• Click above Download link or to begin installer download. • Click 'Run' ('Save As') if using Firefox • Click 'Run' Again • Follow on-screen prompts to complete installation. Important: If you are using Internet Explorer as your browser, a browser Security Warning dialog box displays like the one below. You will need to click Run to install the application. We recommend that you save it to your desktop and initiate the free scan using the desktop icon. Should you choose not to save the application, you may simply initiate the free scan by clicking the 'Run' button on the File Download Window. To fix your problem automatically in Windows, to download our driver installer utility, then run the download and follow the steps in this wizard. In Windows if you are having any of the follwing errors you may need to update your printer drivers: • Are you having trouble installing your printer? • Was your printer not automatically installed when you connected it to your computer and turned it on? • Have you lost the driver CD that was included with your printer? • Are you receiving a printing error message? Windows XP: To fix your problem automatically on Windows XP, to download our driver installer utility, then run the download and follow the steps in this wizard. To update the printer driver on Windows XP manually, follow the steps below or click here to: • Click Start, and then click Run. • In the Open box, type control printers, and then click OK. The 'Printers and Faxes' window opens. • Under Printer Tasks in the navigation pane on the left, click Add a printer. The Add Printer Wizard opens. • On the first page of the Add Printer Wizard, click Next. • On the next page, click Local printer attached to this computer. Important Make sure that the Automatically detect and install my Plug and Play printer check box is not selected. • Click Next. • On this page, you must select the port that the printer will use to communicate with the computer. If your printer is connected to a USB port, select the USB port option in the Use the following port list otherwise select LPT. Then click Next. • On this page, click Have Disk. The Install From Disk dialog box opens. • In the Install From Disk dialog box, click Browse, and then locate the folder to which you extracted the printer driver files. • When you have located the correct folder, click Open. • The path of your folder should now appear in the Copy manufacturer's files from box in the Install From Disk dialog box. • The printers that you can install should be listed in the Install Printer Software dialog box. Select the printer that you are trying to connect, and then click Next. • If you are prompted to use an existing driver, select Replace existing driver, and then click Next. When you select to replace the existing driver, Windows will try to replace the current files on your system with the new ones that you downloaded. • On the next page, click Next if you want to accept the suggested printer name and use the printer as your default printer. Otherwise, change these settings to what you prefer, and then click Next. • If you see the Printer Sharing page next in the wizard, you can share your printer so that other computers on your home network can use it to print. Click Share name, and then specify a name for the shared printer. Otherwise, click Do not share this printer. After you have made your selection, click Next. You may be asked to enter optional location information for the printer. Type the location of the printer (for example, Home Office), and then click Next. • On the Print Test Page page of the wizard, click Yes to print a test page. Then click Next, and then click Finish. • If the test page is printed successfully, you are finished. Unfortunately, if the test page was not printed successfully, you still have some troubleshooting to do that is beyond the scope of this article. First, click Troubleshooting in the Add Printer Wizard to see whether it can offer you helpful information. If you were unable to complete the above steps to install a printer driver, or if you still have problems printing, you might have to ask someone for help or contact support. Windows Vista: To fix your problem automatically on Windows Vista, to download our driver installer utility, then run the download and follow the steps in this wizard. To update the printer driver on Windows Vista manually, follow the steps below or click here to: • Click Start, and then click Run. • In the Open box, type control printers, and then click OK. The 'Printers and Faxes' window opens. • Under Printer Tasks in the navigation pane on the left, click Add a printer. Mar 31, 2016. So I went ahead and downloaded the driver for the new plotter that I was going to order, 'was'. I deleted all previous versions of the HP 500, installed the latest HP Designjet T520, 'hpdjt520serieswx64gl.exe'. I know this sounds weird. But once I installed a new printer in yucky windows 10 and keyed over to. Download the latest software & drivers for your HP DesignJet 500 Plus 42-in Roll Printer. The Add Printer Wizard opens. • On the first page of the Add Printer Wizard, click Next. • On the next page, click Local printer attached to this computer. Important Make sure that the Automatically detect and install my Plug and Play printer check box is not selected. • Click Next. • On this page, you must select the port that the printer will use to communicate with the computer. If your printer is connected to a USB port, select the USB port option in the Use the following port list otherwise select LPT. Then click Next. • On this page, click Have Disk. The Install From Disk dialog box opens. • In the Install From Disk dialog box, click Browse, and then locate the folder to which you extracted the printer driver files. • When you have located the correct folder, click Open. • The path of your folder should now appear in the Copy manufacturer's files from box in the Install From Disk dialog box. • The printers that you can install should be listed in the Install Printer Software dialog box. Select the printer that you are trying to connect, and then click Next. • If you are prompted to use an existing driver, select Replace existing driver, and then click Next. When you select to replace the existing driver, Windows will try to replace the current files on your system with the new ones that you downloaded. • On the next page, click Next if you want to accept the suggested printer name and use the printer as your default printer. Otherwise, change these settings to what you prefer, and then click Next. • If you see the Printer Sharing page next in the wizard, you can share your printer so that other computers on your home network can use it to print. Click Share name, and then specify a name for the shared printer. Otherwise, click Do not share this printer. After you have made your selection, click Next. You may be asked to enter optional location information for the printer. Type the location of the printer (for example, Home Office), and then click Next. • On the Print Test Page page of the wizard, click Yes to print a test page. Then click Next, and then click Finish. • If the test page is printed successfully, you are finished. Unfortunately, if the test page was not printed successfully, you still have some troubleshooting to do that is beyond the scope tutorial. First, click Troubleshooting in the Add Printer Wizard to see whether it can offer you helpful information. If you were unable to complete the above steps to install a printer driver, or if you still have problems printing, you might have to ask someone for help or contact support. Test the parallel port driver and the hardware If the printer is connected to an LPT port, see whether you can print from a command prompt. • If the printer is not a PostScript printer, type dir > lpt1 at a command prompt, and then press ENTER. You may have to do this more than once to fill the print buffer on some printers. Page-oriented printers (for example, laser printers) generally do not start to print until a form feed PCL command is sent or until more information than just a page is present in the buffer. Running the dir > lpt1 command from the Windows directory will fill the page buffer. • If you can successfully print from a command prompt, the parallel port driver and the hardware are working correctly. This eliminates the Graphics