Tatum may refer to:

Companies[link]

• Tatum, a brand name of the SFN Group, a temporary work agency. Tatum was founded in Atlanta, GA in 1993, providing interim Chief Financial Officers.

Places[link]

• Tatum, New Mexico
• Tatum, South Carolina
• Tatum, Texas

People[link]

• Tatum O'Neal, actress
• Tatum Reed, adult actress

For people named Tatum, see Tatum (surname).

Other uses[link]

• An English personal name of Old English origin, meaning Tate's homestead or a cheerful bringer of joy in an alternate Old English translation.
• A Tatum grid, in Music information retrieval

This disambiguation page lists articles associated with the same title. If an internal link led you here, you may wish to change the link to point directly to the intended article.

Art Tatum
Art Tatum, 1946
Background information
Birth name	Arthur Tatum, Jr.
Born	(1909-10-13)October 13, 1909 Toledo, Ohio, U.S.
Died	November 5, 1956(1956-11-05) (aged 47)
Genres	Jazz, stride
Occupations	Jazz pianist
Instruments	Piano
Years active	1927–1956

Arthur "Art" Tatum, Jr. (October 13, 1909 – November 5, 1956) was an American jazz pianist and virtuoso who played with phenomenal facility despite being nearly blind since birth.

Tatum is widely acknowledged as one of the greatest jazz pianists of all time^[1] and he was a major influence on later generations of jazz pianists. He was noted for the complexity and speed of his performances, which set a new standard for jazz piano virtuosity. Critic Scott Yanow wrote, "Tatum's quick reflexes and boundless imagination kept his improvisations filled with fresh (and sometimes futuristic) ideas that put him way ahead of his contemporaries ... Art Tatum's recordings still have the ability to scare modern pianists."^[2]

Life and career[link]

Art Tatum, at the Vogue Room, New York (between 1946 and 1948)

For a musician of such stature, there is very little published information available about Tatum's life. Only one full-length biography has been published, Too Marvelous for Words, by James Lester.^[3] Lester interviewed many of Tatum's contemporaries for the book and drew from many articles published about him.

Early years[link]

Tatum was born in Toledo, Ohio. His father, Arthur Tatum, Sr., was a guitarist and an elder at Grace Presbyterian Church, where his mother, Mildred Hoskins, played piano.^[4] He had two siblings, Karl and Arlene.^[5] From infancy he suffered from cataracts (of disputed cause) which left him blind in one eye and with only very limited vision in the other. A number of surgical procedures improved his eye condition to a degree but some of the benefits were reversed when he was assaulted in 1930 at age 20.^[6]

A child prodigy with perfect pitch, Tatum learned to play by ear, picking out church hymns by the age of three, learning tunes from the radio and copying piano-roll recordings his mother owned. In a Voice of America interview, he denied the widespread rumor that he learned to play by copying piano roll recordings made by two pianists.^[7] He developed an incredibly fast playing style, without losing accuracy. As a child he was also very sensitive to the piano's intonation and insisted it be tuned often.^[8] While playing piano was the most obvious application of his mental and physical skills, he also had an encyclopedic memory for Major League Baseball statistics.

In 1925, Tatum moved to the Columbus School for the Blind, where he studied music and learned braille. Subsequently he studied piano with Overton G. Rainey at either the Jefferson School or the Toledo School of Music. Rainey, who too was visually impaired, likely taught Tatum in the classical tradition, as Rainey did not improvise and discouraged his students from playing jazz.^[9] In 1927, Tatum began playing on Toledo radio station WSPD as 'Arthur Tatum, Toledo's Blind Pianist', during interludes in Ellen Kay's shopping chat program and soon had his own program.^[10] By the age of 19, Tatum was playing with singer Jon Hendricks, also an Ohioan, at the local Waiters' and Bellmens' Club.^[11] As word of Tatum spread, national performers passing through Toledo, including Duke Ellington, Louis Armstrong, Joe Turner and Fletcher Henderson, would make it a point to drop in to hear the piano phenomenon.

Musical career[link]

Tatum drew inspiration from the pianists James P. Johnson and Fats Waller, who exemplified the stride piano style, and from the more "modern" Earl Hines, six years Tatum's senior. Tatum identified Waller as his main influence, but according to pianist Teddy Wilson and saxophonist Eddie Barefield, "Art Tatum's favorite jazz piano player was Earl Hines. He used to buy all of Earl's records and would improvise on them. He'd play the record but he'd improvise over what Earl was doing ..... 'course, when you heard Art play you didn't hear nothing of anybody but Art. But he got his ideas from Earl's style of playing – but Earl never knew that."^[12] A major event in his meteoric rise to success was his appearance at a cutting contest in 1933 at Morgan's bar in New York City that included Waller, Johnson and Willie "The Lion" Smith. Standard contest pieces included Johnson's "Harlem Strut" and "Carolina Shout" and Fats Waller's "Handful of Keys." Tatum triumphed with his arrangements of "Tea for Two" and "Tiger Rag", in a performance that was considered to be the last word in stride piano. James P. Johnson, reminiscing about Tatum's debut afterward, simply said, "When Tatum played Tea For Two that night I guess that was the first time I ever heard it really played." ^[13] Tatum's debut was historic because he outplayed the elite competition and heralded the demise of the stride era. He was not challenged further until stride specialist Donald Lambert initiated a half-serious rivalry with him.

Tatum worked in New York at the Onyx Club for a few months and recorded his first four solo sides on the Brunswick label in March, 1933.^[5] He returned to Ohio and played around the American midwest in the mid-1930s and played on the Fleischman Hour radio program hosted by Rudy Vallee in 1935. He also played stints at the Three Deuces in Chicago and in Los Angeles played at The Trocadero, the Paramount and the Club Alabam.^[14] In 1937 he returned to New York where he appeared at clubs and played on national radio programs.^[11] The following year he embarked on the Queen Mary for England where he toured,^[15] playing for three months at Ciro's Club owned by bandleader Ambrose. In the late 1930s he returned to play and record in Los Angeles and New York.

1940s[link]

In 1941, Tatum recorded two sessions for Decca Records with singer Big Joe Turner, the first of which included "Wee Wee Baby Blues", which attained national popularity. Two years later Tatum won Esquire Magazine's first jazz popularity poll. Perhaps believing there was a limited audience for solo piano, Tatum formed a trio in 1943 with guitarist Tiny Grimes and bassist Slam Stewart, whose perfect pitch enabled him to follow Tatum's excursions. Tatum recorded exclusively with the trio for almost two years, but abandoned the trio format in 1945 and returned to solo piano work. Although Tatum was idolized by many jazz musicians, his popularity faded in the mid to late forties with the advent of bebop - a movement which Tatum did not embrace.

