text:
Adelaide Hall
|Adelaide Hall
Adelaide Hall
|Background information
|Birth name
|Adelaide Louise Hall
|[1]20 October 1901
|Brooklyn, New York City, United States
|7 November 1993(aged 92)
|Jazz, Swing, Traditional Pop, Spirituals, Musical Theatre
|Singer, actress, dancer, nightclub chanteuse
|ukulele, acoustic guitar
|Years active
Adelaide Louise Hall (20 October 1901 – 7 November 1993) was an American-born UK-based jazz singer and entertainer. Her career spanned more than seventy years from 1921 until her death and she was a major figure in the Harlem Renaissance.[2][3][4][5][6][7]
Adelaide was born in Brooklyn, New York, to Elizabeth and Arthur William Hall and was taught to sing by her father. She began her stage career in 1921 on Broadway in the chorus line of the Broadway musical Shuffle Along[8][9][10][11][12][13] and went on to appear in a number of similar black musical shows including Runnin' Wild[14] on Broadway in 1923, Chocolate Kiddies in 1925 (European tour) that included songs written by Duke Ellington,[15] My Magnolia on Broadway in 1926,[16] Tan Town Topics with songs written by Fats Waller[17][18] and in Desires of 1927 (American tour in 1927).[19][20]
- 1 Marriage, 1924
- 2 Adelaide Hall and Duke Ellington
- 3 Blackbirds of 1928
- 4 1930 Brown Buddies
- 5 1931/32 World concert tour
- 6 1932/33 Larchmont, Westchester County, racist incident
- 7 1933 American concert tour
- 8 1933 World Fair City, Chicago
- 9 1933 Stormy Weather Revue
- 10 1934 Apollo Theater, Harlem – Chocolate Soldiers revue
- 11 The Cotton Club Parade, 1934
- 12 1935 American/Canadian concert tour
- 13 European career 1935–38
- 14 British career 1938–93
- 15 Legacy
- 16 Discography
- 17 Films
- 18 Exhibitions
- 19 Sources
- 20 References
- 21 External links
Marriage, 1924[edit]
In 1924, Hall married a British sailor born in Trinidad, Bertram Errol Hicks. Soon after their marriage he opened a short-lived club in Harlem, New York, called The Big Apple and became her official business manager.[21]
Adelaide Hall and Duke Ellington[edit]
In October 1927, Hall recorded her wordless vocals on Creole Love Call, The Blues I Love To Sing and Chicago Stomp Down with Duke Ellington and his Orchestra.[22] The recordings were worldwide hits and catapulted both Hall's and Ellington's careers into the mainstream.[23][24] On 4 December 1927, Duke Ellington and his Orchestra commenced their residency at Harlem's Cotton Club in a revue called Rhythmania. The show featured Hall singing Creole Love Call.[25] In 1928, Creole Love Call entered the Billboard song charts at No. 19 (USA)[26] On 7 January 1933, Hall and Duke Ellington and his Famous Orchestra recorded I Must Have That Man and Baby.[27]
Blackbirds of 1928[edit]
In 1928, Hall starred on Broadway with Bill "Bojangles" Robinson[28] in Blackbirds of 1928.[29][30] The show became the most successful all-black show ever staged on Broadway at that time and made Hall and Bojangles into household names.[31] Blackbirds of 1928 was the idea of impresario Lew Leslie, who planned to build the show around Florence Mills in New York after her success in the hit London show Blackbirds but she died of pneumonia in 1927 before rehearsals commenced. Hall was chosen to replace her. The revue originally opened at Les Ambassadeurs Club in New York in January 1928, under the name Blackbird Revue, but in May 1928 it transferred to Broadway's Liberty Theatre[32] and was renamed Blackbirds of 1928, where it ran for 518 performances. After a slow start, the show became the hit of the season. Hall's performance of Diga Diga Do, created a sensation. Her mother was so incensed when she went to see the show by her daughter performing what she termed 'risqué dance moves', she tried to stop the show during Adelaide's performance and banned her from appearing in any future performances. The ban only remained for one performance and Adelaide returned triumphantly to her role the following day.[33] It was reported in the press that the shows producer Lew Leslie was so concerned about race violence concerning the controversy surrounding Adelaide's performance that he took out a hefty insurance policy to cover the cast; the most heavily insured were the principals, Adelaide Hall and Bill Robinson.[34] It was this musical that secured Hall's success both in the USA and in Europe when the production was taken to Paris, France, in 1929, where it ran for three months at the Moulin Rouge.[35][36][37] The French artist Paul Colin illustrated several posters to advertise Blackbirds run at the Moulin Rouge including one titled Le Tumulte Noir – Dancer in Magenta that captures Adelaide's performance beautifully, as she's dancing and waving her arms about.[38] In Europe Adelaide rivalled Josephine Baker for popularity on the European stage.[39] With a music score written by Jimmy McHugh and lyrics written by Dorothy Fields, Adelaide's performances of the songs I Can't Give You Anything but Love, Baby, Diga Diga Do,[33] and I Must Have That Man, made them into household hits and they continued to be audience favourites throughout her long career.