Device Interface (GDI) and the driver as possible causes. If the output is printed to the printer from the dir command, the print driver or printer configuration is probably the source of the problem. • See whether the printer cable meets the IEEE 1284 specification. If the cable does meet the specification, the cable itself is marked accordingly. • Make sure that no devices other than the printer are connected to the port and that no scanners, switch boxes, and so on are between the computer and the printer. • Perform a power-on self test (POST) on the printer. If you cannot perform a POST, you need to have the printer serviced or repaired. Test the printer driver To test the printer driver, see whether you can print from WordPad or Notepad. If you can print from WordPad or Notepad, either the problem is related to the program that you are using, or Windows may not be running a particular printing command that the program requires. Refer to the 'Check the Program' section of this article. • If you are using a PostScript printer, load the Apple LaserWriter NT driver. This is a basic PostScript driver, and using this driver can show you whether the problem is related to the particular PostScript Printer Description (PPD) file for the printer. • If the printer is not a PostScript printer, load the Generic/Text Only printer driver. This is a basic printer driver, and using this driver can show you whether the basic printing stack is working properly. • If you are using a plotter, load the Hewlett-Packard HP-GL/2 plotter driver. If the printer does not print when you use the basic drivers, refer to the 'Check the Printing Stack' section of this article. If the printer does print when you use the basic drivers, see the 'Check the Program' section of this article. Check the program • Print a different, simpler file. For example, create a new document that contains less information. This test determines whether the cause is the program or something in the document. • Check the available disk space on the system drive by seeing whether a small print job prints successfully. • See whether you can print from another operating system. If printing succeeds, the problem is related to the output file. Check the printing stack • Remove and reinstall the printer driver. • Check the available space on the hard disk. Print jobs may not print if there is not enough space to spool the print job. In each case, all that you might have to do to fix the problem is to download and install the latest printer driver from your printer manufacturer's Web site. This article describes how to locate and download the latest printer driver from your printer manufacturer's Web site, and how to install the driver on your computer. New Version Of Windows? Upgrade smoothly by finding the correct drivers for your DesignJet 500 PS printer for Windows XP, Windows Vista or Windows 7. For the first time, users can upgrade with confidence knowing that their computer will run smoothly thanks to the latest drivers and updates required for a perfect upgrade. Why Updating Drivers Is Important Usually the only reason we look to install or update drivers is because something is malfunctioning. This is not the only reason you should keep your drivers up to date however. Hewlett Packard is constantly tuning and improving performance of their DesignJet 500 PS printers and the only way to make use of this is by having the latest drivers. Going online and checking for new drivers all the time can be frustrating and is not an effective use of your time, and a simple tool like the driver installer above can keep all of your hardware running on the optimal drivers with top performance. Sometimes when new hardware is installed, although it works correctly, other hardware which interacts with it may not be, because the other hardware actually needs its own drivers updated. This kind of co-dependency is another common problem and a reason why it's a great idea to have a tool that is constantly monitoring the state of all of your drivers and updating appropriately so you can upgrade and add or remove components in your computer while continuing to run without a hitch. When your DesignJet printer is relatively new, it may be possible to download individual drivers directly from Hewlett Packard without incurring additional charges. If you are having problems locating the correct drivers for your Printer printer, or are unsure of the exact model, we suggest you run a. It's very important you know the exact model of your Hewlett Packard DesignJet 500 PS printer you would like to update to ensure that it will function properly and to prevent possible damage to your system. An installer that will automatically scan and identify your Hewlett Packard to make sure you are installing the correct update and will also locate and download any additional driver and bios updates your pc may need. It's our goal to provide easy, one-click access to all of the latest drivers for your computer. Saving you time and preventing the possibility of installing an incorrect system driver, which could potentially cause a system crash. Individual drivers may be available and manually installed via manufacturer websites at no charge. We recommend running a free scan of your computer for the most current and compatible drivers for your system. Registration for the full version of the automated driver installer is only $29.99 USD for a full year of driver updates with the option of a second year for just $9.99 USD. All third party products, brands, or trademarks used herein are for identification purposes only and are the sole property of their respective owner. No affiliation or endorsement is intended or implied. When using a company's driver you will bound to that company's own legal agreement. We recommend our installer which is a driver system utility for scanning, matching, downloading, and installing verified drivers. Registration for the full version of the installer is only $29.99 USD for 1 full year of driver updates. With the option of a second year for just $9.99 USD. Many drivers may be obtained directly by visiting the websites of the respective manufacturers.
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Dell U2312HM (Digital-DV) - Intel (R) HD Graphics 530.' The printer name is invalid. Flycaster wrote: Windows 10, Dell U2312HM. I am having trouble placing two downloaded icc profiles into Windows Color Management. These are the profiles used by Costco in my neighborhood. I have successfully downloaded to my Download folder two icc profiles from Dry Creek () that I intend to use on my monitor. However, when I tried to add these two downloaded into Color management, I got the following alert message: 'Windows failed to associate the profile *.icc with the service 'Display 1. Dell U2312HM (Digital-DV) - Intel (R) HD Graphics 530.' The printer name is invalid. You cannot associate a printer profile with a monitor. That is why it doesn't work. The error message even tells you that a printer profile doesn't work with a monitor. Find an ICC profile. Select your printer model and the paper you want to use to access to the ICC profile and printer configuration file. Download ICC profile. Install • Locate your downloaded folder containing the ICC Profiles • This will be a zipped folder • Right click on the folder and select ‘Extract (All)’ • In the window that opens, click ‘Browse’ • Locate and expand the following folders: Computer > OS (C:) > Program Files (x86) > SignWarehouse > Vinyl Express LXi Cloud > ICCProfile > Mutoh VJ • Click OK • Click Extract Once this extraction process is completed, you can move on to the next step. Hancock performing in concert, 2006 Studio albums 41 Live albums 12 Compilation albums 62 Singles 38 Soundtrack albums 5 Promo singles 9 Other charted songs 4 The discography of the American artist consists of forty-one, twelve, sixty-two, five, thirty-eight, nine and four songs not released as singles, but that charted due to downloads. This article does not include re-issues, unless they are counted separately from the original works in the charts, furthermore because of the enormous amount of material published, this discography omits less notable appearances in compilations and live albums. The discography shows the peak weekly main chart positions of eight selected countries: United