, touching and memorable.
THE WAY THEY WERE: Author Robert Hofler details the astounding amount of turmoil and conflict that went into the making of the film. The struggles began long before the cameras started rolling. Arthur Laurents had written significant plays ("Home of the Brave," "The Time of the Cuckoo") and films ("Rope," "Anastasia," "Bonjour Tristesse"). Most famously, he wrote the books for the iconic musicals "Gypsy" and "West Side Story." He came up with the treatment for "The Way We Were," subsequently turning it into a novel and screenplay. Laurents directed Barbra Streisand in her Broadway debut, "I Can Get It For You Wholesale." The 19-year-old actress' ebullient performance made her a sensation. She would be perfect for the role of Katie, the idealistic Jewish communist in "The Way We Were." Producer Ray Stark had Streisand under contract, having worked with her on her breakout film, "Funny Girl." Stark had a complicated relationship with Streisand. A very hands-on producer, he would have fierce battles with his director, Sydney Pollack, and Laurents. As for Hubbell, the hunky WASP who would create sparks with Katie, Stark leaned towards the reasonably priced Ryan O'Neal, who had just completed "What's Up Doc?" with Streisand. Laurents pushed for Ken Howard (star of Broadway's "1776" musical). Pollack insisted on casting Robert Redford with whom he had already done a couple of films. The problem was, Redford didn't want to play Hubbell. He viewed the part as "secondary" and the role as "one-dimensional" and "unheroic." He also had doubts about working with Streisand. Pollack spent many months trying to convince Redford. The actor finally relented, as the director assured him that there would be substantial changes to the character and the story. More writers were brought in. For Laurents, this was a very personal story. At its core, it was a political drama, focused on the Hollywood blacklist. By the time the movie was released, those aspects were nearly eliminated as Pollack fashioned a bittersweet love story between two polar opposites. Redford and Streisand were quite different, as well. On set, he was amiable, calm, cool and perpetually late. She was the insecure perfectionist, anxious over every facet of the film and her performance. Yet, they ended up getting along quite well. Unfortunately, that was not the case with the other principals. Laurents grew increasingly enraged over the way his passion project was being altered. Pollack had to fight not only him, but the always interfering, memo-spewing Stark. And of course, there were two superstars on set who also had huge egos. Hofler probes the entire process, unveiling how all the friction miraculously resulted in a beloved film. He discusses the substantial cuts that made the movie more commercial and less controversial.The author reveals how, in an inspired moment, Pollack was able to coax tears from a self-conscious Streisand for an especially emotional scene. He even dissects the writing and recording of the memorable theme song. Hofler offers readers intriguing tidbits about all of this Hollywood story's main players, even touching upon the gay loves of Laurents, some of them famous actors. The author interviewed the film's stars and other key players. He also drew from Laurents' and Pollack's unpublished remembrances. All those involved in the production contributed to movie's magic, but they had to go through hell to do so. Hofler's juicy, compelling book will enthrall fans of the film.
VIVA HOLLYWOOD: Reyes travels from silent stars like Ramon Navarro ("Ben Hur") to present day luminaries such as Jennifer Lopez. The author includes not only acting talents, but those who excelled behind the cameras, among them cinematographer John Alonzo, classical pianist Jose Iturbi and Academy Award-winning makeup artist Beatrice de Alba. Several gifted Mexican Americans helped create the unforgettable visual effects of "King Kong." Directors and screenwriters have made their marks, as well. Of course, Hollywood has always embraced stereotypes, some more positive than others. The "Latin Lover" was popular since the early days. Among the many romantic leads over the decades have been Cesar Romero, Desi Arnaz and Gilbert Roland. Vixenish senoritas like Lupe Velez, Dolores del Rio, Sonia Braga, Raquel Welch and Rita Hayworth brought fire to their screen appearances. Comedic performers like Cantinflas, Jose Gonzales Gonzales, and Cheech Marin provided laughs. Musical talent brought stars like Carmen Miranda to prominence. Versatility enabled Anthony Quinn, Jose Ferrer, Martin Sheen, Andy Garcia and Rita Moreno to carve out enduring careers. Reyes also covers performers who are lesser known today, but made strong impacts, names such as Antonio Moreno, Juano Hernandez, Tito Guizar,, Pedro Armendariz, Arturo de Cordova and Elvira Rios. Reyes chronicles the social and political movements that affected the filmmakers and vice versa. He hails such activists as Edward James Olmos and Ricardo Montalban. Latinos, sometimes unheralded, contributed to such film classics as "Stagecoach," "Citizen Kane" and "The Seven Year Itch." The Hispanic/Latino impact on Hollywood has been profound and powerful. Reyes has done an excellent job of shining a spotlight on the work of these artists. ANATOMY OF 55 MORE SONGS: In 2015, Myers served up his "Anatomy of a Song" book, based on his popular Wall Street Journal column. Now he has gifted us a sequel, "Anatomy of 55 More Songs." Spanning genres and decades, the collection offers insights into artists' processes -- songwriting, arranging, recording techniques. Myers talks with the writers, musicians, managers, producers and engineers involved in creating sounds that eternally resonate in our hearts and minds. Every song tells a story. And every hit has an origin story of its own. Myers tells these tales with great affection and perceptiveness. Some songs float in the ether for years before finding the right messenger and the right time. The Youngbloods "Get Together" is a prime example cited by Myers. He relates moving love stories, such as those behind memorable tunes like Donovan's "Sunshine Superman" and the Sheryl Crow/Jeff Trott number, "If It Makes You Happy." You'll find influential records here representing rock, soul, R&B, EDM and disco. Among the diverse, hit-making artists helping Myers reveal their secrets are Dionne Warwick, Burt Bacharach, Martha Reeves, Brian Wilson, John Fogerty, Tommy James, Ozzy Osbourne, Bob Weir, Jackson Browne, The Hollies, Roberta Flack, Deep Purple, Todd Rundgren, Gordon Lightfoot, Hall & Oates, Steve Miller, Heart, Carly Simon, Donald Fagen, Kenny Rogers, The Cars, Elvis Costello, John Mellencamp, Talking Heads, AC/DC, Giorgio Moroder, Joan Jett, Blondie, Journey, Huey Lewis and Keith Richards. After reading Myers engrossing book, you'll come away with a better sense of the talent, the collaborative forces, the luck and the sorcery that goes into making the music that forms the soundtrack of our lives. Email Paul Freeman at paul@popcultureclassics.com |