1930 Brown Buddies[edit]
In 1930, Adelaide Hall and Bojangles starred together at New York's Palace Theatre on Broadway for one week.[40][41][42] So successful was Hall's collaboration with Bojangles, in 1930 they were teamed up together again, this time by Marty Forkins (Bojangles manager) to star in another Broadway musical entitled Brown Buddies[43] that opened on Broadway at the Liberty Theatre,[32] where it ran for four months before commencing a road tour of the States.[44] Dubbed by the press "a musical comedy in sepia", the core of the music was composed by Millard Thomas, but also featured songs composed by Shelton Brooks, Ned Reed, Porter Grainger, J. C. Johnson, J. Rosamund Johnson, George A. Little, Arthur Sizemore and Edward G. Nelson. After an out of town try-out, the musical opened on 7 October at the Liberty Theatre (New York City) and ran a fairly solid run of 111 performances until 10 January 1931.[45]
1931/32 World concert tour[edit]
In 1931, Hall embarked on a world concert tour that visited two continents (America and Europe). The tour was estimated to have performed to over one million people. During the tour she appeared four times at New York's Palace Theatre.[46] She was accompanied on stage by two pianists who played white grand pianos. It was during this tour that Hall discovered and employed the blind pianist Art Tatum, whom she brought back to New York with her at the end of the tour.[47][48][49][50] In August 1932, Hall recorded "Strange as it Seems", "I'll Never Be The Same", "This Time it's Love" and "You Gave Me Everything but Love" using Art Tatum as one of her pianists on the recordings.[51][52][53]
1932/33 Larchmont, Westchester County, racist incident[edit]
In the fall of 1932, upon Adelaide's return to New York, Adelaide and her husband purchased the lease on an exclusive freehold residential estate in Larchmont in the New York suburb of Westchester County. As news of Adelaide's arrival in Larchmont leaked into the local media she began to encounter racist opposition from her white upper middle-class prejudiced neighbours who threatened Court action to have her evicted. After her home was broken into and an attempt was made to set it alight, news of the attack hit national newspaper headlines. After receiving hundreds of letters of support from the American public imploring her to stick it out, Adelaide stood her ground and in a press statement she issued insisted she was a true American citizen as her ancestry could be traced back to the Shinnecock Indian tribe of Long Island[54] and as such she had every right to reside where she wished.[55][56]
1933 American concert tour[edit]
ADELAIDE HALL TO TOUR THE COAST (Pittsburgh Courier headline) 22 July 1933
Her itinerary included all the principal cities and lasted thirty weeks[57]
1933 World Fair City, Chicago[edit]
Miss Adelaide Hall Captures The World Fair City and They Like It ... quote taken from the Pittsburgh Courier 19 August 1933
"Miss Adelaide Hall, the darling girl with the guitar and the mellifluent voice, again stole into the callous hearts of an analytical public at the Regal theater last week. She charmed them with her voice, her poise and beauty. She has a style of singing 'Stormy Weather' all her own. Chicago belonged to Adelaide for one whole week. And her majesty feigned supreme." Extract taken from the Pittsburgh Courier 19 August 1933, written by Jules Bledsoe.[58]
On 19 August 1933, the fifth annual Bud Billiken Parade and Picnic took place during the prestigious Chicago World Fair. Held by the Chicago Defender local newspaper, African-Americans came out in droves to support the event. The Chicago Defender had named the event after a weekly column in its children's section written by Willard Motley. Billiken became a symbol of pride, happiness and hope for African American youth. After the famous parade (the largest to date) a huge free picnic event was held in Washington Park that included games, music, entertainment, dancing and ice cream. Performing in concert at the event in front of an estimated 50,000 people was the parade's guest of honour Adelaide Hall. Also appearing at the event were Cab Calloway, Earl Hines and The Sioux Tribe of Native Americans.[59]
1933 Stormy Weather Revue[edit]
Stormy Weather Revue starring Adelaide Hall
New York, 29 November 1933. "Although crippled from a fall into a manhole while appearing in Boston the week previous to her New York engagement, Adelaide Hall, scintillating star of the Stormy Weather Revue, limps across the stage ahead of an array of stars, which go far to label this revue, about the finest to grace the boards."[60]
In October 1933, for the first time in history the entire floor revue from Harlem's Cotton Club went on tour playing theatre's in principle cities across the US. Irving Mills organised the tour and Adelaide Hall headlined the cast. Other performers on the bill Included The Mills Blue Rhythm Band and George Dewey Washington. The revue was originally called The Cotton Club Parade of 1933 but for the road tour it was changed to the Stormy Weather Revue. As the name implies, the show contained the hit song 'Stormy Weather' written by Harold Arlen and Ted Koehler that had originally been introduced by Ethel Waters earlier that year at the Cotton Club in the Cotton Club Parade of 1933.[61]
1934 Apollo Theater, Harlem – Chocolate Soldiers revue[edit]
"Chocolate Soldiers" opens at the new Apollo Theater, Harlem, starring Adelaide Hall
Harlem, New York, 14 February 1934: "Chocolate Soldiers," a production featuring Adelaide Hall and the Sam Wooding Orchestra, opened at the Apollo Theater in Harlem. The show was produced by Clarence Robinson and garnered great attention and acclaim[62] and helped establish the recently opened Apollo as Harlem's premier theatre.