States, France, Germany, Japan, Netherlands, Sweden, Switzerland and United Kingdom. Positions also listed on United States are /,, jazz and bubbling under charts. The peaks don't refer necessarily to the position that a record reached when it was first released. Also included are certifications from the (RIAA) and the (BVMI). Hancock made his debut as professional musician in the early 1960s as a, quickly earning a good reputation. Noticed his talent and added him to its roster. For the label, he released seven albums, including (1962), his first solo album, supported by the single ', which is one of the most performed; (1964) and (1965), two influential jazz albums. During these years, Hancock also began a career as composer for film and television soundtracks, beginning with (1966) for. In this role, he reached the top in 1986 with the soundtrack (for ), that had its best result on the at No. 18 and won an. After his departure from Blue Note, Hancock signed with, publishing three albums in which he experimented with new jazz music directions: the R&B-oriented (1969) and the -oriented (1971) and (1972). These three releases became influential in the movement. Hancock continued to experiment after leaving Warner Bros. Classic black vinyl limited to 500, high quality vinyl sleeves / printed inner sleeves with download card. As Delusions Of Adequacy's Ryan McCarthy eloquently put it back in 2005, Piano Magic's album, Disaffected, 'has the rare distinction of being simultaneously affected and disaffected, both hyper-literate and. For Columbia Records, where he remained until the late 1980s, releasing sixteen studio albums. At Columbia, Hancock had his best commercial results, gaining immediate success with (1973), an R&B-oriented jazz album with strong influences. It peaked at No. 13 on the and became the best-selling jazz album in history. In 1986, it became the first jazz album ever to win a and is considered very influential in jazz, funk, and hip-hop music. Head Hunters also contains Hancock's first mainstream hit, ' (1974), which peaked at No. 35 on the and is a jazz standard. Other albums that followed in the style of Head Hunters with good popular success, especially in the US, were (1974) and (1975), which ranked respectively No. 21 on the Billboard 200. In 1978, Hancock added influences to his jazz and established himself as a mainstream hitmaker across Europe with 'I Thought It Was You' (1978) and 'You Bet Your Love' (1979), which peaked, respectively, at No. 18 on the, and 'Tell Everybody' (1979), which peaked at No. Thanks to these singles, his albums (1978) and (1979) earned good popular success, especially in Europe. The first album had its best performance peaking on at No. 26, and the second peaked on the at No. In 1983, Hancock radically refreshed his sound with strong electronic influences and released (1983), an influential album in,, electronic, and hip-hop music. The album had its best results in Europe, where it peaked at No. 7 on the chart. Furthermore, it spawned his biggest hit single, ' (1983), the first song, and became a worldwide anthem for and the of the 1980s. It reached the top 10 in several countries (especially in Europe), having its best performance on and Belgian Flemish Singles Chart, in each case at No. It also won a in 1990. Thanks to this song, Hancock won the, the first Grammy of his career of a total of fourteen. Future Shock was a bigger success than even Head Hunters, winning a RIAA Platinum Award in 1994 faster than the earlier album had. It spawned an additional mainstream hit with 'Autodrive' (1983), which had its best performance on UK Singles Chart, peaking at No. (1984) followed the musical direction of Future Shock and won the Grammy Award in the same category of 'Rockit', making Hancock the first solo artist to win in this category for two consecutive years and also the artist with most wins in the category (a record shared with and ). After six years of silence in his solo career, Hancock signed with and released (1994) that showed another innovation in his career with an -oriented sound and reached No. After this release, there were several albums of duets, covers and tributes, such as (1998), (2005) and (2007). The last peaked at No. 5 on the Billboard 200 and became the second jazz album in history to win a (the first was (1964) by and ). As of 2016, Hancock's last original solo project was the electronic-influenced (2001), released for Transparent Music. • a From 1989, lists greatest hits and compilation albums of the artists in a compilation chart (already active from 1987 only for the various artists compilations). Prior the launch of the SNEP Singles Chart on November 3, 1984, there wasn't a reliable weekly chart for the singles in France. So, in 2000, Fabrice Ferment in collaboration with SNEP compiled monthly charts for the pre-SNEP chart period based on retail sales of the time. • b Before launched the albums chart (started in 1987), it published only albums charts classified as follows: LPs (1970-1989), Cassettes (1974-1995) and CDs (1985-1997). For pre-1987 peak positions, the LP chart is used, as that was the main medium. • c Prior September 8, 1993, the Swedish charts were bi-weekly. • d Between October 20, 1984 and December 4, 1993 the jazz albums charts were bi-weekly. Note that Top Contemporary Jazz Albums was established on February 28, 1987 and before this date, Contemporary jazz albums were charted on the Top Traditional Jazz Albums (at the time known simply as Top Jazz Albums). • e Between June 1, 1959 and August 24, 1985 Billboard published the, which ranked the songs that failed to chart on the. In December 1970, a bubbling under chart was created for the albums that failed to enter into the and was called Bubbling Under Top LPs. This list closed on August 24, 1985. The bubbling under charts came back on December 5, 1992 with Bubbling Under Hot 100 Singles and. The latter lists the singles that failed to enter into the. • f certifications are based on shipment sales in the United States and, on request by the label, RIAA certifies albums and singles as Gold (500,000 units), Platinum (every 1 million units) and Diamond (every 10 million units). • g certifications are based on retail sales in Germany calculated by GEMA and other societies. For the low sales of the jazz records, BVMI established a jazz division in 1992 only for albums and singles of the genre released from this date; on request by the label, BVMI certifies them as Gold (every 10,000 copies) and Platinum (every 20,000 copies). References [ ]. May 1946 Background information Birth name Arthur Tatum Jr. Born ( 1909-10-13)October 13, 1909, Ohio, U.S. Died November 5, 1956 ( 1956-11-05) (aged 47) Los Angeles, California Genres, Occupation(s) Musician Instruments Piano Years active 1927–1956 Labels,, Stinson,, Arthur Tatum Jr. (, October 13, 1909 – November 5, 1956) was an American pianist. Tatum is widely considered one of the greatest jazz pianists of all time. His performances were hailed for their technical proficiency and creativity, which set a new standard for jazz piano virtuosity. Critic 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, at the Vogue Room, New York (between 1946 and 1948) For a musician of such stature, there is little published information available about Tatum's life. Only one full-length biography has been published, Too Marvelous for Words (1994), by James Lester. Lester interviewed many of Tatum's contemporaries for the book and drew from many articles published about him. Early years [ ] Tatum was born in. His father, Arthur Tatum, Sr., was a guitarist and an elder at Grace, where his mother, Mildred Hoskins, played piano. He had two siblings, Karl and Arlene. From infancy he suffered from (of disputed cause) which left him in one eye and with only 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. A child with, Tatum learned to play by ear, picking out church hymns by the age of three, learning tunes from the radio and copying recordings his mother owned. In a interview, he denied the widespread rumor that he learned to play by copying piano roll recordings made by two pianists. He developed a very fast playing style, without losing accuracy. As a child he was also very sensitive to the piano's and insisted it be tuned often. While playing piano was the most obvious application of his mental and physical skills, he also had an encyclopedic memory for statistics. In 1925, Tatum moved to the Columbus School for the Blind, where he studied music and learned. He subsequently studied piano with Overton G. Rainey at either the Jefferson School or the Toledo School of Music. Rainey, who was also visually impaired, probably taught Tatum in the classical tradition, as Rainey did not improvise and discouraged his students from playing jazz. 