40TH BIRTHDAY T SHIRTS

Gerald McBoing Boing (Classic Seuss)

In 1950, Theodor Geisel—known to the world even then as Dr. Seuss—met up with a friend who worked for a new animation studio called United Productions of America. "UPA has a fresh outlook," the friend said. Could Seuss write something new and different for them? Something that had a little more going for it than the usual cats chasing mice? "Just suppose," Seuss came back, "there was a little kid who didn't speak words but only weird sounds?" And that's how Gerald McBoing Boing came into being. Brought to life by UPA as an animated cartoon, it attracted legions of fans, rave reviews, and went on to win an Academy Award® in 1951. Available in book form only briefly at the time of the movie's release, here it is again—unique, delectable, vintage Seuss.

"Just suppose," said Ted "Dr. Seuss" Geisel, "there was a little kid who didn't speak words but only weird sounds?" Thus Gerald McBoing Boing was born, brought to life by a studio called United Productions of America as an animated cartoon. This delightful, rhyming story went on to win an Academy Award in 1951, and was briefly made available as a book at the time of the movie's release. And now it's back!
When Gerald McCloy turns two, he doesn't start talking like most children--he says "Boing boing!" instead. His George Jetson-style father, turning gray, rushes to call Doctor Malone, who decrees there is no cure. In time, Gerald only increases in volume, shouting "Boom!" like a big keg of exploding powder. School is no help, either. He cuckoos and honks in the classroom, "And as little Gerald/ grew older, he found/ When a fellow goes BAM!/ no one wants him around."
Outcast, forlorn, he runs away from home. But just as he is about to board a slow-moving freight, the owner of the BONG-BONG-BONG radio station accosts him by the tracks. "I need a smart fellow/ to make all the sounds,/ Who can bark like a dog/ and bay like the hounds!/ You're GONG is terrific,/ your toot is inspired!/ Quick come to BONG-BONG-BONG,/ McBoing Boing--you're hired!"
This fun and funny picture book--soaked in muted Fiestaware colors--lilts and bounces and boings like a good read-aloud should. Children will discover that sometimes it's our quirks that end up making us special. (Ages 3 and older) --Karin Snelson

it's not Lupus it is Dr House arzteserie arzt doktor medizin medicine illness cure me House, M.D. Dr. Gregory House Diagnostik Arzte- Krankenhaus-Serie Hugh Laurie

Ein wiederkehrendes Element bis Anfang der 4. Staffel war der Verdacht auf Lupus. Zunachst manifestierte sich dieses Element nur dadurch, dass Lupus unverhaltnisma?ig oft als Diagnose angenommen wurde, dann aber doch nicht zutreffend war. Dieses Element wurde dann innerhalb der Serie und um sie herum immer weiter ausgebaut: Auf der DVD zur 2. Staffel gibt es ein Special Feature „Vielleicht ist es Lupus?“ und es gibt ein offizielles Merchandise-T-Shirt mit der Aufschrift „It’s not Lupus“. Auch der Reinigungsangestellte, mit dem House in der ersten Folge der vierten Staffel zusammenarbeitet, schlagt Lupus vor. House versteckt Vicodin in einem ausgehohlten Buch uber Lupus und sagt: „Es ist niemals Lupus.“ und als die Diagnose dann doch einmal zutrifft, norgelt er daruber, dass man endlich mal einen Fall von Lupus hatte[12]. Der Erfinder von House, David Shore, erhielt vom Los-Angeles-Zweig der Lupus-Stiftung den Loop Award dafur, das Bewusstsein fur Lupus zu fordern.

Behind Steve you can see part of a candlestick holder which was a wedding present. In front of it you can just make out a salt and pepper holder in the style of a playful cat; this was from Jane's grandma. The bananas were purchased recently from the local Co-op, and held on a wire fruit bowl, a Christmas gift from Uncle Lewis and Auntie Christine. Uplighter from Ikea, as was the CD rack.

Disc 1: HANNIBAL Disc 2: THE SILENCE OF THE LAMBS Disc 3: MANHUNTER

Manhunter:Though it will always be remembered as the movie featuring the "other" Hannibal Lecter, Michael Mann's 1986 thriller Manhunter is nearly as good as The Silence of the Lambs, and in some respects it's arguably even better. Based on Thomas Harris's novel Red Dragon, which introduced the world to the nefarious killer Hannibal "the Cannibal" Lecter, the film stars William Petersen (giving a suitably brooding performance) as ex-FBI agent Will Graham, who is coaxed out of semiretirement to track down a serial killer who has thwarted the authorities at every turn.