The last two years of his life, Tatum regularly played at Baker's Keyboard Lounge in Detroit, including his final public performance in April 1956.^[16] Earlier, Tatum had personally selected and purchased for Clarence Baker the Steinway piano at Baker's, finding it in a New York showroom, and shipping it to Detroit.^[17]

Death[link]

Art Tatum died at Queen of Angels Medical Center in Los Angeles, California from the complications of uremia (as a result of kidney failure). He was originally interred at Angelus Rosedale Cemetery in Los Angeles, but was moved to the Great Mausoleum of Glendale's Forest Lawn Cemetery in 1991^{[citation needed]}. He was survived by his wife, Geraldine Tatum. Geraldine died on May 4, 2010 in Los Angeles, and was interred beside Art at Forest Lawn Cemetery.^[18]

Style[link]

Tatum built upon stride and classical piano influences to develop a novel and unique piano style. He introduced a strong, swinging pulse to jazz piano, highlighted with spectacular cadenzas that swept across the entire keyboard. His interpretations of popular songs were exuberant, sophisticated, grandiose and intricate. Jazz soloing in the 1930s had not yet evolved into the free-ranging extended improvisations that flowered in the bebop era of the 1940s, 1950s and beyond. But jazz musicians were beginning to incorporate improvisation while playing over the chord changes of tunes, and Tatum was a leader in that movement. He sometimes improvised lines that presaged bebop and later jazz genres, although generally not venturing far from the original melodic line. Tatum embellished melodic lines, however, with an array of signature devices and runs that appeared throughout his repertoire. As he matured, Tatum became more adventurous in abandoning the written melody and elongating his improvisations.

Tatum's unique sound was attributable to his harmonic inventiveness as well as technical prowess. He was an innovator in reharmonizing melodies by changing the supporting chord progressions or by altering the root movements of a piece. This technique casts a familiar theme in a fresh light and gives the music an unexpected quality. Many of his harmonic concepts and larger chord voicings (e.g., 13th chords with various flat or sharp intervals) were well ahead of their time in the 1930s (except for their partial emergence in popular songs of the jazz age) and they would be explored by bebop-era musicians a decade later. He worked some of the upper extensions of chords into his lines, a practice which was further developed by Bud Powell and Charlie Parker, which in turn was an influence on the development of 'modern jazz'. Tatum also pioneered the use of dissonance in jazz piano, as can be heard, for example, on his recording of "Aunt Hagar's Blues",^[19] which uses extensive dissonance to achieve a bluesy effect. In addition to using major and minor seconds, dissonance was inherent in the complex chords that Tatum frequently used.

Tatum could also play the blues with authority. Pianist Jay McShann, not known for showering compliments on his rivals said "Art could really play the blues. To me, he was the world's greatest blues player, and I think few people realized that." ^[20] His repertoire, however, was predominantly Broadway and popular standards, whose chord progressions and variety better suited his talents. His approach was elaborate, pyrotechnic, dramatic and joyous. His protean style combined stride, jazz, swing, boogie-woogie and classical elements, while the musical ideas flowed in rapid-fire fashion. Benny Green wrote in his collected work of essays, The Reluctant Art, that "Tatum has been the only jazz musician to date who has made an attempt to conceive a style based upon all styles, to master the mannerisms of all schools and then synthesize those into something personal." ^[21] He was playful, spontaneous and often inserted quotes from other songs into his improvisations.^[22] Tatum was not inclined toward understatement or expansive use of space. He seldom played in a simplified way, preferring interpretations that displayed his great technique and clever harmonizations. When jazz pianist Stanley Cowell was growing up in Toledo, his father prevailed upon Tatum to play piano at the Cowell home. Stanley described the scene as, "Tatum played so brilliantly and so much . . . that I thought the piano was gonna break. My mother left the room . . . so I said 'What's wrong, Mama?' And she said 'Oh, that man plays too much piano.'" ^[23] A handful of critics, notably Keith Jarret, have complained that Tatum played too many notes^[24] or was too ornamental or was even 'unjazzlike'. Jazz critic Gary Giddins opined, "That is the essence of Tatum. If you don't like his ornament, you should be listening to someone else. That's where his genius is." ^[25]

From the foundation of stride, Tatum made great leaps forward in technique and harmony and he honed a groundbreaking improvisational style that extended the limits of what was possible in jazz piano. His innovations were to greatly influence later jazz pianists, such as Bud Powell, Thelonious Monk, Oscar Peterson, Billy Taylor, Bill Evans, Tete Montoliu and Chick Corea. One of Tatum's innovations was his extensive use of the pentatonic scale, which may have inspired later pianists to further mine its possibilities as a device for soloing. Herbie Hancock described Tatum's unique tone as "majestic" and devoted some time to unlocking this sound and to noting Tatum's harmonic arsenal.^[26]

The sounds that Tatum produced with the piano were also distinctive. It was said that he could make a bad piano sound good. Generally playing at mezzoforte volume, he employed the entire keyboard from deep bass tones to sonorous mid-register chords to sparkling upper register runs. He used the sustain pedal sparingly so that each note was clearly articulated and chords were cleanly sounded. He played with boundless energy and occasionally his speedy and precise delivery produced an almost mechanical effect not unlike the sound of a player piano.

Technique[link]

Critic Gunther Schuller declared, "On one point there is universal agreement: Tatum's awesome technique."^[27] That technique was marked by a calm physical demeanor and efficiency. He did not indulge in theatrical physical or facial expression. The effortless gliding of his hands over difficult passages puzzled most who witnessed the phenomenon. He especially mystified other pianists to whom Tatum appeared to be "playing the impossible."^[28] Even when playing scintillating runs at high velocity, it appeared that his fingers hardly moved. Hank Jones said, "When I finally met him and got a chance to hear him play in person, it seemed as if he wasn’t really exerting much effort, he had an effortless way of playing. It was deceptive. You’d watch him and you couldn’t believe what was coming out, what was reaching your ears. He didn’t have that much motion at the piano. He didn’t make a big show of moving around and waving his hands and going through all sorts of physical gyrations to produce the music that he produced, so that in itself is amazing. There had to be intense concentration there, but you couldn’t tell by just looking at him play."^[29] Using self-taught fingering, including an array of two-fingered runs, he executed the pyrotechnics with meticulous accuracy and timing. His execution was all the more remarkable considering that he drank prodigious amounts of alcohol when performing,^[30] yet his recordings are never sloppy. Tatum also displayed phenomenal independence of the hands and ambidexterity, which was particularly evident while improvising counterpoint. Jazz historian and commentator Ira Gitler declared that Tatum's "left hand was the equal of his right." ^[31] Around 1950 when Bud Powell was opening for Tatum at Birdland, Powell reportedly said to Tatum, "Man, I'm going to really show you about tempo and playing fast. Anytime you're ready." Tatum laughed and replied, "Look, you come in here tomorrow, and anything you do with your right hand, I'll do with my left." Powell never took up the challenge.^[32]

Tatum played chords with a relatively flat-fingered technique compared to the curvature taught in classical training. Composer/pianist Mary Lou Williams told Whitney Balliett, "Tatum taught me how to hit my notes, how to control them without using pedals. And he showed me how to keep my fingers flat on the keys to get that clean tone." ^[33] Jimmy Rowles said, "Most of the stuff he played was clear over my head. There was too much going on — both hands were impossible to believe. You couldn't pick out what he was doing because his fingers were so smooth and soft, and the way he did it — it was like camouflage."^[34] When his fastest tracks of "Tiger Rag" are slowed down, they still reveal a coherent, syncopated rhythm.