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. By the age of 19, Tatum was playing at the local Waiters' and Bellmens' Club. As word of Tatum spread, national performers passing through Toledo, including,, and, would make it a point to drop in to hear the piano phenomenon. In 1931, vocalist commenced a world tour that lasted almost two years, during which (most probably in January 1932 when she was appearing at the Rivoli Theatre) she discovered Tatum in Toledo and employed him as one of her stage pianists. In 1932, Hall returned to New York with Tatum and introduced him to Harlem on stage at the. In August 1932, she made four recordings using Tatum as one of her pianists including the songs 'Strange As It Seems' and 'You Gave Me Everything But Love'. Culture of Tatum's Toledo in 1909 [ ] Early in the twentieth century (1909) Tatum's parents, Mildred Heerston and Arthur Tatum, Sr., made their way from North Carolina to begin a new life in Toledo, Ohio. Shortly after their arrival on October 13, 1909 Arthur Tatum, Jr. It has not been established why the young couple chose Ohio, but at the turn of the century many factors made Ohio attractive to southern black families migrating North. The fact that slavery had never been legalized in Ohio and that parts of Ohio had been stations in the Underground Railroad made for an atmosphere conducive to a relatively peaceful settlement. This enticed African Americans to settle in the area early. According to Edrene Cole, the 1860 census showed three hundred African Americans living in Toledo, and in 1910 Toledo had about 2,000 African Americans. African Americans like the Tatums, who migrated from the south Atlantic states (Virginia, North Carolina, South Carolina), comprised 16.6% of the total black population and were the third largest group of African Americans who had migrated to Toledo. They produced social institutions early, helping with the transitioning of newly arrived African Americans. In the last year of the civil war (1866), the Warren African Methodist Episcopal Church, an African American church, had been founded. Toledo had already questioned the notion of segregated schools by 1909. In fact, the Jefferson Street school that Art would attend admitted 'colored children' as early as 1880. In 1927, blacks continued to progress in Toledo schools. According to a report of March 7, 1927 received from Superintendent Charles S. Meek of the Public Schools, 'there were enrolled 147 Negroes in the public high schools and 1,574 in the grade schools of the city and at the University of Toledo the enrollments of Negroes were 21.' However, it is important to remember that Arthur and Mildred Tatum would be looking to established African American families for direction and guidance. If the Tatums came to Toledo in search of employment, there is evidence that African Americans in Toledo had a small advantage. The Tatums arrived in Toledo during the first tricklings of the Great Migration. The Tatum’s early migration, nevertheless, was inspired by the same general concerns and problems associated with the mass movement of African Americans to the urban North from 1914-1923. A 1923 convention of African Americans held in Mississippi concluded that blacks, such as the Tatums, were leaving Mississippi (and the South in general) because of the racial tensions and effects on the welfare of African American peoples. The Tatums and many other African American families would bring to Toledo their individual and collective experiences and aspirations. Musical career [ ] Tatum drew inspiration from the pianists and, who exemplified the style, and from the more 'modern', six years Tatum's senior. Tatum identified Waller as his main influence, but according to pianist and saxophonist, '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.' A major event in his meteoric rise to success was his appearance at a in 1933 at Morgan's bar in New York City that included Waller, Johnson and. Standard contest pieces included Johnson's 'Harlem Strut' and 'Carolina Shout', and Waller's 'Handful of Keys'. Tatum performed his arrangements of ' and ', in a performance that was considered to be the last word in stride piano. 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.' 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 initiated a half-serious rivalry with him. Tatum worked first around Toledo and Cleveland and then later in New York at the for a few months. He recorded his first four solo sides on the Brunswick label in March 1933. Tatum returned to Ohio and played around the American midwest – Toledo, Cleveland, Detroit, Saint Louis and Chicago – in the mid-1930s and played on the radio program hosted by in 1935. He also played stints at the Three Deuces in Chicago and in Los Angeles played at the, the Paramount and the Club Alabam. In 1937, he returned to New York, where he appeared at clubs and played on national radio programs. The following year he embarked on the for England where he toured, playing for three months at Ciro's Club owned by bandleader. In the late 1930s, he returned to play and record in Los Angeles and New York. Art Tatum (on the right) at Downbeat Club, New York, N.Y., c. 1947 1940s and 1950s [ ] In 1941, Tatum recorded two sessions for with singer, the first of which included 'Wee Baby Blues', which attained national popularity. Two years later Tatum won magazine's first jazz popularity poll. Perhaps believing there was a limited audience for solo piano, he was inspired by Nat King Cole's successful jazz trio to form his own trio in 1943 with guitarist and bassist, whose perfect pitch enabled him to follow Tatum's excursions. Tatum recorded exclusively with the trio for almost two years. Grimes abandoned the group, but Tatum continually returned to this format. He also carried on his solo work. Although Tatum was admired by many jazz musicians, his popularity faded in the mid to late 1940s with the advent of – a movement that Tatum did not embrace. Despite the decline in fame, Tatum went on to perform a jazz concert at the in 1944 alongside other popular jazz artists such as. In the last two years of his life, Tatum regularly played at in Detroit, including his final public performance in April 1956. Earlier, Tatum had personally selected and purchased for Clarence Baker the at Baker's, finding it in a New York showroom, and shipping it to Detroit. Death [ ] Art Tatum died on November 5, 1956, at Queen of Angels Medical Center in Los Angeles, from complications of (as a result of ). He was originally interred at Angelus Rosedale Cemetery in Los Angeles, but was moved by his wife, Geraldine Tatum, to the Great Mausoleum of Glendale's Forest Lawn Cemetery in 1991, so she could ultimately be buried next to him, although his headstone was left at Rosedale to commemorate where he was first laid to rest. Geraldine died on May 4, 2010, in Los Angeles, and was interred beside Art at Forest Lawn Cemetery. Style [ ] Tatum built upon and classical piano influences to develop a novel and unique piano style. He introduced a strong, swinging pulse to jazz piano, highlighted with that swept across the entire keyboard. His interpretations of popular songs were exuberant, sophisticated 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 expanding his improvisations. Tatum's sound was attributable to both his harmonic inventiveness and technical prowess. 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 ) 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 and, 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', 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 with authority. Pianist, 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.' Tatum's repertoire, however, was predominantly and popular standards, whose chord progressions and variety better suited his talents. His protean style was elaborate, pyrotechnic, dramatic and joyous, combining stride, jazz, swing, boogie-woogie and classical elements, while the musical ideas flowed in rapid-fire fashion. 