Graham's approach to the case is a perilous one. First he seeks counsel with Lecter (Brian Cox) in the latter's high-security prison cell--an encounter that is utterly horrifying in its psychological effect--and then he begins to mold his own psyche to that of the killer, with potentially devastating results. As directed by Mann (who was at the acme of his success with TV's Miami Vice), this sophisticated cat-and-mouse game never resorts to the compromise of cheap thrills. Predating Anthony Hopkins's portrayal of Lecter by four years, Cox plays the character closer to Harris's original, lower-key conception, and he's no less compelling in the role. Petersen is equally well cast, and as always Mann employs rock music to astonishing effect, using nearly all of Iron Butterfly's heavy-metal epic "In-A-Gadda-Da-Vida" to accompany the film's heart-stopping climactic sequence. All of this makes Manhunter one of the finest films of its kind, as well as further proof that Harris's fiction is a blessing to any filmmaker brave enough to adapt it. --Jeff Shannon

The Silence of the Lambs: Based on Thomas Harris's novel, this terrifying film by Jonathan Demme really only contains a couple of genuinely shocking moments (one involving an autopsy, the other a prison break). The rest of the film is a splatter-free visual and psychological descent into the hell of madness, redeemed astonishingly by an unlikely connection between a monster and a haunted young woman. Anthony Hopkins is extraordinary as the cannibalistic psychiatrist Dr. Hannibal Lecter, virtually entombed in a subterranean prison for the criminally insane. At the behest of the FBI, agent-in-training Clarice Starling (Jodie Foster) approaches Lecter, requesting his insights into the identity and methods of a serial killer named Buffalo Bill (Ted Levine). In exchange, Lecter demands the right to penetrate Starling's most painful memories, creating a bizarre but palpable intimacy that liberates them both under separate but equally horrific circumstances. Demme, a filmmaker with a uniquely populist vision (Melvin and Howard, Something Wild), also spent his early years making pulp for Roger Corman (Caged Heat), and he hasn't forgotten the significance of tone, atmosphere, and the unsettling nature of a crudely effective close-up. Much of the film, in fact, consists of actors staring straight into the camera (usually from Clarice's point of view), making every bridge between one set of eyes to another seem terribly dangerous. --Tom Keogh


Hannibal: Yes, he's back, and he's still hungry. Ten years after The Silence of the Lambs, Dr. Hannibal "the Cannibal" Lecter (Anthony Hopkins, reprising his Oscar-winning role) is living the good life in Italy, studying art and sipping espresso. FBI agent Clarice Starling (Julianne Moore, replacing Jodie Foster), on the other hand, hasn't had it so good--an outsider from the start, she's now a quiet, moody loner who doesn't play bureaucratic games and suffers for it. A botched drug raid results in her demotion--and a request from Lecter's only living victim, Mason Verger (Gary Oldman, uncredited), for a little Q and A. Little does Clarice realize that the hideously deformed Verger--who, upon suggestion from Dr. Lecter, peeled off his own face--is using her as bait to lure Dr. Lecter out of hiding, quite certain he'll capture the good doctor.
Taking the basic plot contraptions from Thomas Harris's baroque novel, Hannibal is so stylistically different from its predecessor that it forces you to take it on its own terms. Director Ridley Scott gives the film a sleek, almost European look that lets you know that, unlike the first film (which was about the quintessentially American Clarice), this movie is all Hannibal. Does it work? Yes--but only up to a point. Scott adeptly sets up an atmosphere of foreboding, but it's all buildup for anticlimax, as Verger's plot for abducting Hannibal (and feeding him to man-eating wild boars) doesn't really deliver the requisite visceral thrills, and the much-ballyhooed climatic dinner sequence between Clarice, Dr. Lecter, and a third unlucky guest wobbles between parody and horror. Hopkins and Moore are both first-rate, but the film contrives to keep them as far apart as possible, when what made Silence so amazing was their interaction. When they do connect it's quite thrilling, but it's unfortunately too little too late. --Mark Englehart