After hours[link]

Art Tatum headlining at the Famous Door nightclub on 52nd Street, May 1948

After regular club dates, Tatum would decamp to after-hours clubs to hang out with other musicians who would play for each other. Biographer James Lester notes that Tatum enjoyed listening to other pianists and preferred to play last when several pianists played. He frequently played for hours on end into the dawn, to the detriment of his marriages.^[30] Tatum was said to be more spontaneous and creative in those free-form nocturnal sessions than in his scheduled performances.^[30] Evidence of this can be found in the set entitled 20th Century Piano Genius which consists of 40 tunes recorded at private parties at the home of Hollywood music director Ray Heindorf in 1950 and 1955. According to the review by Marc Greilsamer, "All of the trademark Tatum elements are here: the grand melodic flourishes, the harmonic magic tricks, the flirtations with various tempos and musical styles. But what also emerges is Tatum's effervescence, his joy, and his humor. He seems to celebrate and mock these timeless melodies all at once."^[35]

Group work[link]

Tatum tended to work and to record unaccompanied, partly because relatively few musicians could keep pace with his fast tempos and advanced harmonic vocabulary. Other musicians expressed amazed bewilderment at performing with Tatum. Drummer Jo Jones, who recorded a 1956 trio session with Tatum and bassist Red Callender is quoted as quipping, "I didn't even play on that session [...] all I did was listen. I mean, what could I add? [...] I felt like setting my damn drums on fire."^[36] Clarinetist Buddy DeFranco said that playing with Tatum was "like chasing a train."^[31] Tatum said of himself, "A band hampers me."^[37]

Tatum did not readily adapt or defer to other musicians in ensemble settings. Early in his career he was required to restrain himself when he worked as accompanist for vocalist Adelaide Hall in 1932-33. Perhaps because Tatum believed there was a limited audience for solo piano, he formed a trio in 1943 with guitarist Tiny Grimes and bassist Slam Stewart, whose perfect pitch enabled him to follow Tatum's excursions. He later recorded with other musicians, including a notable session with the 1944 Esquire Jazz All-Stars, which included Louis Armstrong, Billie Holiday and other jazz greats, at the Metropolitan Opera House in New York City. He also recorded memorable group sessions for Norman Granz in the mid-1950s.

Repertoire[link]

Tatum's repertoire consisted mainly of music from the Great American Songbook — Tin Pan Alley, Broadway and other popular music of the 20s, 30s and 40s. He played his own arrangements of a few classical piano pieces as well, most famously Dvořák's Humoresque no. 7 and Massenet's "Elegie". These interpretations are unsurpassed in conception and inventiveness by anything that has been recorded since^{[citation needed]}. Although Tatum was not known as a composer,^[38] his versions of popular numbers were so original as to border on composition.

Emulators[link]

Mainstream jazz piano has gone in a different direction than that pioneered by Tatum. Nevertheless, transcriptions of Tatum are popular and are often practiced assiduously.^[39] But perhaps because his playing was so difficult to copy, only a handful of musicians — such as Oscar Peterson, Johnny Costa, Johnny Guarnieri, Adam Makowicz, Luther G. Williams, Steven Mayer and Christopher Jordan, and, outside of the usual roster of jazz pianists, Andre Previn — have attempted to seriously emulate or challenge Tatum. Although Bud Powell was of the bebop movement, his prolific and exciting style showed Tatum influence.^{[citation needed]}

Recordings[link]

Tatum recorded commercially from 1932 until near his death. Although recording opportunities were somewhat intermittent for most of his career due to his solo style, he left copious recordings.^[40] He recorded for Decca (1934–41), Capitol (1949, 1952) and for the labels associated with Norman Granz (1953–56). Tatum demonstrated remarkable memory when he recorded 68 solo tracks for Norman Granz in two days, all but three of the tracks in one take. He also recorded a series of group recordings for Granz with, among others, Ben Webster, Jo Jones, Buddy DeFranco, Benny Carter, Harry Sweets Edison, Roy Eldridge and Lionel Hampton.

Film[link]

Although only a small amount of film showing Tatum playing exists today, several minutes of professionally-shot archival footage can be found in Martin Scorsese's documentary The Blues. Footage also appears in Ken Burns' documentary Jazz, which includes a short passage on Tatum's life and work, including comments from Jimmy Rowles and Gary Giddins. Tatum appeared in the 1947 movie The Fabulous Dorseys, first playing a solo and then accompanying Dorsey's band in an impromptu song.

Tatum appeared on Steve Allen's Tonight Show in the early 1950s, and on other television shows from this era. Unfortunately, all of the kinescopes of the Allen shows, which were stored in a warehouse along with other now defunct shows, were thrown into a local rubbish dump to make room for new studios. However, the soundtracks were recorded off-air by Tatum enthusiasts at the time, and many are included in Storyville Records extensive series of rare Tatum recordings.

Tatum is portrayed briefly (by actor Johnny O'Neill) in Ray, a 2004 biopic about R&B artist Ray Charles. When Charles enters a nightclub he remarks, "Are my ears deceiving me or is that Art Tatum?" O'Neill captures Tatum's cool and collected presence at the keyboard.

Legacy and tributes[link]

Tatum posthumously received the Grammy Lifetime Achievement Award in 1989.

Numerous stories exist about other musicians' respect for Tatum. Perhaps the most famous is the story about the time Tatum walked into a club where Fats Waller was playing, and Waller stepped away from the piano bench to make way for Tatum, announcing, "I only play the piano, but tonight God is in the house."^[41] Fats Waller's son confirmed the statement.^[42]

Charlie Parker (who helped develop bebop) was highly influenced by Tatum. When newly arrived in New York, Parker briefly worked as a dishwasher in a Manhattan restaurant where Tatum was performing and often listened to the legendary pianist. Parker once said, “I wish I could play like Tatum’s right hand!”^[43]

When Oscar Peterson was still a young boy, his father played him a recording of Art Tatum performing "Tiger Rag". Once the young Peterson was finally persuaded that it was performed by a single person, Peterson was so intimidated that he did not touch the piano for weeks.^[44] Interviewing Oscar Peterson in 1962, Les Tompkins asked, "Is there one musician you regard as the greatest?" Peterson replied, "I’m an Art Tatum–ite. If you speak of pianists, the most complete pianist that we have known and possibly will know, from what I’ve heard to date, is Art Tatum."^[45] "Musically speaking, he was and is my musical God, and I feel honored to remain one of his humbly devoted disciples."^[46]