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.' He was playful, spontaneous and often inserted quotes from other songs into his improvisations. 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. ' A handful of critics, notably, have complained that Tatum played too many notes 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.' Screen capture of Tatum from the film (1947) 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 Powell,,,,, and. One of Tatum's innovations was his extensive use of the, which may have inspired later pianists to further mine its possibilities as a device for soloing. Described Tatum's unique tone as 'majestic' and devoted some time to unlocking this sound and to noting Tatum's harmonic arsenal. Yet much of Tatum's keyboard vocabulary remains unassimilated by today's crop of players. The sounds that Tatum produced with the piano were also distinctive. Billy Taylor has 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, chords were cleanly sounded and the melodic line would not be blurred. He played with boundless energy and occasionally his speedy and precise delivery produced an almost mechanical effect, compared by jazz critic to 'a on steroids.' Technique [ ] Critic declared, 'On one point there is universal agreement: Tatum's awesome technique.' That technique was marked by a calm physical demeanor and efficiency. Tatum did not indulge in theatrical physical or facial expression. The effortless gliding of his hands over difficult passages baffled most who witnessed the phenomenon. He especially astonished other pianists to whom Tatum appeared to be 'playing the impossible.' Even when playing scintillating runs at high velocity, it appeared that his fingers hardly moved. 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. 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, yet his recordings are never sloppy. Tatum also displayed phenomenal independence of the hands and ambidexterity, which was particularly evident while improvising. Cited Tatum as one of the most 'intimidating' pianists, and said that 'there wasn't a jazz pianist of the era who wasn't influenced by him'. Jazz historian and commentator Ira Gitler declared that Tatum's 'left hand was the equal of his right.' When Bud Powell was opening for Tatum at around 1950, the end of an era when musicians engaged in overt competition and so-called cutting sessions, 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. Of note was Tatum's double-time stride playing, where his left hand alternated between playing bass notes (or tenth intervals) and mid-range chords at high speed, a device he used in showcase recordings like 'I Wish I Were Twins', 'The Shout', and 'Elegy'. [ ] 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.' 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.' When his fastest tracks of 'Tiger Rag' are slowed down, they still reveal a coherent, syncopated rhythm. After hours [ ] 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. Tatum was said to be more spontaneous and creative in those free-form nocturnal sessions than in his scheduled performances. 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 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.' Art Tatum headlining at the Famous Door nightclub on, May 1948 Group work [ ] 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, who recorded a 1956 trio session with Tatum and bassist, 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.' Clarinetist said that playing with Tatum was 'like chasing a train.' Tatum said of himself, 'A band hampers me.' 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. He later recorded with other musicians, including a notable session with the 1944 Esquire Jazz All-Stars, which included, and other jazz greats, at the in New York City. He also recorded group sessions for in the mid-1950s, toward the end of his life, with jazz greats such as,,, and. Repertoire [ ] Tatum's repertoire mainly consisted of music from the —, Broadway and other popular music of the 1920s, 1930s and 1940s. He played his own arrangements of a few classical piano pieces as well, most famously 's and 's '. Tatum composed a handful of original compositions. Emulators and influence [ ] Transcriptions of Tatum are popular and are often practiced assiduously. But perhaps because his playing was so difficult to copy, only a small number of musicians – such as,,,,, and, outside of the usual roster of jazz pianists, and, more recently, – have attempted to emulate or challenge Tatum. Although Bud Powell was of the bebop movement, his prolific and exciting style showed Tatum influence. Recordings [ ] 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. He recorded for Brunswick (1933), 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 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,,,,,, and. Film [ ] Although only a small amount of film showing Tatum playing exists today, several minutes of professionally shot archival footage can be found in 's documentary. Footage also appears in ' documentary, which includes a short passage on Tatum's life and work, including comments from and. Tatum appeared in the 1947 movie, first playing a solo and then accompanying Dorsey's band in an impromptu song. Tatum appeared on 's in the early 1950s, and on other television shows from this era. However, all of the 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 ' extensive series of rare Tatum recordings. On the recommendation of Oscar Peterson, Tatum was portrayed by in, a 2004 biopic about R&B artist. Legacy and tributes [ ] In 1964, Art Tatum was posthumously inducted into the Jazz Hall of Fame. He received a 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 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.' Fats Waller's son confirmed the statement. 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 pianist. Parker once said, 'I wish I could play like Tatum's right hand!' When Oscar Peterson was still a boy, his father played him a recording of Tatum performing 'Tiger Rag'. Once the young Peterson was finally persuaded that it was performed by a single person, he was so intimidated that he did not touch the piano for weeks. Peterson also stated that, '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.' 'Musically speaking, he was and is my musical God, and I feel honored to remain one of his humbly devoted disciples.' 'Here's something new.' Pianist 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.' The jazz pianist and educator 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!' Dubbed Tatum 'a crazed '. Called him the eighth wonder of the world. Observed, 'I don't think there's any more chance of another Tatum turning up than another.' Pianist, 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 says, 'There's always Art Tatum records around'. Said, 'First you speak of Art Tatum, then take a long deep breath, and you speak of the other pianists.' The pianist 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.' Other music luminaries of the day, including,,,, and are said to have marveled at Tatum's genius. Jazz critic called Tatum 'the greatest soloist in jazz history, regardless of instrument.' During a 1985 interview with 'Frets' magazine, was asked if he was inspired by any non-guitarists. He said 'Oh, yeah, sure. 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. When I want to feel really insignificant. He's a good guy to play for any musician, you know. He'll make them want to go home and burn their instruments. Art Tatum is absolutely the most incredible musician – what can you say?' Bilmes, an student, invented a term that is now in common usage in the field of computational musicology: the. It means 'the smallest perceptual time unit in music' and is a tribute to Tatum's pianistic velocity. 