The Cotton Club Parade, 1934[edit]
In 1934, Hall starred for nine months in The Cotton Club Parade 24th Edition, at Harlem's Cotton Club[63] in the largest grossing show that was ever staged there.[64][65][66] In the show she introduced the songs Ill Wind[67] and "As Long As I Live", which Harold Arlen and Ted Koehler wrote especially for her.[68][69][70][71]
1935 American/Canadian concert tour[edit]
During 1935, Adelaide performed another coast-to-coast American/Canadian concert tour that took in the South. Prior to the tour commencing, Adelaide gave an interview (during her visit to Dixie) conducted by the journalist George Tyler that was published on 16 March 1935 in the Afro-American newspaper. In the interview, Adelaide gives a rare insight into her life, disclosing how dramatically her life has changed since her humble upbringing spent growing up in Harlem.
Quote: 'Much has been said and published too, about the magnificent residence of Miss Hall', says George, 'but my interest was in what transpires behind the portals of this mansion when the singer is at home.'
'I have a sun parlour,' said Adelaide, 'in which I take a keen delight. Here, while enjoying the rays of the sun, I crochet and listen to the radio. A great deal of my time off the stage I spend painting or working in my garden. My favourite radio artists are Mildred Bailey, Willard Robison and his Deep River Orchestra, and the Southernaires. My stage favourites include Bill Robinson, Ethel Waters and Ada Brown. While at home I do very little cooking; in fact, there are servants to take care of these details. The cook's biggest job is to prepare broiled chicken, as that is one of my favourite dishes.'
George adds; the singing star owns and drives her car, roller skates, swims, plays tennis and enjoys horseback riding.
'When I retire from public life I shall resume my career as a modiste,' confided Miss Hall. 'As a kid I longed for a stage career, and my first step towards this was to run away from school to try my luck behind the footlights. I was apprehended and sent back to school to continue my training as a modiste. Today, I am proud that I am more than an actress.'
George continues by asking Adelaide about her forthcoming American and Canadian concert tour, which takes her deep into the South. "What do you think of such a tour, under the conditions that exist in the South?'
Adelaide replied, 'my experience of a couple of years ago while on a coast-to-coast tour should serve me well. Being a member of the oppressed race, I think I will be able to accustom myself to conditions, as they exist. However, there are many details I would rather not go into.' [72]
European career 1935–38[edit]
Hall arrived in Paris, France, in the fall of 1935[73] and remained living there until 1938. Her husband Bert opened a nightclub for her in Paris called La Grosse Pomme where she frequently entertained.[74][75] 'It held about 200 people. I made this dramatic entrance coming down a spiral staircase from the attic. Nobody knew that all the boxes of wine and tinned food were stored up there with me. I came down the stairs in the most gorgeous costumes you'll ever see, floating in feathers and plumes,' recalled Adelaide during an interview.[76] 'The Quintette du Hot Club de France, featuring Django Reinhardt and Stephane Grappelli, were one of the house bands at the club. At the start of 1936, Hall starred in the Black and White Revue. The show of fifty performers opened in Paris, France. In February 1936, the production travelled to Switzerland for a tour. The revue was produced by Ralph Clayton, staged by Arthur Bradley and choreographed by ballet master Albert Gaubier and the orchestra was directed by Henry Crowder.[77][78] Adelaide is credited with introducing the dance craze Truckin' to the Parisians.[79] In 1937, she choreographed her own take on the famous French dance the Can-can and called it the Canned Apple and would perform it at her Montmartre nightclub La Grosse Pomme.[80] In Europe, Adelaide sang with several orchestras including those of Willie Lewis[81] and Ray Ventura and in 1937 (whilst on a trip to Copenhagen) she recorded four songs with Kai Ewans and his Orchestra for the Tono record label.[82]
British career 1938–93[edit]
After many years performing in the USA and Europe, Hall went to the United Kingdom in 1938[83] to take a starring role in a musical version of Edgar Wallace's The Sun Never Sets at the Theatre Royal, Drury Lane.[84][85][86] She was so successful and became so popular with British audiences she stayed and made her home there becoming one of the most popular singers and entertainers of the time. She lived in London from 1938 until her death. On 28 August 1938, Hall recorded I Can't Give You Anything but Love and That Old Feeling[87] with Fats Waller at London's Abbey Road Studios released on HMV Records OEA6391 and on 10 September 1938, appeared in Broadcast To America with Fats Waller at London's St George's Hall in a live transatlantic radio broadcast.[88][89][90]