"Here's something new .... " pianist Hank Jones remembers thinking when he first heard Art Tatum on radio in 1935, " .... they have devised this trick to make people believe that one man is playing the piano, when I know at least three people are playing."^[47]

The jazz pianist and educator Kenny Barron commented, "I have every record [Tatum] ever made — and I try never to listen to them … If I did, I'd throw up my hands and give up!"^[48] Jean Cocteau dubbed Tatum "a crazed Chopin." Count Basie called him the eighth wonder of the world. Dave Brubeck observed, "I don't think there's any more chance of another Tatum turning up than another Mozart."^[49] Pianist Mulgrew Miller, a noted fan of Tatum, commented on personal growth by saying, "When I talk to the people I admire, they're always talking about continuous growth and development and I look at them and say, 'Well...what are YOU going to do?' But, as Harold Mabern says, 'There's always Art Tatum records around'".^[50] Dizzy Gillespie said, "First you speak of Art Tatum, then take a long deep breath, and you speak of the other pianists."^[51]

The elegant pianist Teddy Wilson observed, "Maybe this will explain Art Tatum. If you put a piano in a room, just a bare piano. Then you get all the finest jazz pianists in the world and let them play in the presence of Art Tatum. Then let Art Tatum play ... everyone there will sound like an amateur."^[51]

Other luminaries of the day including Vladimir Horowitz, Arthur Rubinstein, Sergei Rachmaninoff, Leonard Bernstein, Leopold Godowsky and George Gershwin marveled at Tatum's genius.^[30]

Jazz critic Leonard Feather has called Tatum "the greatest soloist in jazz history, regardless of instrument."^[51]

In 1993, J. A. Bilmes, a MIT student invented a term that is now in common usage in the field of computational musicology: The Tatum. It means "the smallest perceptual time unit in music" and is a tribute to Tatum's pianistic velocity.^[52]

The Toledo Jazz Society presents an annual event dedicated to Tatum entitled the Art Tatum Jazz Heritage Festival.^[53]

Zenph Studios, a software company focused on precisely understanding how musicians perform, recorded a new album of Tatum’s playing with Sony Masterworks in 2007. Using computer equipment coupled with an electronic incarnation of the player piano, they created re-performances of Tatum’s first four commercial tracks, from March 21, 1933, and the nine tracks from the April 2, 1949 live concert at Los Angeles' Shrine Auditorium. Sony recorded these anew in the same venue, in front of a live audience. These 13 tracks are on the album, Piano Starts Here: Live from The Shrine, which was recorded in high-resolution surround-sound and in binaural, as well as regular stereo. The binaural recording, when heard in headphones, let you hear what Tatum may have heard as he played on stage, with the piano spatially in front (bass on the left, treble on the right) and the live audience clearly downstage on the righthand side.^[54] Zenph’s re-performances have been performed live in numerous venues, including the Toronto Jazz Festival ^[55] and New York’s Apollo Theater. Jazz pianist Oscar Peterson requested a live presentation, which he heard in an emotional re-performance in his home in March 2007.

Tatum's work was used and referenced heavily in the WB TV series Everwood (2002–2006), with some actual sound recordings used and compositions being performed in concerts by Ephram Brown (portrayed by Gregory Smith) in select episodes. James Earl Jones' character Will Cleveland introduced these works to young Ephram, who was an aspiring pianist, in the second season episode "Three Miners From Everwood".

For his 2008 album Act Your Age, Gordon Goodwin wrote a new big band arrangement to accompany Zenph’s re-performance of “Yesterdays,” and the track was recognized with a Grammy Nomination for Best Instrumental Arrangement.^[56]

In 2009 in Toledo at the new Lucas County Arena a memorial was placed to Art Tatum.^[57]

Non pianist musicians influenced by Tatum's improvisational virtuosity include Jerry Garcia of The Grateful Dead who was quoted in the June 1985 edition of Frets Magazine as saying: "Art Tatum is my all-time favorite. Yeah, he’s my all-time favorite. He’s the guy I put on when I want to feel really small [laughs]. When I want to feel really insignificant [laughs]. He’s a good guy to play for any musician, you know. He’ll make them want to go home and burn their instruments. [Laughs.] Art Tatum is absolutely the most incredible musician – what can you say?"

Pianist Yuja Wang, herself an admirer of Tatum's improvisational freedom, has recorded his 1933 arrangement of Tea for Two in her album, Fantasia.^[58][59] This was included in the iTunes release of the album.^[60] She is also known to have played it as an encore during a concert in Avery Fisher Hall.^[61]

Discography[link]

• Art Tatum Piano Impressesions, ARA A-1, date unknown c.1940s
• Art Tatum Piano Solos, Asch 356, c.1945
• Footnotes to Jazz, Vol. 2: Jazz Rehearsal, II- Art Tatum Trio, Folkways Records, 1952
• Makin' Whoopee, Verve, 1954
• The Greatest Piano Hits of Them All, Verve, 1954
• Genius Of Keyboard 1954–56, Giants Of Jazz
• Still More of the Greatest Piano Hits of Them All, Verve, 1955
• More of the Greatest Piano Hits of All Time, Verve, 1955
• The Art Tatum-Ben Webster Quartet, Verve, 1956, reissued as The Tatum Group Masterpieces, Volume Eight, Pablo, 1975
• The Essential Art Tatum, Verve, 1956
• Capitol Jazz Classics - Volume 3 Solo Piano, Capitol M-11028, 1972
• Masterpieces, Leonard Feather Series MCA2-4019, MCA, 1973
• God is in the House, Onyx, 1973 [re-released on High Note, 1998]

• Piano Starts Here, Columbia, 1987
• The Complete Capitol Recordings, Vol. 1, Capitol, 1989
• The Complete Capitol Recordings, Vol. 2, Capitol, 1989
• Solos 1940, Decca/MCA, 1989

