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Hot Rod

from: Source Interlink




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List Price: $59.88
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Average Rating:  out of 5 stars
Sales Rank: 206







Binding: Magazine
First Issue Lead Time: 6-10 weeks
Format: Magazine Subscription
Issues Per Year: 12
Label: Source Interlink
Magazine Type: Consumer magazine
Manufacturer: Source Interlink
Number Of Issues: 12
Publisher: Source Interlink
Release Date: November 23, 2001
Sales Rank: 206
Studio: Source Interlink
Subscription Length: 365 days




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Editorial Review:

Product Description:
This magazine is oriented to high performance and personalized cars and the sport of hot-rodding. It covers performance news, trends, technologies and auto events. It showcases a variety of different cars from custom built street machines to restored muscle cars. In addition, articles provide insight into the human side of the sport.









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Customer Reviews
Average Rating:  out of 5 stars

Rating: 1 out of 5 stars - Where is it???
I have not get the first one yet.

How can i review???




Rating: 5 out of 5 stars - Hot Rod Rules The Road!!
* This is the best car magazine in the universe for all you gear heads out there. As the name implies, it is strictly about hot rods: big blocks, big tires, big smoke--you get the picture. You can learn how to get rid of the rust on your car and find the best place to get parts for your '69 Sting Ray and find out about the new Z06's. I am car-tarded, my husband is the mechanic. He runs an auto shop and he actually refers to this magazine in his line of work. However, I've actually *learned* something from this magazine and I can actually talk shop with the boys! It's a great entertainment and learning tool regardless of the reason why you read it--to learn about the brand new Camaro coming out and different car reviews. BUY THIS MAGAZINE!!! ...



Rating: 4 out of 5 stars - A good magazine for the hot rodders
This magazine is a great magazine for those into traditional Hot Rodding. It doesn't get carried away with every trend in car modification to come down the pike, you won't be turning through pages of "tuner" cars (piece of crap cars that took thousands of dollars of mods to run as well as a car should coming off the lot.) It usually sticks to covering the Detroit 3...but I don't mind after reading all about asian cars in C&D and MT.



Rating: 5 out of 5 stars - The best of it's kind, but...
* I've been a subscriber since 1968, just sent a gift sub to a nephew, and it won't start coming for 4 MONTHS!! Glad I ordered online! ...



Rating: 3 out of 5 stars - Great Magazine for the GM fan
Good magazine for the occasional reading. Like stated above, if you are anything other that a GM fan, you will find yourself in the dark 80% of the time. I truly respect all brands of muscle, but if I wanted to read only on GM, I would buy one of their sister publications.

Rod Hot


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Sports Wear Reviews






Usually we're fans of Logitech's gaming mice, but its highest-end G9 Laser Mouse is expensive, overly complex, and lacks the ergonomic thought we've come to expect. If you like to brag about dot-per-inch limits, perhaps the G9's 3,200dpi laser will be enough to sell you, but for the price, we expect the design to match.

While compact and convenient, Panasonic's SD-based SDR-S150 camcorder doesn't make the quality cut.





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Stephen Sondheim's Victorian horror thriller Sweeney Todd: The Demon Barber of Fleet Street is generally considered his greatest work, macabre but darkly humorous with a viscerally powerful score that has found a home both on Broadway and in opera houses. George Hearn (who replaced Len Cariou of the original Broadway cast) plays the title character, a wronged man whose lust for revenge drives him to murder (an 18th-century legend who has been traced to a real-life barber), and Angela Lansbury plays his partner in crime, Mrs. Lovett, who finds a practical business use for Todd's victims. This combination of horror and humor is echoed in Sondheim's score: brooding menace ("The Ballad of Sweeney Todd," "My Friend"), achingly beautiful ballads ("Johanna," "Not While I'm Around"), clever puns ("A Little Priest"), coloratura arias ("Green Finch and Linnet Bird"), and intricate choral and ensemble numbers.