On 25 February 1939, BBC TV broadcast Harlem in Mayfair from Adelaide's London nightclub, the Old Florida Club. The cabaret show starred Adelaide. Included on the bill were Esther and Louise, Eddie Lewis, and Fela Sowande with his Negro Choir and Orchestra.[91][92] On 20 May 1939, BBC TV broadcast the cabaret show Dark Sophistication starring Adelaide performing at the Old Florida Club.[93] On 26 August 1939, Adelaide took part in the BBC TV production Kentucky Minstrels that was transmitted live from the 2500-seat RadiOlympia Theatre in London.[94][95] On Friday 1 September 1939, Adelaide was scheduled to appear on BBC TV at 9:00 pm in a live broadcast titled Variety recorded direct from the RadiOlympia Theatre.[96][97] Other performers on the bill Included Nosmo King, The Gordon RadiOlympia Girls, Hubert Murray and Mooney, and Bobby Howell and his Band. However, with war looming, the BBC were instructed by the Government to shutdown broadcasting and at 12:35 the service went off the air for seven years. It appears that the show Variety never took place at RadiOlympia as it was noted in The Times newspaper for the following day (2 September) in the section 'News in Brief' that "RadiOlympia closed at 12:30 yesterday", presumably another result of the country being placed on a war footing.[98] Unexpectedly, the show Variety became one of the first British theatrical casualties of WW2 and part of the mystery surrounding 'what really happened at the BBC on 1 September 1939?' Also during 1939, Adelaide became a featured vocalist with Joe Loss & His Band[99] and through 1939 to 1941, Adelaide headlined the popular BBC Radio variety show, Piccadixie.[100] She also toured the UK extensively during these years headlining the Piccadixie British Tour supported by comedian Oliver Wakefield and pianist George Elrick.[101]
During WWII, Adelaide entertained the troops in Europe for the USO (The United Service Organizations Inc.)[102] and the British equivalent ENSA (Entertainments National Service Association) in which she served as a Captain. Her uniform was made by Madam Adele of Grosvenor Street in Mayfair, London.[103]
Hall's career was almost an uninterrupted success. She made over seventy records for Decca,[104] had her own radio series (the first black artist to have a long-term contract with the BBC), and appeared on the stage, in films, and in nightclubs (of which she owned her own in New York, London and Paris).[105] In the 1940s, and especially during World War II, she was hugely popular with both civilian and ENSA audiences[106][107] and became one of the highest paid entertainers in the country, despite the destruction (by a land mine in an air raid) of the London nightclub (the Old Florida Club) owned by her and her husband.[108] Hall has a cameo appearance as a singer in the 1940 Oscar-winning movie The Thief of Bagdad directed by Alexander Korda in which she sings Lullaby of the Princess written by Miklós Rózsa.[85][109][110][111][112][113] In 1943, Adelaide featured in an ENSA radio show broadcast by the BBC titled Spotlight on the Stars during which she was accompanied by the BBC Variety Orchestra. During the show Adelaide mentions how she had just returned home from a tour.[114]
On 20 May 1940, Hall's recording of Careless debuted in the British charts at #30 where it remained for 2 consecutive weeks. On 6 June 1944, Hall's recording of There Goes That Song Again entered the BBC British charts at No. 15.[115]
Hall appears in the earliest post-war BBC telerecording; a live recording of her performance at RadiOlympia Theatre in October 1947. The footage was filmed on the 'Cafe Continental' stage set at the theatre for a BBC TV show titled Variety in Sepia.[116][117]
In 1948, Hall appeared in a film called A World is Turning, intended to highlight the contribution of black men and women to British society at a time when they were struggling for visibility on our screens. Filming appears to have been halted due to the director's illness and only six reels of rushes remain, including scenes of Hall rehearsing songs such as Swing Low, Sweet Chariot[118] and The Gospel Train[119] (a traditional African-American spiritual first published in 1872 as one of the songs of the Fisk Jubilee Singers).
In 1951, Hall appeared as a guest in the music spot on the first ever British comedy series, entitled How Do You View, starring Terry-Thomas and written by Sid Colin and Talbot Rothwell.[120][121] On 29 October 1951, Hall appeared on the bill of the Royal Variety Performance at London's Victoria Palace Theatre held in the presence of Princess Elizabeth and Princess Margaret.[122] She was the first black female artiste to ever take part in the Royal Variety Performance.[123] In the early 1950s, Hall and her husband Bert opened the Calypso Club in Regent Street, London, and Royalty flocked there.[124] It was reported in the press Princess Elizabeth was a frequent visitor and that Adelaide had taught Princess Elizabeth the Charleston.[125]
Hall appeared in the 1951 London run of Kiss Me, Kate playing the role of Hattie, singing Cole Porter's Another Op'nin', Another Show, and in the 1952 London musical Love From Judy[126] playing the role of Butterfly, singing A Touch of Voodoo, Kind to Animals and Ain't Gonna Marry.[127] In 1956, she returned to London's West End in the play "Someone to Talk To".[128] In 1957, at the request of Lena Horne, Hall returned to America to appear with Lena in the musical Jamaica. The world premiere of Jamaica took place in Philadelphia in September 1957[129] and transferred to Broadway on 31 October. In 1958, Adelaide was cast as one of the lead characters in Rodgers and Hammerstein's new musical Flower Drum Song,[130] but she left the cast before the musical opened and returned to the UK[citation needed]
On 1 April 1960, Hall appeared on the BBC TV music show The Music Goes Round hosted by John Watt. The show was an NBA TV version of the radio show Songs from the Shows.[131] On 3 March 1965, Hall appeared on BBC2 television in Muses with Milligan with Spike Milligan and John Betjeman in a show devoted to poetry and jazz.[132][133] In 1968, Hall returned to London's West End in the play Janie Jackson.[134]