• The Tatum Group Masterpieces, Vol. 6, Pablo, 1990
• The Tatum Group Masterpieces, Vol. 7, Pablo, 1990
• The Tatum Group Masterpieces, Vol. 4, Pablo, 1990
• The Tatum Group Masterpieces, Vol. 2, Pablo, 1990
• The Tatum Group Masterpieces, Vol. 3, Pablo, 1990
• The Tatum Group Masterpieces, Vol. 1, Pablo, 1990
• Art Tatum at His Piano, Vol. 1, Crescendo, 1990
• The Complete Pablo Group Masterpieces, Pablo, 1990
• Classic Early Solos (1934–37), Decca Records, 1991
• The Complete Pablo Solo Masterpieces, Pablo, 1991
• The Best of Art Tatum, Pablo, 1992
• Standards, Black Lion, 1992
• The V-Discs, Black Lion, 1992
• The Art Tatum Solo Masterpieces, Vol. 1, Pablo, 1992
• The Art Tatum Solo Masterpieces, Vol. 2, Pablo, 1992
• The Art Tatum Solo Masterpieces, Vol. 3, Pablo, 1992
• The Art Tatum Solo Masterpieces, Vol. 4, Pablo, 1992
• The Art Tatum Solo Masterpieces, Vol. 5, Pablo, 1992
• The Art Tatum Solo Masterpieces, Vol. 6, Pablo, 1992
• The Art Tatum Solo Masterpieces, Vol. 7, Pablo, 1992
• The Art Tatum Solo Masterpieces, Vol. 8, Pablo, 1992
• I Got Rhythm: Art Tatum, Vol. 3 (1935–44), Decca Records, 1993
• Fine Art & Dandy, Drive Archive, 1994
• The Art Tatum Solo Masterpieces, Vol. 2, Pablo, 1994
• Marvelous Art, Star Line Records, 1994
• House Party, Star Line Records, 1994
• Masters of Jazz, Vol. 8, Storyville (Denmark), 1994
• California Melodies, Memphis Archives, 1994
• 1934–40, Jazz Chronological Classics, 1994
• 1932–44 (3 CD Box Set), Jazz Chronological Classics, 1995
• The Rococo Piano of Art Tatum, Pearl Flapper, 1995
• I Know That You Know, Jazz Club Records, 1995
• Piano Solo Private Sessions October 1952, New York, Musidisc (France), 1995
• The Art of Tatum, ASV Living Era, 1995
• Trio Days, Le Jazz, 1995
• 1933–44, Best of Jazz (France), 1995
• 1940–44, Jazz Chronological Classics, 1995
• Vol. 16-Masterpieces, Jazz Archives Masterpieces, 1996
• 20th Century Piano Genius (20th Century/Verve, 1996
• Body & Soul,Jazz Hour (Netherlands), 1996
• Solos (1937) and Classic Piano, Forlane, 1996
• Complete Capitol Recordings, Blue Note, 1997
• Memories Of You (3 CD Set) Black Lion, 1997
• On The Sunny Side Topaz Jazz, 1997
• 1944, Giants Of Jazz, 1998
• Standard Sessions (2 CD Set), Music & Arts, 1996 & 2002/Storyville 1999
• Piano Starts Here - Live at The Shrine (Zenph Re-Performance), Sony BMG Masterworks, 2008
• Art Tatum - Ben Webster: The Album (Essential Jazz Classics) 2009

Actress Tatum O'Neal states in her book A paper life that she was named for him.

Notes[link]

Tatum recorded commercially from 1932 until near his death. Although recording opportunities were somewhat intermittent for most of his career due to his solo style, he left copious recordings.[37] He recorded for Decca (1934–41)

References[link]

• Jed Distler (1981/1986) Art Tatum: Jazz Masters Series: intro and notes to Tatum Piano Transcriptions: Amsco Publications: ISBN 0-8256-4085-7
• James Lester (1994) Too Marvelous for Words: The Life and Genius of Art Tatum, Oxford University Press, ISBN 0-19-509640-1
• Gunther Schuller (1989) The Swing Era - The Development of Jazz 1930-1945, "Art Tatum" p 476-502, Oxford University Press, ISBN 978-0-19-507140-5
• Riccardo Scivales (1998) The Right Hand According to Tatum, Ekay Music, Inc. ISBN 0-943748-85-2

External links[link]

• Art Tatum African American Resource Center
• JAZZ (Ken Burns) Artist Biography: Art Tatum
• NPR Jazz Profiles: Art Tatum
• NPR Music Artist Profile: Art Tatum

Channing Tatum
Channing Tatum at the 71st Annual Peabody Awards Luncheon 2012.
Born	Channing Matthew Tatum (1980-04-26) April 26, 1980 (age 32) Cullman, Alabama, U.S.
Occupation	Actor, film producer, dancer, model
Years active	2000–present
Spouse	Jenna Dewan (2009–present)
Website
Channing Tatum Unwrapped

Channing Matthew Tatum (born April 26, 1980) is an American actor, film producer, dancer, and former model, best known for his roles in Step Up (2006), G.I. Joe: The Rise of Cobra (2009), Dear John (2010), The Vow (2012), and 21 Jump Street (2012). He has also appeared in films such as Coach Carter (2005), She's the Man (2006), A Guide to Recognizing Your Saints (2006), and Fighting (2009). While mostly known for his dramatic performances in Dear John and The Vow, he has since ventured into more comedic roles.

Early life[link]

Tatum was born and raised in Cullman, Alabama. His mother, Kay (née Faust), is an airline worker, and his father, Glenn Tatum, worked in construction.^[1][2][3] His ancestry includes Irish, French and Native American.^[4][5][6] Tatum's family moved to Mississippi when he was six, and he grew up in the bayous near the Mississippi River, where he lived in a rural setting.^[4][7]

Tatum was athletic while growing up, playing football, soccer, track, baseball, and performing martial arts; he has said that "girls were always [his] biggest distraction in school."^[4] As a child, he practiced wuzuquan kung fu^[8] under the lineage of 10th dan Grandmaster Chee Kim Thong.^[9] Tatum spent most of his teenage years in the Tampa, Florida area and initially attended Gaither High School before going to Tampa Catholic High School.^[10] He graduated in 1998 and was voted most athletic. Afterward, Tatum attended Glenville State College in Glenville, West Virginia on a football scholarship, but dropped out.^[11] He returned home and started working odd jobs. US Weekly reported that around this time Tatum began working as a stripper at a local nightclub, under the name "Chan Crawford."^[12] In 2010, he told an Australian newspaper that he would like to make a movie about his experiences as a stripper.^[13] He later moved to Miami, where he was discovered on the street by a model talent scout.^[14]

Career[link]

Early work[link]

In 2000, Tatum was first cast as a dancer in Miguel Royeca's workout movie. Ricky Martin's "She Bangs" music video,^[1] after an audition in Orlando, Florida; he was paid $400 for the job. His experience in the fashion industry began as a model working for such noted clients such as Armani and Abercrombie & Fitch. He soon moved into television commercials, landing national spots for Mountain Dew and Pepsi in 2002.^[14] He subsequently signed with a modelling agency in Miami, Page 305 (Page Parkes Modeling Agency), but later found success after being cast by Al David for Vogue magazine and soon after appeared in campaigns for Abercrombie & Fitch, Nautica, Dolce & Gabbana, American Eagle Outfitters, and Emporio Armani. He was picked as one of Tear Sheet magazine's "50 Most Beautiful Faces" of October 2001.^[4] Tatum also signed with Beatrice Model agency in Milan, Italy and Ford Models in New York City.