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 a high-resolution, 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'. Sony recorded these anew in the same venue, in front of an audience. These 13 tracks are on the album Piano Starts Here: Live from The Shrine. The, when played via headphones, allows one to 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 audience downstage on the righthand side. For his 2008 album Act Your Age, 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. At the in his home town of Toledo, Ohio, a memorial was dedicated to Art Tatum in 2009, the 'Art Tatum Celebration Column'. Discography [ ] • Art Tatum Piano Impressesions, ARA (Boris Morros Music Company) A-1, c.1945 • Art Tatum Piano Solos, Asch 356, c.1945 • Footnotes to Jazz, Vol. • Robert Doerschuk, 88 – The Giants of Jazz Piano, p. 58 'by consensus, the greatest jazz pianist who ever lived.' When Leonard Feather was compiling his Encyclopedia of Jazz in the mid-1950s, he polled a number of musicians about the players they themselves most admired on their respective instruments. More than two-thirds of the pianists surveyed put Tatum at the top of the list. Gene Lees conducted a similar poll thirty years later, and again Tatum dominated the results. Retrieved September 11, 2012. • Scott Yanow and Michael Erlewine (1998) The All Music Guide To Jazz, 3rd edition, p. 1074, The author adds: 'Art Tatum's recordings still have the ability to scare modern pianists.' • James Lester (1994) Too Marvelous for Words: The Life and Genius of Art Tatum, Oxford University Press, • David Yonke, Time-Tested Tatum, toledojazzsociety.org • ^ Ron Davis, Ars Gratia Tatum, rddavis.com • Lester, Too Marvelous for Words: The Life and Genius of Art Tatum: James Lester: Oxford University Press 1994: • Lester, Too Marvelous for Words, p. 44 • Lester, Too Marvelous for Words • Lester, Too Marvelous for Words, p. 37-38 • Robert Dupuis, Art Tatum Biography, musicianguide.com; see also Jed Distler's introduction 'Art Tatum' in the Jazz Masters series • ^ Jazz Profiles from NPR • Adelaide Hall listed as appearing at the Rivoli Theatre, Toledo in the column 'Around the Theatre's in the Afro American newspaper dated week of January 23, 1932 – page 9 •. Retrieved November 12, 2017. • Underneath A Harlem Moon. The Harlem to Paris Years of Adelaide Hall by Iain Cameron Williams. 2003, • Bloomsbury.com.. Bloomsbury Publishing. Retrieved November 12, 2017. • Williams, Iain Cameron (September 15, 2002).. Retrieved November 12, 2017 – via Amazon. • edmundusrex (July 25, 2011)... Retrieved November 12, 2017. • edmundusrex (October 16, 2008)... Retrieved November 12, 2017. • Murph, John.. Retrieved November 12, 2017. • Imelda Hunt,'An Oral History of Art Tatum during his years in Toledo, Ohio, 1909-1932, diss, BGSU, 1995,24 • Edrene Cole. 'Blacks in Toledo: A Resource Unit for Elementary Teachers,'thes. U of Toledo, 1967, 1-3 • E.L. Wheaton, 'The Social Status of the Negro in Toledo, Ohio,'diss.,Uof Toledo,1927, 12 • Everette Johnson, 'A Study of the Negro Families in the Pinewood Avenue District of Toledo, Ohio' (Survey conducted in 1923) • Monroe Work, Negro Year Book, 1925-1926 (Tuskegee Institute: Negro Yearbook Publishing Co., 1927) 8 • Imelda Hunt,'An Oral History of Art Tatum during his years in Toledo, Ohio, 1909-1932, diss, 24-27 • Lester: Too Marvelous for Words: p 57/58 • Ed Kirkeby, Ain't Misbehavin: The Story of Fats Waller. Fats Waller recalled the showdown: 'That Tatum, he was just too good. He had too much technique. When that man turns on the powerhouse, don't no one play him down. He sounds like a brass band.' Robert Doerschuk, 88 – The Giants of Jazz Piano, p. Retrieved November 12, 2017. Retrieved November 12, 2017. Retrieved November 12, 2017. • Bjorn, Lars, & Jim Gallert,, University of Michigan Press, 2001 (, ), p. •, Detroit Free Press (January 31, 2011). • at • at • Spencer, Frederick J. Jackson, MS: Univ. Press of Mississippi. • at • Art Tatum Solo Masterpieces, Vol. Four, Pablo, recorded December 29, 1953 • As quoted in Lynn Bayley's liner notes to Knockin' Myself Out, remastered Tatum recordings on Pristine Audio • John Cohassey, Contemporary Black Biography, Art Tatum, Vol. • Critic Gunther Schuller opined that Tatum overused melodic quotations. Gunther Schuller, The Swing Era: The Development of Jazz, 1930 – 1945, p.480 • Lester, Too Marvelous for Words, p. Archived from on December 8, 2010. Retrieved December 26, 2010. • Art Tatum: A Talent Never To Be Duplicated, www.npr.org • As quoted in the liner notes to the reissue of Capitol CDP 7 92866 2. • ^ Gioia, Ted.. Retrieved September 11, 2012. • Burnett, John.. Retrieved September 11, 2012. • Sheils, James.. Retrieved September 11, 2012. • Schuller, The Swing Era, p. 477 • thus described Tatum's impression on other piano players in the 1930s, in a jazz history presentation. • Bret Primack, Art Tatum: No Greater Art, www.jazztimes.com (January/February 1998) • ^ Lester, Too Marvelous for Words, pp. Retrieved December 4, 2013. Retrieved November 12, 2017. • The author of a biography of Bud Powell refers to 'the Harlem-piano tradition of the previous generation, of all-night contests in bars or apartments.' Pullman, 'Wail: The Life of Bud Powell' •. Retrieved November 12, 2017. • Lester, Too Marvelous for Words, p. 174 (quoting from pianist Billy Taylor) •. Retrieved November 12, 2017. • Lester, Too Marvelous for Words, p. 140 • See Editorial Review for Art Tatum: 20th Century Piano Genius on Amazon.com • quoted in Chip Stern's 1995 liner notes for a CD reissue of Tatum's The Piano Starts Here (1968), Columbia Records, • 'Solo Man', Time, December 5, 1949, p.56 • Sessa, Claudio (2009).. Milano: Il Saggiatore. • Tatum wrote 'Shout' and co-authored 'Wee Wee Baby, You Sure Look Good to Me'. His recording of 'Shout' was included in the soundtrack of the film The Great Debaters. • See, e.g., Riccardo Scivales (1998) The Right Hand According to Tatum • Lester, Too Marvelous for Words, p. 172 • Tatum recorded over 400 titles, according to Gunther Schuller, The Swing Era: The Development of Jazz, 1930 – 1945. Retrieved November 12, 2017. • John Burnett.. The great stride pianist Fats Waller famously announced one night when Tatum walked into the club where Waller was playing, 'I only play the piano, but tonight God is in the house.' • Bassist disputed the story in his autobiography, saying that the actual line was 'Oh, God! Tatum is in the house.' Mingus may have had an ulterior motive in making that comment, however. According to vibraphonist, in whose group Mingus played bass around 1950, Mingus tried out for Tatum's trio but did not have the ear to follow Tatum's 'difficult atonal things'. Lester, Too Marvelous for Words, p. 148, 168 • Bill Crow, Jazz Anecdotes, Oxford Univ. Press, 1991, p. 277 • Told by Peterson himself on 'Omnibus: Oscar Peterson and Andre Previn' – BBC, 1977; and 'In the Key of Oscar' – NFB Documentary, 1992 • Jazz Professional, 1962,. Archived from on June 29, 2011. Retrieved 2011-07-14. Archived from on April 17, 2008. Retrieved November 12, 2017. • March 30, 1996 interview with Hank Jones, reprinted in liner notes to Art Tatum, 20th Century Piano Genius, Verve reissue 1996 • Kenny Barron, A Musical Autobiography, Victor Verney, allaboutjazz.com • From the liner notes to Capitol CDP 7 92866 2 • Jazz Video Guy (February 9, 2010)... Retrieved November 12, 2017. Retrieved November 12, 2017. January 29, 2016. Bilmes (September 1993). MIT Masters Thesis. Retrieved 2013-07-31. • Tristan Jehan, Creating Music by Listening, ',' Massachusetts Institute of Technology, dissertation submitted September 2005. • Kapica, J (April 9, 2009).. The Globe and Mail. Retrieved April 23, 2013. • Tamark, Jeff (April 18, 2008).. Retrieved April 23, 2013. December 7, 2008. Retrieved April 23, 2013. The Art Commission of Toledo. September 11, 2009. Retrieved April 23, 2013. • • • References [ ] • Jed Distler (1981/1986) Art Tatum: Jazz Masters Series: intro and notes to Tatum Piano Transcriptions: Amsco Publications: • Imelda Hunt (1995) An Oral History of Art Tatum During His Years in Toledo, Ohio 1909-1932. BGSU • James Lester (1994) Too Marvelous for Words: The Life and Genius of Art Tatum, Oxford University Press, • Gunther Schuller (1989) The Swing Era – The Development of Jazz 1930–1945, 'Art Tatum' p 476-502, Oxford University Press, • Riccardo Scivales (1998) The Right Hand According to Tatum, Ekay Music, Inc. • Arnold Laubich, Ray Spencer (1982) 'Art Tatum: A Guide to His Recorded Music', Scarecrow Press and the Institute of Jazz Studies, Rutgers University, External links [ ] • at www.jazz-piano.org • and •, features Tatum's 1933 recording of •. Luxury oceanfront vacation homes, villas and condos. Honeymoon, family and scuba vacation packages available. Crock-Pot BBQ Ribs Instruction Manual and Home Style Recipe Cookbook. By Crock-Pot. Topics cup, marinade, combine, sauce, glaze, pepper, ingredients, meat, chicken, bbq, zip top, bbq pit, brown sugar, soy sauce, vacuum sealed, place meat, covered bowl, stir thoroughly, slow cooker, red pepper. $1,060,970 $1.5M Dear Internet Archive Supporter, I ask only once a year: please help the Internet Archive today. We’re an independent, non-profit website that the entire world depends on. Our work is powered by donations averaging about $41. If everyone chips in $5, we can keep this going for free. Right now, a generous supporter will match your donation 3-to-1. So your $5 donation becomes $20! For the cost of a used paperback, we can share a book online forever. When I started this, people called me crazy. Collect web pages? Who’d want to read a book on a screen? For 21 years, we’ve backed up the Web, so if government data or entire newspapers disappear, we can say: We Got This. The key is to keep improving—and to keep it free. 