Between 1969–70, Hall made two jazz recordings with Humphrey Lyttelton. This was followed by theatre tours and concert appearances; she sang at Duke Ellington's memorial service at St Martin-in-the-Fields in 1974. On 4 January 1974, she appeared on the British TV shows Looks Familiar[135] and What Is Jazz, with Humphrey Lyttelton.[136] On 15 June 1976, she appeared on British TV in It Don't Mean a Thing.[137] and in 1981 appeared on the Michael Parkinson BBC TV show Parkinson.[138] In July 1982, Hall appeared in the TV documentary The Sacred Music of Duke Ellington, a live recording of a concert of sacred music composed by Duke Ellington that was performed in St. Paul's Cathedral. Artists also taking part included Tony Bennett, Phyllis Hyman, Jacques Loussier, Alan Downey, Wayne Sleep, Ronnie Scott, Stan Tracey and the New Swingle Singers.[139] The concert was hosted by Rod Steiger and narrated by Douglas Fairbanks Jr.[140]
In April 1980, Adelaide returned to the USA and from 1 to 24 May she appeared in the cast of Black Broadway (a retrospective musical revue) at the Town Hall in New York. Other artists who appeared in the show included Elisabeth Welch, Gregory Hines, Bobby Short, Honi Coles, Edith Wilson, Nell Carter and John W. Bubbles of Buck and Bubbles fame. The show had originally been staged at the Newport Jazz Festival on 24 June 1979, before it was re-assembled in 1980 and staged at the Town Hall.[141] Following Black Broadway, in June 1980, Adelaide took up temporary residence at Michael's Pub in New York and commenced a three-week engagement performing three shows a night.[142] Also in June 1980, Adelaide performed at The Playboy Jazz Festival held at the Hollywood Bowl in Los Angeles. Other artists on the bill included Dizzy Gillespie, Herbie Hancock, Stephane Grappelli, Mel Torme, Zoot Sims, Carmen McRae and Chick Corea.[143] On 2 July 1980, writer Rosetta Reitz organised a tribute to the Women of Jazz at Avery Fisher Hall as part of the Newport Jazz Festival. Called The Blues is a Woman, the program, narrated by Carmen McRae, featured music by Adelaide Hall, Big Mama Thornton, Nell Carter and Koko Taylor.[144][145] Back in the States, in February 1983, Adelaide appeared on the bill of the 100th birthday celebration for composer Eubie Blake held at the Shubert Theater, New York. Unfortunately, Blake was recovering from pneumonia at the time so could not attend the event but with the aid of a special telephone hook-up to his home in Brooklyn he was able to listen to the entire two-hour show.[146] On 5 April 1983, Adelaide commenced a month-long engagement at the Cookery in New York. Her accompanists were Ronnie Whyte and Frank Tate.[147]
In 1985, Hall appeared on British TV in the cast of, Omnibus: The Cotton Club comes to the Ritz, a TV documentary in which some of the performers from Harlem's Cotton Club perform at the Ritz Hotel in London with contemporary musicians.[148] In 1985, Hall also appeared on British TV on the South Bank Show in a documentary titled The Real Cotton Club.[149] In July 1986, Hall performed in concert at the Barbican Centre, London.[150]
In October 1988, Hall presented a one-woman show at Carnegie Hall in New York.[151] She presented the same show in London at the Kings Head (Islington) during December 1988.[152] She is one of the very few performers to have made two guest appearances (2 December 1972[153] and 13 January 1991[154]) on the BBC's radio programme Desert Island Discs, BBC Radio 4.[155]
In 1990, Hall starred in the movie called Sophisticated Lady, a documentary about the singer with a performance of her in concert recorded live at the Riverside Studios in London.[156] Her final US concert appearances took place in 1992 at Carnegie Hall, in the Cabaret Comes to Carnegie series. Also in 1992, Adelaide was presented with a Gold Badge Award from BASCA (British Academy of Songwriters Composers and Authors).[157] After attending the award ceremony Adelaide said, "I was so proud to be acknowledged. They said, 'You look like a Queen. You don't look more than fifty or sixty. You look so well.' I wore a sequin suit – different colours – it glittered. I must have been the oldest one there! I ate everything that came along." [158]
During an extremely long career spanning eight decades, Hall entered the Guinness Book of World Records as the world's most enduring recording artist.[159] Hall performed with major artists such as Art Tatum[160] Ethel Waters, Josephine Baker, Louis Armstrong, Lena Horne, Cab Calloway, Fela Sowande[161] Rudy Vallee[162] and Jools Holland, and has recorded as a jazz singer with Duke Ellington (with whom she made her most famous recording, "Creole Love Call" in 1927)[163] and with Fats Waller.[8][164]
Adelaide Hall died on 7 November 1993, aged 92, at London's Charing Cross Hospital.,[2][165][166][167] Honouring her wish, her funeral took place in New York at the Cathedral of the Incarnation (Garden City, New York) and she was laid to rest beside her mother at the Cemetery of the Evergreens in Brooklyn.[168] In London, there was a memorial service held for her at St Paul's, Covent Garden (known as the 'actor's church') at which many stars including Elaine Page, Elisabeth Welch, Lon Satton and Elaine Delmar attended. One of the participants, TV presenter and broadcaster Michael Parkinson, remarked rather fittingly during his eulogy, "Adelaide lived to be ninety-two and never grew old."[169]