Tatum has said that his modeling career has helped him with his life, specifying that "It's made my life, and my family's life, a lot easier, because I never knew what I wanted to do and now they don't really have to worry about me anymore. I've been able to explore life, and through exploring it I've found that I love art, I love writing, I love acting, I love all the things that make sense to me. And I've been given the chance to go out and see the world, and to see all the things out there. Not everyone gets that chance".^[4]

2008–present[link]

Tatum (right) with Jonah Hill at the 2012 WonderCon convention in March 2012

In 2008, Tatum co-starred in director Kimberly Peirce's film Stop-Loss, about soldiers returning home from the Iraq War, and in director Stuart Townsend's film Battle in Seattle, about the 1999 protest of the World Trade Organization meeting in Seattle. Tatum played in the indie film The Trap, which was directed by Rita Wilson. He was chosen for a role in the film Poor Things, starring Lindsay Lohan, Shirley MacLaine, Rosario Dawson, and Olympia Dukakis, but had to turn it down because of scheduling conflicts.

Tatum and Dito Montiel, who worked together on A Guide to Recognizing Your Saints, reteamed on the action drama Fighting for Rogue Pictures. Tatum starred as Sean McArthur, a young man who scrapes up a living scalping tickets in New York City. Tatum next appeared in writer/director/producer Michael Mann's 2009 crime drama Public Enemies, playing the 1930s American gangster Pretty Boy Floyd. The same year, Tatum starred as Duke in G.I. Joe: The Rise of Cobra, Paramount Pictures' live-action film based on the popular Hasbro action figures. He was initially reluctant to take the role as he feared the movie would glorify war. However, he overcame his reluctance when he read the script.^[15] He also played a soldier in Dear John, a Screen Gems film based on a popular Nicholas Sparks bestseller. He later told he accepted the role to learn from Lasse Hallström because he did not go to acting school, his only way to improve is on set.^[16]

Tatum and Dito Montiel will join forces again when Channing stars in 2010's action thriller The Brotherhood of the Rose. Montiel will both write and direct the film. The story is a cat-and-mouse espionage tale about two orphans raised by a top CIA agent to become assassins. When their operations go awry, they find themselves on the run, caught in a conspiracy and hunted by the most dangerous spies in the world. The book was previously adapted as a two-part NBC miniseries in 1989 that starred David Morse, Peter Strauss, Connie Sellecca, and Robert Mitchum.

Jenna Dewan, Deborah Scranton, Rwandan President Paul Kagame, documentary subject Jean Pierre Sagahutu, producer Reid Carolin and executive producer Tatum attend the premiere of Earth Made of Glass.

In an interview with Details magazine, Tatum said he wants to produce all the films he stars in, "I really don't want to be in any more movies that I don't produce. Unless it's with one of the 10 directors that I really want to work with, I don't have any interest in not being on the ground floor of creating it."^[17] He, his wife Jenna Dewan, and their production partner Reid Carolin signed a two-year production deal in 2010 with Relativity Media for any movies they may develop during that time.^[18] Along with friends Reid Carolin, Adam Martingano, Brett Rodriguez,^[19] and wife Jenna Dewan, Tatum has started production companies called 33andOut Productions^[20] and Iron Horse Entertainment.^[21] Their first production is a documentary called Earth Made of Glass that follows the Rwandan President Paul Kagame and genocide survivor Jean-Pierre Sagahutu. The film was selected to premiere at the 2010 Tribeca Film Festival.

In 2012, Tatum hosted Saturday Night Live^[22] and appears in four films. He co-stars in Steven Soderbergh's Haywire, The Vow with Rachel McAdams, and 21 Jump Street (the film adaptation of TV series of the same name) with Jonah Hill.^[23] He will also star in Magic Mike, a project he talked about back in 2010. In late April of 2011, Tatum's film about his 8-month experience as a male stripper in Florida began to take shape with Steven Soderbergh at the direction.^[24] Co-produced by him and Soderbergh, the film will star Tatum himself as Mike Martingano, one of the central performers at a Tampa, Florida male strip club who takes a younger dancer (Alex Pettyfer) under his wing in hopes of showing him how to hustle "on and off stage."^[24] The film's cast also include Matt Bomer, Joe Manganiello and Matthew McConaughey. According to the movie website Deadline, Magic Mike is "a story of friendship set in the world of male strippers."^[24]

Upcoming projects[link]

Originally scheduled for a release on June 29, 2012, G.I. Joe: Retaliation, sequel to 2009's G.I. Joe: The Rise of Cobra, was pushed back to March 2013 in order to convert it in 3D. Tatum will reprise his role as Duke in an ensemble cast that includes Dwayne Johnson and Bruce Willis.

He is also in preproduction for Foxcatcher with Steve Carell about the story of John du Pont, who suffered from paranoid schizophrenia and killed Olympic wrestler Dave Schultz.^[25] He will be in Steven Soderbergh's The Side Effects with Rooney Mara and Jude Law, a film about a woman who turns to prescription medication as a way of handling her anxiety concerning her husband's upcoming release from prison, set for release in 2013.^[26] Tatum is currently attached to the movie Peter Pan Begin.^[27]

Personal life[link]

In 2006, Tatum met actress Jenna Dewan on the set of Step Up. They began dating shortly after filming had finished.^[28] The couple became engaged in early September 2008 in Maui, Hawaii.^[2] On July 11, 2009, they were married on the grounds of Church Estates Vineyards, in Malibu, California.^[29] In an interview on The Tonight Show with Jay Leno he revealed that he is dyslexic.

Filmography[link]

Tatum at the 2012 WonderCon in March 2012.

Other appearances[link]

• Hosted Saturday Night Live on February 4, 2012

Awards and nominations[link]

References[link]

External links[link]

Wikimedia Commons has media related to: Channing Tatum

• Official website
• Channing Tatum on Twitter
• Channing Tatum on Facebook
• Channing Tatum at the Internet Movie Database
• Channing Tatum at People.com

Jimmy Fallon
Jimmy Fallon, 2010
Birth name	James Thomas Fallon, Jr.
Born	(1974-09-19) September 19, 1974 (age 37) Brooklyn, New York, U.S.
Medium	Stand-up, music, television, film
Nationality	American
Years active	1990–present
Genres	Satire/political satire/news satire, observational comedy, musical comedy, surreal humor, awkward
Subject(s)	American culture, American politics, pop culture, current events, mass media/news media
Influences	Dana Carvey, Robin Williams
Spouse	Nancy Juvonen (2007–present)
Notable works and roles	Saturday Night Live Late Night with Jimmy Fallon (host, 2009–present)

James Thomas "Jimmy" Fallon, Jr. (born September 19, 1974) is an American actor, comedian, singer, musician and television host. He currently hosts Late Night with Jimmy Fallon, a late-night talk show that airs Monday through Friday on NBC. Prior to that he appeared in several films, and was best known as a cast member on Saturday Night Live from 1998–2004.