Continuing a fortuitous tradition of capturing the Sondheim legacy on video recordings, this performance was filmed before a live audience in Los Angeles during the 1982 national tour. Almost 20 years later, Hearn returned to the role opposite Patti LuPone in an acclaimed concert production. But Sweeney Todd is an especially compelling experience in this 1982 version, complete with the clever staging tricks (e.g., the barber's chair) and as close to the original cast as we're likely to see. --David Horiuchi

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A guilty, guilty pleasure, perhaps not one a left-wing feminist should be admitting to in public. Female boomers should recall yearly TV reruns of this Rodgers and Hammerstein production, featuring such delights as "Impossible" and "Do I Love You Because You're Beautiful?" It may appear a bit stark to younger viewers, but part of the charm of this 1964 network TV special, a remake of the live 1957 telecast originally built around Julie Andrews, is its utter simplicity. An extremely young Lesley Ann Warren and Stuart Damon (of General Hospital fame) are joined by Ginger Rogers, Walter Pidgeon, and Celeste Holm. Warren is all sweetness and innocence without a hint of saccharine artificiality, while Damon is a clear-eyed romantic. This very handsome love story is a bit of an oddity, but worth owning just for the memorable score. --Rochelle O'Gorman
$9.49



John Waters made his bid for PG respectability with this enjoyably trashy comedy about the racial integration of a teen dance show on Baltimore television in the early '60s. Waters, as always, makes a virtue of junk culture and the powerful emotional forces it can represent as kids vie to get on the show. Meanwhile, a parade of former stars (Pia Zadora, Debbie Harry, Sonny Bono) and pseudostars (Divine, Ricki Lake) cross the screen, playing freakish characters absorbed by thoughts of fame. (Waters himself turns up as a weirdo psychiatrist.) This transitional film for Waters is rough going at times and not as interesting or funny as his later features Cry-Baby and Serial Mom, but it's worth a look. --Tom Keogh

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Martina McBride has long been a champion of music as social consciousness, particularly for abused women ("Independence Day") and children. On Waking Up Laughing, her ninth album and the follow-up to Timeless, her platinum-selling album of country classics, she advances the theme while expanding it. While two songs explore the issue of unwed mothers (particularly the exquisite "Love Land," which closes the album), and another, "Beautiful Again," touches on child sexual abuse, her overall repertoire embraces the wholeness of family, and of standing strong together in the face of adversity and defeat. Musically, McBride has always proved to be an elegant thorn--her song selection is often inspired (and here, she co-wrote three tunes, including the skyscraping single "Anyway"), but she has tended to use her huge, ride-the-wave soprano full-tilt, without employing the subtle shadings that would make her even more emotionally resonant. On Waking Up Laughing she seems to have worked on the problem, yet in her second foray as solo producer, she still tends to gild the lily instrumentally--inflating string bridges between choruses, for example, or loading the opening country-pop track, "If I Had Your Name," with a Southern-rock guitar break, a listen-to-me fiddle showcase, a Celtic guitar intro, and a close that brings to mind George Harrison's sitar in play-it-backward mode. That said, she makes fine use of what sounds like a black female choir on the uplifting "For These Times," and wisely keeps the haunting break-up ballad "Tryin' to Find a Reason" (with Keith Urban's harmony vocals and guitar solo) lean and affecting. As McBride works to refine her pastiche of creativity, commerciality, and social awareness, she slyly takes more chances than one might think, all the while rallying old fans and making new ones. --Alanna Nash
$10.99



For right-minded buyers of the reissued Muppet Christmas Carol soundtrack, the odds of disappointment are about as remote as Miss Piggy's chances with Kermit. If you loved the movie, you will love the loopy mayhem of the Muppet Brass Buskers ("Good King Wenceslas"), the cartoonish malice of the black-hearted misanthropes Marley & Marley ("Marley & Marley"), and the hope-swollen harmonies of Tiny Tim and Family ("Bless Us All"), Muppeted here to hilariously humble effect. If, on the other hand, your interest in this disc has more to do with its inclusion in the way-narrow Christmas-record-for-kids category--if the spirit of the season doesn't extend, for you, to the magic of the Muppets--you may want to keep browsing, as it's a soundtrack first (overture, instrumentals, and all) and a Christmas CD second. That's not to suggest you're stuck with an un-fun disc should it land on your holiday stack without a prior screening, though. Miles Goodman's score sweeps and inspires, and certain tracks--"One More Sleep 'til Christmas" and "Fozziwig's Party"--are future classics. (Note to the right-minded: After a misstep on the original release, Martina McBride's version of "When Love is Gone" is back.) -Tammy La Gorce
Hot Rod
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