Adelaide Hall was one of the major entertainers of the Harlem Renaissance.[170] Along with Louis Armstrong, she pioneered scat singing and is widely acknowledged as one of the world's first jazz singers. Indeed, Ella Fitzgerald regarded her as such.[6] Hall was the first female vocalist to sing and record with Duke Ellington. She holds the accolade of being the twentieth century's most enduring female recording artist, her recording career having spanned eight decades. In 1941, Hall replaced Gracie Fields as Britain's highest paid female entertainer.[6] Hall was loosely portrayed as the nightclub chanteuse in the Francis Ford Coppola 1984 movie The Cotton Club. It was Hall's husband, Bert Hicks, who suggested to Eric Bartholomew's mother that he should change his stage name to Morecambe, after the place of her son's birth, thereby christening the British comic duo Morecambe and Wise.[171] In the '100 Great Records of the 1920s' Adelaide Hall is at number 26 with Duke Ellington's Orchestra singing "The Blues I Love To Sing" (Duke Ellington/Bubber Miley) Victor 21490, 1927.[172]
Underneath a Harlem Moon, 2013/2014[edit]
Sing to the Moon by Laura Mvula
During 2013, British singer Laura Mvula revealed in a Blues and Soul interview with assistant editor Pete Lewis that her song Sing to the Moon (from her hit debut album Sing to the Moon, RCA/Sony Music) was inspired by the biography of Adelaide Hall by Iain Cameron Williams titled Underneath a Harlem Moon: The Harlem to Paris Years of Adelaide Hall (2003)
Well, the actual song Sing to the Moon came from a time when I was reading a book called Underneath a Harlem Moon, which is a biography of a jazz singer called Adelaide Hall, which is basically all about how she kind of was overlooked, or probably didn't get the recognition she perhaps deserved. Plus it also talks about how she'd had a hard time growing up, because her sister – who she was very close to – had died tragically of an illness.... So anyway, there's a point in the story where she describes her close relationship with her father, which I think kind of resonated with me – where she talks about the conversations she had with him and how he used to say to her randomly 'Sing to the moon and the stars will shine', which kind of became her thing really that she just took with her everywhere.... And I don't know why, but for some reason it just struck some kind of chord with me – you know, it was just something I seemed to connect with at that time. And so because of that, it then became a saying that I liked to use myself.... So yeah, because it's become something I personally like to express, I just thought Sing to the Moon would also make a good title for the album as a whole.[173]
On 11 August 2014, Laura Mvula released her second album, an orchestral version of her top 10 debut album Sing to the Moon[174][175] and on 19 August 2014 Laura is set to star at the BBC London Proms at the Royal Albert Hall performing her entire album Sing to the Moon accompanied by the Metropole Orkest.[176] [177]
After Midnight, Broadway musical 2013/14[edit]
A new musical revue After Midnight featuring the classic music of Duke Ellington, Dorothy Fields & Jimmy McHugh, and Harold Arlen premiered to much praise at the Brooks Atkinson Theatre in New York on 3 November 2013 and is presently booking through to 31 August 2014[178][179] The show is an idealised fantasy of Harlem in its 1920s/30's heyday and salutes the black musicians and performers such as Ethel Waters, Adelaide Hall, Cab Calloway, Duke Ellington and the Nicholas Brothers who became international stars during that era.[180] At least three of the songs that Adelaide Hall introduced to the world are performed in the show including the headliner Fantasia Barrinos rendition of I Can't Give You Anything but Love, Baby and Carmen Ruby Floyd's performance of Duke Ellington's and Adelaide Hall's Creole Love Call. The song Diga Diga Do also appears in the show.[181]
A Nite at the Cotton Club, 2014[edit]
A new stage show, A Nite at the Cotton Club produced by Lydia Dillingham opened at the Southern Broadway Diner Theatre at The Historic Hildreth Brothers Building in Alabama, USA in February 2014 in which the actress Brandy Davis portrays Adelaide Hall. The entire run sold out.[182][183]
|Label & Number
|"Creole Love Call" / "The Blues I Love to Sing"
|BVE-39370-1[184]/ BVE-39371-1[185] Victor Records
|(26 October 1927) (Recorded Victor Studio No. 1, Camden, NJ )[186]
|Duke Ellington Orchestra (with vocals by Adelaide Hall)
|"I Must Have That Man" / "Baby"
|(21 June 1928) (Recorded in New York)
|Adelaide Hall with piano acc. by George Rickman
|"Chicago Stomp Down"
|W81777-A / W81777-B / W81777-C Columbia Records
|(3 November 1927) (Recorded OKeh session, Union Square, New York City)[186]
|Duke Ellington Orchestra (with vocals by Adelaide Hall)
|"I Must Have That Man" / "Baby"
|E-28059 / E-28060 Brunswick 4031
|(14 August 1928) (Recorded in New York)
|Adelaide Hall acc. by Lew Leslie's Blackbirds Orchestra
|"Rhapsody in Love" / "Minnie The Moocher"
|R-218 / R-221 Brunswick
|(October 1931) (Recorded in London, UK)
|Adelaide Hall with piano acc. by Francis J. Carter and Bennie Paine
|"Too Darn Fickle" / "I Got Rhythm"
|(October 1931) (Recorded in London, UK)
|Adelaide Hall with piano acc. by Francis J. Carter and Bennie Paine
|"Baby Mine" / "I'm Redhot From Harlem"
|(October 1931) (Recorded in London, UK)
|Adelaide Hall with piano acc. by Francis J. Carter and Bennie Paine
|"Strange As It Seems" / "I'll Never Be The Same"
|Br 6373 / Br6362 Brunswick
|(5 August 1932) (Recorded in New York)
|Adelaide Hall with orchestra acc.