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For 21 years, we’ve backed up the Web, so if government data or entire newspapers disappear, we can say: We Got This. We’re dedicated to reader privacy. We never accept ads. But we still need to pay for servers and staff. If you find our site useful, please chip in. —Brewster Kahle, Founder, Internet Archive. Dear Internet Archive Supporter, I ask only once a year: please help the Internet Archive today. We’re an independent, non-profit website that the entire world depends on. Our work is powered by donations averaging about $41. If everyone chips in $5, we can keep this going for free. Right now, a generous supporter will match your donation 3-to-1. So your $5 donation becomes $20! For the cost of a used paperback, we can share a book online forever. When I started this, people called me crazy. Collect web pages? Who’d want to read a book on a screen? For 21 years, we’ve backed up the Web, so if government data or entire newspapers disappear, we can say: We Got This. 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Something similar happens with ISO. Each doubling of the ISO value represents a stop, which you can trade off (with consequences) with stops of shutter and aperture. Note that this transition is reversed though: bigger number = more sensitive = more light = brighter exposure. The common ISOs are. Hi, ive downloaded Alien breed collection from pirate bay, when i instale them, well, the first runs just finewhen i save it says it has an error, but nevertheless, saves just fine and i ended it without a problem. The problem are the two and three, for some reason, everytime y try to save in the intex post, the game gets stuck so i had to reboot my pc, start the game and even when they have get stucked, they save the game just fine. That untill i get to the first part in the game with autosafe. There the game gets stucked saving (the weel on the down side) you can keep playing normally, but you cannot enter anymore to any intex post, you cannot use your map, and even if you pass the stage. Nothing will be saved, so your stuck in the first stage. First i thought that i had downloaded incorrectly the game, couse i follow all the instructions, but the second time i instaled the game (downloaded twice) the result was the same, what can i do? It haves something to do with the antiviruses or something? Interesting question and there's some minor controversy over that (or at least not everyone here seems to agree). What there is agreement on (I believe) is that the intermediate settings are basically 'pushed' from the full stop ISOs. You'll get nearly identical results by starting with one of the true ISO settings and then using your RAW processor to increase the exposure. Now, I've seen some different opinions expressed as to which ISOs actually represent the full stops (with lowest noise). One version says that ISOs 100/200/400/800/1600/3200 are the true ISOs and all intermediates are pushed. Another version suggests that 160/320/640. Represents the ISOs with the lowest noise and others are intermediates and 'pushed' within the camera. Honestly, haven't run a test on my own and would love to hear some feedback from people here who either have tested this on their own or have seen some definitive proof one way or the other. Meanwhile, I've started using 160 as my 'standard' ISO and its multiples when I need to go higher. Not sure I'm seeing any noticeable differences in my images as compared to using 200 previously, but admittedly haven't done any serious comparisons or pixel peeping. Anthony Curcione wrote: I could have sworn I read here somewhere (or in a book) that for the best IQ it's better to stick to full stop ISO increments and not use intermediate settings. Is this crap or is there some truth in this? 1/3 above base is push and 2/3 above base is pull from the next real ISO. E.g.iso 125 is 100 pushed, 160 is 200 pulled. So obviously given the same shutter and aperture, ISo 200 pulled will be less noisy than ISo 100 pushed, but it will have less high light detail and less dr. In practical difference is very minimal it doesn't really matter. I use auto ISo all the time, plenty ISo 1000 images looking great. The most valuable resource is my time, I spend less of it thinking redundant issues means more I spend on tracking my subject, selecting best shutter speed and dof calculations. Here's another wrench in your spanner: Everyone who uses the camera for video believes that it is in fact the intermediate settings that are less noisy than the full-stop rounded numbers. There are plenty of tests and charts and video examples of this. The myth is further perpetuated by Technicolor and their CineStyle picture style: they specifically tell users to use the intermediate settings. The video crowd believes that the intermediate ones, not the full-stop rounded settings, are the actual hardware gain stops, and that everything else is simply rounded up or down by software techniques. Personally, I haven't seen any noticeable difference between either. Although I do know that anything below ISO 200 does seem pulled, as Canon limits you to a minimum of 200 when using the highlight expansion settings. Regardless of what's real, fake, or something in between: why not test the myth? Take a series of stepped shots raising the ISO by a 1/3 of a stop as you go. Examine the shots and reach a personal conclusion. Your real life test is bound to be more pertinent to your own means than anything anyone says or measures, right? You can't see measurements. You can see your own photos. Ultimitsu wrote: 1/3 above base is push and 2/3 above base is pull from the next real ISO. E.g.iso 125 is 100 pushed, 160 is 200 pulled. So obviously given the same shutter and aperture, ISo 200 pulled will be less noisy than ISo 100 pushed, but it will have less high light detail and less dr. In practical difference is very minimal it doesn't really matter. I use auto ISo all the time, plenty ISo 1000 images looking great. The most valuable resource is my time, I spend less of it thinking redundant issues means more I spend on tracking my subject, selecting best shutter speed and dof calculations. For whatever reason, I've never used auto ISO and wasn't really sure it was a good idea. I guess that's something I'll have to experiment with. Horshack wrote: Certain bodies have dual-gain logic that supports both full and 1/3 stop analog gains, whereas others only have a single gain that works only for full stops and thus 1/3 stop gains are achieved via firmware. You can do a google search to see which bodies support what but I believe only Canon's flagship bodies (1D/1Ds line) support the dual-gain architecture. I forget the details on the Nikon implementations. That's interesting. Yet another part to the equation! Getting a lot of good information from this. Anthony Curcione wrote: Thanks for the explanation. I've generally stuck to full stops even though I have it set for 1/3s. I think for me my head is stuck on my older digicams where I had to be concerned more with noise even though I know noise isn't as much of a problem these days. Hard to let go of past habits methinks! The question is: which ones are the true full stops. Yesterday, after writing my earlier response, I went out and took a few sample shots at ISO 160, 200, 250, 320. Of most interest to me were the ones taken at 