Early life[link]

James Thomas Fallon, Jr., was born in Brooklyn, New York. Jimmy is the son of Gloria and James Fallon, Sr.,^[1] who is a Vietnam War veteran.^[2] His family later settled in Saugerties, New York, while his father worked at IBM in nearby Kingston, New York. He is of Irish descent.^[3] As a child, he and his older sister, Gloria, would reenact the “clean parts” of Saturday Night Live that his parents had taped for him.^[4] Fallon was such a fan of Saturday Night Live that he made a weekly event of watching it in his dormitory during college. In his teens, he impressed his parents with different impersonations, the first being of James Cagney.^[5][6] He was also musically inclined, and started playing guitar at age 13. He would go on to mix comedy and music in contests and shows.^[6]

Education[link]

Fallon attended St. Mary of the Snow, a Roman Catholic parochial school, and Saugerties High School, from which he graduated in 1992. He attended The College of Saint Rose in Albany, New York. He was a Computer Science major, but switched to Communications in his senior year, dropping out a semester shy of a degree.^[7][8] "I was a Computer Science major. I got out once it got really hard. I made it up to C++. Then I couldn't do the math – it got really confusing. I switched to Communications, which is a ridiculous major – let's be honest," he recalls.^[9] On May 9, 2009, Fallon received a B.A. in Communications and^[10] an honorary doctorate degree from The College of Saint Rose after presenting college officials with his portfolio, which satisfied all requisites for his degree.^[7] In addition to receiving a BA, Fallon spoke at the school's 86th commencement. That night, on Saturday Night Live, he held up his diploma during the closing of the show. Additionally, he showed excerpts from the ceremony on his late night show May 11, 2009.

Career[link]

Stand-up[link]

Fallon gives credit to troll dolls for his big break. He was given a troll doll with a graduation cap in his senior year of high school. His mother heard about an impression contest at Bananas Comedy Club in Poughkeepsie, NY. Fallon came up with a stand-up routine that was a commercial for troll dolls. He would impersonate various celebrities auditioning to be the spokesperson. He won the contest and after college he began to do stand-up tours across the country. When he was in Los Angeles, he took improv classes with The Groundlings.^[5]

Early work[link]

Fallon appeared in the feature film The Scheme (originally entitled The Entrepreneurs). His one line in Father's Day was cut but he can still be seen in the background. In 1998 Fallon appeared briefly on the show Spin City in the second season as a man selling photographs. By late 1998, Fallon was studying at the Groundlings Theater in Los Angeles, making $7.50 a set at The Improv Theater, when he was summoned to New York to audition for the long-running late night sketch comedy show, Saturday Night Live. Fallon did his impersonations of Jerry Seinfeld,^[11] French Stewart, Pat O'Brien, Chris Rock, Hilary Swank, Gilbert Gottfried, Enrique Iglesias, Adam Sandler, Jeff Foxworthy, Eddie Murphy, Larry the Cable Guy, many of which drew laughter from producer Lorne Michaels, which is generally unheard of. Fallon also did musical impersonations of Bono of U2, Adam Duritz of Counting Crows, Alanis Morissette, and Robert Smith of The Cure.^[4]

[edit] Saturday Night Live

Fallon's impersonations helped land him on Saturday Night Live as a featured player in the 1998–1999 season,^[12] and he was promoted to full cast member in the summer of 1999.^[4] Among his signature bits were his song parodies, which he performed when Colin Quinn was doing Update and continued to showcase on special occasions after he had replaced him. He became co-anchor of Weekend Update with Tina Fey with the October 7, 2000 season premiere.^[13] Fallon left SNL in 2004 and began pursuing a film career.

Fallon returned to SNL, hosting the December 17, 2011 episode, having made several cameos in episodes in the years since his departure.^[14]

Recurring characters[link]

• Dave, a young man in the Will Ferrell/Rachel Dratch recurring sketch, "The Lovers", often used as a pawn in Roger and Virginia's matchmaking.
• Jarret (from Jarret's Room), a stoner who hosts his own Internet webcam show.
• Jeffrey's clerk, one of the clerks (the other being a male host for the show) of an upscale department store.
• Joey Mack, an obnoxious radio DJ who mocks his celebrity guests.
• Kip Bloder, brother to Chris Parnell's Wade Bloder.
• The Leather Man, an intense man who owns a shop filled with leather clothes.
• Nick Burns, a sarcastic tech support representative who helps office workers with computer problems (and is almost always exposed as not knowing as much as he should by one of the workers). He frequently used the catchphrase "Moooooove!" when ousting people from their desk so he could fix the problem.
• Pat Sullivan, nicknamed "Sully", one of the Boston Teens, boyfriend of Rachel Dratch's Denise character.
• Patrick Fitzwilliam, a surly Irishman who hosts a show called Top O' The Morning with his friend, William Fitzpatrick (played by Seth Meyers)
• Randy Goldman, from "Wake Up Wakefield", Megan's (Maya Rudolph) crush who does not know she exists.
• Rodney "The Zipper" Calzoun, the MC at the Rialto Grande
• Señor Guadalupe Ramirez, one of the guitar players on the recurring sketch, "The 'How Do You Say, Ah, Yes' Show"
• Wade, one of the members of the boy band 7 Degrees Celsius
• Barry Gibb, in the skit called "The Barry Gibb Talk Show", he hosts along with his brother Robin Gibb (played by Justin Timberlake).
• Carson Daly, whom he impersonated with the catch phrase "I am a massive tool."^[15]
• Pat O'Brien, who "doesn't breathe through his nose ever!"

[edit] Late Night with Jimmy Fallon

Fallon succeeded fellow Saturday Night Live alumnus Conan O'Brien as the host of NBC's Late Night after O'Brien left the show to prepare to take over The Tonight Show from Jay Leno in 2009.^[16] The deal for the long-expected succession was confirmed April 24, 2008, with an official announcement made on May 12, 2008 at NBC's upfront presentation.^[17][18] The official press conference was released on Hulu.com.^[19]

The show, titled Late Night with Jimmy Fallon, first aired on March 2, 2009 with guests Robert De Niro, Justin Timberlake, Nick Carter, and musical guest Van Morrison. Guests on the show's first week included Tina Fey, Jon Bon Jovi, Cameron Diaz, Donald Trump, and Drew Barrymore.

"Late Night with Jimmy Fallon" sometimes features parodies by Fallon impersonating various musicians, and he has been praised for his ability to pull off spot-on impressions. Fallon often changes the lyrics to honour a recent event in popular culture and videos of these performances tend to go viral. In one segment, on May 26, 2011, Fallon impersonated Neil Young, singing along with guests Graham Nash and David Crosby, of Crosby, Stills, Nash & Young. Recent victims include Fallon making parodies of Eddie Vedder and Pearl Jam performing "Jeremy (Lin)" in light of the hysteria surrounding New York Knicks shocking standout Jeremy Lin, the Doors singing the theme song to the PBS children's show "Reading Rainbow", Neil Young's version of the "Fresh Prince of Bel Air" theme song, and David Bowie's "Space Oddity" with inspiration by Denver Broncos quarterback Tim Tebow. First appearing in January 2012, and dubbing himself as "Tebowie", Fallon's impersonation of the famously-religious quarterback went viral. Due to overwhelmingly positive acclaim from the public, Fallon revived the act on March 20, 2012 after the Denver Broncos acquired superstar and future hall of fame quarterback Peyton Manning, and revealed their intentions to trade Tebow. Fallon continues to do impersonations, in some of the show's comedy segments, especially impersonations of famous singers.