|"You Gave Me Everything but Love" / "This Time It's Love"
|B-12166-A / B-12167-A Brunswick
|(10 August 1932) (Recorded in New York)
|Adelaide Hall with piano acc. by Francis J. Carter and Art Tatum
|"I Must Have That Man" / "Baby"
|(21 December 1932) (Recorded ARC session, New York City)
|Adelaide Hall with Duke Ellington and his Famous Orchestra
|"I Must Have That Man" / "Baby"
|B-12773-C / B-12774-C Brunswick
|(7 January 1933) (Recorded Arc session, New York City)[189]
|Adelaide Hall with Duke Ellington and his Famous Orchestra
|"Drop Me Off in Harlem" / "Reaching for the Cotton Moon"
|BS-78827-1-2 / BS-78828-1-2-3 Victor
|(4 December 1933)
|Adelaide Hall with Mills Blue Rhythm Band
|"East of the Sun and West of the Moon" / "Solitude"
|P-77616 / P-77618 Ultraphone AP1575
|(20 January 1936, Paris)
|Adelaide Hall with John Ellsworth and his Orchestra (with Joe Turner on piano and Stephane Grappelli on violin)
|"I'm Shooting High" / "Say You're Mine"
|CPT-2649-1 / CPT-2652-1 Pathe PA 914
|(5 May 1936, Paris)
|Adelaide Hall with Willie Lewis and his Orchestra
|"After You've Gone" / "Swing Guitars"
|CPT-1 / CPT-1 Pathe PA
|(15 May 1936, Paris)
|Adelaide Hall with Willie Lewis and his Orchestra
|"I'm Shooting High"
|CPT-1 / Pathe PA
|(15 October 1936, Paris)
|Adelaide Hall with Willie Lewis and his Orchestra (Trumpeter Bill Coleman is included on this recording)
|"There's a Lull in my Life" / "Medley"
|K-6001 / K-6001 D-599 Tono (Copenhagen, Denmark)
|(December 1937)
|Adelaide Hall with the Kai Ewans Orchestra
|"Stormy Weather" / "Where or When"
|K-6002 / K-6002 Tono (Copenhagen, Denmark)
|(December 1937)
|Adelaide Hall with the Kai Ewans Orchestra[190]
|"That old Feeling" / "I Can't Give You Anything but Love"
|HMV (EMI Records)
|(28 August 1938) (Recorded at Abbey Road Studios, London, UK)
|Adelaide Hall with organ acc. by Fats Waller
The Decca Years 1939 – 1945[edit]
|Label & Number
|Release Date
|"I Have Eyes" / "I Promise You"
|Decca F-7049
|(27 April 1939)
|"Deep Purple" / "Solitude"
|Decca F-7083
|(15 May 1939)
|"A New Moon and an Old Serenade" / "Our Love"
|Decca F-7095
|(6 June 1939)
|"Don't Worry 'Bout Me" / "'Tain't What You Do"
|Decca F-7121
|(23 June 1939)
|"Transatlantic Lullaby" / "I Get Along Without You Very Well"
|Decca F-7132
|(26 July 1939)
|"Moon Love" / "Yours For a Song"
|Decca F-7272
|(17 October 1939)
|"Day In, Day Out"/ "I Poured My Heart into a Song"
|Decca F-7304
|(8 Nov.1939)
|"My Heart Belongs to Daddy" / "Have You Met Miss Jones"?
|Decca F-7305
|(8 November 1939)
|"Serenade in Love" / "Fare Thee Well"
|Decca F-7340
|(27 December 1939)
|"Where or When" / "The Lady is a Tramp"
|Decca F-7345
|(19 January 1940)
|"Careless" / "Don't Make Me Laugh"
|Decca F-7340
|(11 March 1940)
|"Chloe" / "Begin the Beguine"
|Decca F-7460
|(15 April 1940)
|"This Can't be Love" / "No Souvenirs"
|Decca F-7501
|(3 May 1940)
|"Who Told You I Cared"? / "Shake Down the Stars"
|Decca F-7522
|(31 May 1940)
|"Mist on the River" / "Fools Rush In"
|Decca F-7583
|(15 August 1940)
|"All The Things You Are" / "I Wanna Be Loved"
|Decca F-7636
|(9 Oct.1940)
|"Goodnight Again" / "Trade Winds"
|Decca F-7678
|(12 December 1940)
|"Our Love Affair" / "And So Do I"
|Decca F-7681
|(12 December 1940)
|"Moon For Sale" / "Yesterday's Dreams"
|Decca F-7708
|(7 February 1941)
|"Ain't it a Shame About Mame"? / "Room Five Hundred and Four"
|Decca F-7709
|(7 February 1941)
|"It's Always You" / "How Did He Look"?
|Decca F-7879
|(23 May 1941)
|"Yes, My Darling Daughter" / "The Things I Love"
|Decca F-7891
|(23 May 1941)
|"I Hear A Rhapsody" / "Mississippi Mama"
|Decca F-7918
|(3 July 1941)
|"I Yi, Yi, Yi, Yi (I Like You Very Much)" / "Moonlight in Mexico"
|Decca F-7942
|(7 August 1941)
|"As If You Didn't Know" / "I Take To You"
|Decca F-8030
|(5 November 1941)
|"Minnie From Trinidad" / "Sand in my Shoes"
|Decca F-8031
|(5 November 1941)
|"Song of the Islands" / "Pagan Love Song"
|Decca F-8058
|(7 November 1941)
|"I Don't Want to Set the World on Fire" / "My Sister and I"
|Decca F-8043
|(18 November 1941)
|"A Sinner Kissed an Angel" / "Why Don't We Do This More Often"?
