Nature magazine, all issues for the year 2004 including any supplements. These are genuine PDFs that are fully searchable with a clickable index for fast access to articles.

Nature magazine, all issues for the year 2005 including any supplements. These are genuine PDFs that are fully searchable with a clickable index for fast access to articles.

Nature magazine, all issues for the year 2006 including any supplements. These are genuine PDFs that are fully searchable with a clickable index for fast access to articles.

Genuine Adobe Creative Suite 5 Manuals and User Guides. Includes manuals for After Effects, Creative Suite, Dreamweaver, Encore, Illustrator, Incopy, Indesign, Photoshop, Premiere Pro, and Soundbooth.

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"It Takes a Thief" is an American action-adventure television series that aired on ABC for two and a half seasons between January 9, 1968 to March 24, 1970. It was among the last of the 1960s spy television genre, although Mission: Impossible continued for several years. It Takes A Thief was inspired by, though not based upon, the 1955 Cary Grant motion picture To Catch a Thief, directed by Alfred Hitchcock; both of their titles stem from the English proverb "It takes a thief to catch a thief."

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allmusic.com:

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Most of Mel Tormé's albums for Verve and Bethlehem during the 1950s concentrated on material either carefree (usually up-tempo) or reflective (mostly down-tempo), but 1958's Tormé blended the two. For every bouncy single like "That Old Feeling" or "I'm Gonna Laugh You Out of My Life," Tormé sinks into the depths with "Gloomy Sunday," "The House Is Haunted (By the Echo of Your Last Goodbye)," or his dramatic eight-minute reading of "Blues in the Night." All this makes for a bit of emotional confusion while listening to Tormé, but the LP pulls together for the most part.

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Amazon reviewer:

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This recently discovered 1982 recording of the Carnegie Hall performance of Mel Torme, George Shearing, and Gerry Mulligan is the only known recording of these three giants performing together, and what a performance it is! Mulligan's fifteen-piece orchestra connects the artists' solos and fills the recording with atmospheric effects, haunting beats, and dramatic accents. Torme's evolution from crooner of beautiful melodies, as he was in the 1977 "London Sessions," to a full-out jazz performer just five years later, is obvious through his relaxed scatting and his use of his voice as a jazz instrument--on a par with Mulligan's sax and Shearing's piano.

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Mel Tormé with the Marty Paich Orchestra on this 1957 recording, released on CD in 1991.

Allmusic.com:

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Three years before a stroke ended Mel Tormé's career, he appeared with his trio and Ray Anthony & His Big Band at the 1993 Playboy Jazz Festival, though the CD wasn't issued until some nine years later. Tormé sounds as if he has just a touch of hoarseness, though he never fluffs a note and his rhythm is flawless during the set, though it relies rather too heavily on medleys. The cavernous sound quality of playing in the bandshell and the somewhat poor mix (the big band occasionally nearly drowns out Tormé) are also a bit distracting. Those reservations aside, the veteran is full of energy, especially in his swinging arrangement of Duke Ellington's "I'm Gonna Go Fishin'," and he scats up a storm in "It Don't Mean a Thing (If It Ain't Got That Swing)." Tormé's pianist, John Colianni, is a consummate accompanist, and the big band has a few strong soloists, though none of them are identified. It would be difficult to label this as one of the best releases by Mel Tormé during the latter part of his career since there are many far better live recordings available through Concord, but fans of the Velvet Fog will want to pick up this previously unreleased disc as well.

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Episode 2.2 of the Nat King Cole Show on NBC with guests June Christy and Mel Tormé.

Amazon:

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Made in 1975 and directed by Paul Verhoeven, Katie Tippel ("Katie the Streetwalker") is a handsome period drama set in 19th-century Holland, based on a true story. The second eldest daughter in a poor, Friesland family who move to Amsterdam, Katie (Monique Van de Ven) must find whatever work is going to make ends meet. She has already learnt to have no faith in her weak father. Now, as she enters a succession of jobs in which she experiences both exploitation and sexual harassment, she learns that men want her for only one thing. Duly, at the behest of her own mother, she enters prostitution. However, when she becomes model to an artist she is finally able to escape the poverty trap and ascend the social ladder, particularly when banker Hugo (Rutger Hauer) takes her as his lover. All this is set against a backdrop of social foment as the workers' impatience at poor social conditions increases.

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Allmusic.com:

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Mel Tormé and Buddy Rich had been friends for decades prior to finally getting around to recording together. Although largely a Tormé vocal record, the Buddy Rich Orchestra, with guest altoist Phil Woods, is in top form, and the drummer/leader has several solos. Most memorable is Tormé's tribute to Ella Fitzgerald on "Lady Be Good" and a remarkable tour-de-force on "Blues in the Night." This enjoyable and somewhat historic LP, put out by Gryphon, is worthy of reissue on CD by Mobile Fidelity.

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Allmusic.com:

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Mel Tormé had recorded relatively few rewarding albums in the decade before this set, originally put out by Gryphon before being reissued on CD by DCC Jazz. However, his voice had improved with time, his range had widened, and he had become an even stronger jazz singer than before. Since Tormé is joined here by the largely anonymous Chris Gunning Orchestra, with guest altoist Phil Woods, on a set of generally "contemporary" pop songs (including "All in Love Is Fair," "New York State of Mind," "Send in the Clowns" and "The First Time Ever I Saw Your Face"), this set is not too essential. However, Tormé's professionalism and ability to swing makes this an interesting outing anyway, and launched his "comeback."

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Allmusic.com:

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Recorded with the Johnny Mandel Orchestra at sessions in Los Angeles, it includes one half Duke Ellington and one half Count Basie plus Leroy Carr's "In the Evening (When the Sun Goes Down)." With all these things going for it, how can Tormé do wrong?

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Allmusic.com:

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Though the credits on this Italian import do not acknowledge it, this collection consists of material originally released on two Bethlehem Records albums, Mel Tormé with the Marty Paich Dektette (BCP 52) and Mel Tormé Sings Fred Astaire (BCP 6013), in 1957. The tracks have been mixed up together, which is okay since nearly the same players are involved; the Paich Dektette also accompany Tormé on the Astaire album, which was recorded ten months after the self-titled effort, and there had only been a few personnel changes in the group in that time. The earlier album also contains songs associated with Astaire, such as "The Carioca" and "Fascinatin' Rhythm." Tormé found an ideal backup group in the Paich Dektette, and these recordings, which are presented in good sound quality, demonstrate that.

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