To celebrate the second anniversary on March 2, 2011, Ben & Jerry's launched a personalized "Late Night Snack" ice cream. This was immediately parodied on The Colbert Report the next day and the two show hosts engaged in a brief ice cream personality war. Colbert used numerous "fecal matter" jokes to describe the flavor of the ice cream named after Jimmy Fallon.^[20]

On November 21, 2011 U.S. Representative Michele Bachmann, who was active in the Republican Presidential Primaries at the time, appeared as a guest on Late Night with Jimmy Fallon. As she walked onto the stage, the band played a funk song titled "Lyin' Ass Bitch," without any lyrics. Hours earlier, the band's drummer Questlove had sent a tweet about the song choice: “late night walkon song devotees: you love it when we snark: this next one takes the cake. ask around cause i aint tweeting title.” After a prominent Democratic Congress woman complained, Fallon made a general apology by tweet.^[21] Fallon began his tweet with the words: "I'm honored that @michelebachmann was on our show yesterday and I'm so sorry about the intro mess."^[22] Fallon also used his Twitter account to tease his Roots bandleader Ahmir "Questlove" Thompson that he was "grounded".^[22]

Fallon in April 2007

Fallon has appeared in Taxi, Anything Else, Almost Famous, Fever Pitch, Band of Brothers, Doogal, Factory Girl and Whip It. He occasionally does stand up comedy at the Comedy Club in New York City and has also performed at the House of Blues in Boston, Massachusetts on occasions.

In 2002, Fallon released the comedy album The Bathroom Wall. In a mixed review, Rolling Stone praised the album's songs, calling the album the "second-best Prince parody ever, after Beck's 'Debra'." However the magazine panned the album's comedy routines, ultimately giving it two-out-of-five stars.^[23] The album was nominated for a Grammy in 2003 for Best Spoken Comedy Album. Fallon co-hosted the 2001 MTV Movie Awards with Kirsten Dunst on June 7, 2001.^[24] Fallon has played Neo in Sex and the Matrix, a comedic two-in-one parody of Sex and the City and The Matrix.^[25] He hosted the 2002 MTV Video Music Awards alone that year.^[26] His opening number included parodies of videos by Eminem, Avril Lavigne, Nelly, The White Stripes, Dave Matthews and Enrique Iglesias.

Also in 2002, Fallon appeared in The Rutles 2: Can't Buy Me Lunch as the son of Melvin Hall, and constantly pesters his father, often stealing his mike, claiming that the film is "his documentary."^[27]

Fallon also hosted the 2005 MTV Movie Awards and played Anakin Skywalker in comedic parody of Star Wars Episode III: Revenge of the Sith's Mustafar scene, in which Anakin and Padme have their last conversation. Fallon was named one of People magazine's 50 Most Beautiful People in 2002, an honor Fallon found embarrassing.^[28]

Following the Boston Red Sox's World Series clinching game over the St. Louis Cardinals in 2004, Fallon ran onto the field at Busch Stadium with Drew Barrymore to film a scene for their movie Fever Pitch.

In 2006, Fallon starred in "Spontaneous Combustion", a Traktor-directed Pepsi television commercial with actress Parker Posey. In the ad, Fallon and Posey can be seen dancing and jumping around to the song Streamline by Newton. In October of that year, Fallon appeared on stage in The Secret Policeman's Ball, a charity gig filmed to raise awareness of Amnesty International at the Royal Albert Hall. Fallon made three appearances during the show, the first in a sketch in which he performed impressions of people such as David Bowie, Jerry Seinfeld and David Blaine in order to get past a doorman (Shaun Williamson) who claims Fallon is not on the list. The doorman finally recognizes him for his role in Taxi, but still will not let him in. He later masqueraded as Russell Brand before being led off by Williamson, and made one final appearance in a cameo role as the front of a pantomime horse in the Al Murray "pub landlord" routine. He also provided the voice of Dylan in Doogal.

In 2007, Fallon wrote the song "Car Wash for Peace" and donated all proceeds to charity. He performed the song on The Tonight Show with Jay Leno and The View and dedicated a MySpace page to the cause. Around the same time, a video circulated on various Internet sites called lonelyfallon32, in which Fallon parodied YouTube celebrity Jessica Rose (a.k.a. lonelygirl15) and later performed the song.

Fallon, along with his sister Gloria, wrote I Hate This Place: The Pessimist's Guide to Life for TV Books in 1999. A second book is anticipated but has not yet been released, to be titled "I Hate This Place 2: Tokyo Drift."^[4] Fallon has also written a children's book, illustrated by Adam Stower, entitled Snowball Fight.

Fallon also appeared on Diggnation's 185th show.^[29]

On May 4, 2010, NBC announced that Fallon would host the 62nd Primetime Emmy Awards.^[30] With Fallon as host, viewership of the 2010 Emmy Awards increased by over 200,000 viewers from the year before.^[31]

On April 24, 2012, Jimmy Fallon filmed his live show in Chapel Hill, NC on the campus of the University of North Carolina. His guest was President Barack Obama, who spoke primarily about Congress potentially doubling the interest rates of student loans. His musical guest was Dave Matthews.

Personal life[link]

Fallon married Nancy Juvonen on December 22, 2007.^[32] Juvonen and Drew Barrymore own the production company Flower Films.

On February 22, 2011, Fallon was on The Dr. Oz Show. He had a mole removed from his left hand in front of a live studio audience by visiting cosmetic surgeon Arthur Perry.^[33][34]

Television[link]

• Saturday Night Live (1998–2004)
• Spin City (1998)
• Band of Brothers as 2nd Lt. George C. Rice in "Crossroads"(2001)
• 30 Rock (2009)
• Late Night with Jimmy Fallon (2009–present)
• The Electric Company (2009)
• Family Guy (2009)
• Saturday Night Live (December 17, 2011)
• Silent Library (2011)
• 30 Rock (2012) - Young Jack
• iCarly (2012) - As Himself

Filmography[link]

• Almost Famous (2000)
• The Rutles 2: Can't Buy Me Lunch (2002)
• Anything Else (2003)
• The Entrepreneurs a.k.a. The $cheme (filmed in 1998, released in 2003)
• Taxi (2004)
• Fever Pitch (2005)
• The Magic Roundabout (2006) (voice)
• Arthur and the Invisibles (2006) (voice)
• Factory Girl (2006)
• The Year of Getting to Know Us (2008)
• Whip It (2009)
• Alvin and the Chipmunks: The Squeakquel