160 and 200, both of which have been purported by some to be 'full' stops. To be honest, even pixel peeping at 200%, I was simply unable to see enough difference in whatever noise was there to pick one image as better than the other. The 250 and 320 images clearly had a bit more noise, as you'd expect. One would probably need a noise analysis tool to do the job right, or a much better and more discerning set of eyes than I have. From this little experiment at least, either setting would probably yield virtually the same result, and I'd see little reason to change. Anthony Curcione wrote: I could have sworn I read here somewhere (or in a book) that for the best IQ it's better to stick to full stop ISO increments and not use intermediate settings. Is this crap or is there some truth in this? • Setting the C.Fn I -2/ISO to full stop, do not limit the ISO to full stops in Auto-ISO (at least in firmware 1.2.5), just the manual ISO settings. • The rumor and the graphs were done by video people, a long line ago. Does this still apply to the current firmware? I did my own testing in the 1.1.x serie and could see any discernible difference, then I would convince myself with. I now use the full stops setting and almost never use the Auto-ISO. Try a few test with your own photos. 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The foreign exchange options market is the deepest, largest and most liquid market for options of any kind. Most trading is over the counter (OTC) and is lightly regulated, but a fraction is traded on exchanges like the International Securities Exchange, Philadelphia Stock Exchange, or the Chicago Mercantile Exchange for options on futures contracts. The global market for exchange-traded currency options was notionally valued by the Bank for International Settlements at $158.3 trillion in 2005 For example, a GBPUSD contract could give the owner the right to sell?1,000,000 and buy $2,000,000 on December 31. In this case the pre-agreed exchange rate, or strike price, is 2.0000 USD per GBP (or GBP/USD 2.00 as it is typically quoted) and the notional amounts (notionals) are?1,000,000 and $2,000,000. This type of contract is both a call on dollars and a put on sterling, and is typically called a GBPUSD put, as it is a put on the exchange rate; although it could equally be called a USDGBP call. If the rate is lower than 2.0000 on December 31 (say 1.9000), meaning that the dollar is stronger and the pound is weaker, then the option is exercised, allowing the owner to sell GBP at 2.0000 and immediately buy it back in the spot market at 1.9000, making a profit of (2.0000 GBPUSD? 1.9000 GBPUSD)? 1,000,000 GBP = 100,000 USD in the process. If instead they take the profit in GBP (by selling the USD on the spot market) this amounts to 100,000 / 1.9000 = 52,632 GBP. Although FX options are more widely used today than ever before, few multinationals act as if they truly understand when and why these instruments can add to shareholder value. To the contrary, much of the time corporates seem to use FX options to paper over accounting problems, or to disguise the true cost of speculative positioning, or sometimes to solve internal control problems. The standard clich? About currency options affirms without elaboration their power to provide a company with upside potential while limiting the downside risk. Options are typically portrayed as a form of financial insurance, no less useful than property and casualty insurance. This glossy rationale masks the reality: if it is insurance then a currency option is akin to buying theft insurance to protect against flood risk. The truth is that the range of truly non-speculative uses for currency options, arising from the normal operations of a company, is quite small. In reality currency options do provide excellent vehicles for corporates' speculative positioning in the guise of hedging. Corporates would go better if they didn't believe the disguise was real. Let's start with six of the most common myths about the benefits of FX options to the international corporation -- myths that damage shareholder values. Historically, the currency derivative pricing literature and the macroeconomics literature on FX determination have progressed separately. In this Chapter I argue the joint study of these two strands of literature and give an overview of FX option pricing concepts and terminology crucial for this interdisciplinary study. I also explain the three sources of information about market expectations and perception of risk that can be extracted from FX option prices and review empirical methods for extracting option-implied densities of future exchange rates. As an illustration, I conclude the Chapter by investigating time series dynamics of option-implied measures of FX risk vis-a-vis market events and US government policy actions during the period January 2007 to December 2008. Chapter 2: This Chapter proposes using foreign exchange (FX) options with different strike prices and maturities to capture both FX expectations and risks. We show that exchange rate movements, which are notoriously difficult to model empirically, are well-explained by the term structures of forward premia and options-based measures of FX expectations and risk. Although this finding is to be expected, expectations and risk have been largely ignored in empirical exchange rate modeling. Using daily options data for six major currency pairs, we first show that the cross section options-implied standard deviation, skewness and kurtosis consistently explain not only the conditional mean but also the entire conditional distribution of subsequent currency excess returns for horizons ranging from one week to twelve months. At June 30 and September 30, the value of the portfolio was?1,050,000. Note, however, that the notional amount of Ridgeway's hedging instrument was only?1,000,000. Therefore, subsequent to the increase in the value of the pound (which is assumed to have occurred on June 30), a portion of Ridgeway's foreign currency exchange risk was not hedged. For the three-month period ending September 30, exchange rates caused the value of the portfolio to decline by $52,500. Of that amount, only $50,000 was offset by changes in the value of the currency put option. The difference between those amounts ($2,500) represents the exchange rate loss on the unhedged portion of the portfolio (i.e., the 'additional'?50,000 of fair value that arose through increased share prices after entering into the currency hedge). At June 30, the additional?50,000 of stock value had a U.S. Dollar fair value of $45,000. At September 30, using the spot rate of 0.85:1, the fair value of this additional portion of the portfolio declined to $42,500. Ridge way will exclude from its assessment of hedge effectiveness the portion of the fair value of the put option attributable to time value. That is, Ridgeway will recognize changes in that portion of the put option's fair value in earnings but will not consider those changes to represent ineffectiveness. Aitan Goelman, the CFTC’s Director of Enforcement, stated: “The setting of a benchmark rate is not simply another opportunity for banks to earn a profit. Countless individuals and companies around the world rely on these rates to settle financial contracts, and this reliance is premised on faith in the fundamental integrity of these benchmarks. The market only works if people have confidence that the process of setting these benchmarks is fair, not corrupted by manipulation by some of the biggest banks in the world.” The Commission finalized rules to implement the Dodd-Frank Wall Street Reform and Consumer Protection Act regarding Regulation of Off-Exchange Retail Foreign Exchange Transactions and Intermediaries. The Commission also finalized Conforming Changes to existing Retail Foreign Exchange Regulations in response to the Dodd-Frank Act. Additional information regarding these final rules is provided below, including rules, factsheets, and details of meetings held between CFTC Staff and outside parties. Games at PrimaryGames PrimaryGames is the place to learn and play! Play, math games, reading games, girl games, puzzles, sports games, print coloring pages, read online storybooks, and hang out with friends while playing one of the many virtual worlds found on PrimaryGames. 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