|Decca F-8092
|(2 February 1942)
|"Tropical Magic" / "Intermezzo"
|Decca F-8118
|(2 February 1942)
|"My Devotion" / "Sharing it all With You"
|Decca F-8263
|(January 1943)
|"Let's Get Lost" / "As Time Goes By"
|Decca F-8292
|"I Don't Want Anybody at All (If I Can't Have You)" / "I Heard You Cried Last Night"
|Decca F-8362
|(6 September 1943)
|"Sophisticated Lady" / "I'm getting Sentimental Over You"
|Decca F-8467
|(4 August 1944)
|"There Goes That Song Again" / "I'm Gonna Love That Guy"
|Decca F-8517
|(3 March 1945)
Odeon (Argentina) 1943[edit]
|Label & Number
|Release Date
|"Segun Pasan Los Anos (As Time Goes By)" / "Vamos a Perdernos (Let's Get Lost)"
|Odeon DR-7240/7239
Columbia (EMI) – 1951[edit]
|Label & Number
|"Can't Help Loving That Man of Mine" / "Bill"
|Columbia Gramophone Co. (EMI Records)
|(11 July 1951) (Recorded in London, UK)
|Adelaide Hall
|"How Many Times" / "Vanity"
|Columbia Gramophone Co. (EMI Records)
|(11 July 1951) (Recorded in London, UK)
|Adelaide Hall
Oriole – 1960[edit]
|Label & Number
|"Bluebird on my Shoulder" / "Common Sense"[191]
|Oriole (CB 1556)
|(May 1960) (Recorded in London, UK)[192]
|Adelaide Hall
Adelaide Hall:[193]
|Hall of Fame
|Hall of Ellington
|There Goes That Song Again
|Decca – RFL73
|As Time Goes By
|Happy Days
|I Touched a Star
|Hall of Memories
|Conifer Records
|Hall of Fame (reissue)
|Living Era
|Crooning Blackbird
|Jazz Archives
|Adelaide Hall – Red Hot from Harlem
|A Centenary Celebration
|Adelaide Hall – Live at the Riverside Studios (soundtrack)
|TER / That's Entertainment
|Shooting High
|Cherished Recordings
|The Enduring Charm of Adelaide Hall: Original Recordings 1927–1944
|Bygone Days
|The Adelaide Hall Collection 1927 – 1960
|Best of Adelaide Hall
|Bringins Music
|23 April 2013[194]
Compilation albums that include Adelaide Hall:[193]
- Show Boat studio cast album recorded with conductor Philip Green (composer) (1951) (Decca)[195]
- Jamaica Original Cast Recording (1957)[196]
- Lew Leslie's Blackbirds of 1928 (1968)[197]
- Duke Ellington 1927–1934 (1987)
- The Okeh Ellington (1991)
- Cole Porter Centennial Gala Concert (1991)[198]
- Fats Waller in London (1991)
- Prewar Vocal Jazz Story 1923–1945 (1996)[199]
- Moulin Rouge: Original music and songs (1996)[200]
- Ladies of Jazz (1997)
- Duke Ellington 100 Anniversaire (1999)
- Sentimental Jazz (2000)
- Ladies of Jazz (volume 3) (2001)
- Ebony Rhapsody: The Great Ellington Vocalists (2001)
- Art Tatum Complete American Decca Recordings (2002)[201]
- Bluebird's Nest: Jazz Caravan (2002) [202]
- The Duke Steps Out (2004)
- Love From Judy (original cast recordings) (2004)[203]
- Mrs. Clinkscales to the Cotton Club (Volume 1) (2005)
- Jazz in the Charts (Volume 7) 1928 (2006)
- Harlem Heat – Mills Blues Rhythm Band (2006)
- Cotton Club Stomp (2007)
- Radio Scrapbook (2008)
- Women With Attitude (2008)
- Remembering the 40's (2009)
- Joe Loss and his Band – Let's Dance at the Make Believe Ballroom (2010)
- Hits of the Forties (Volume 3) (2010)
- Blackbirds of 1928 (2011)
- Famous Blackbird Revues (2011)
- Fats Waller Memorial Album (2011)
- Fats Waller: On-Air Sessions 1938 (2012)
- Son of Satan (1924)
- Dancers in the Dark (1932) (role singer, Gloria Bishop – singing voice used but uncredited)
- All-Coloured Vaudeville Show (1935)
- The Kentucky Minstrels (1939 TV movie)
- The Thief of Bagdad (1940)
- Night and the City (1959) (role – singer – the scenes were deleted from the final edit)
- Brown Sugar (American TV mini series) (1986)
- Sophisticated Lady (1989) (documentary about Adelaide Hall)
- Adelaide Hall – Live at the Riverside (1989) (Adelaide Hall in concert)
Exhibitions that have or are presently featuring content relating to Adelaide Hall:
- Little Black Dress – London Fashion Museum, London (2008)[212]
- Keep Smiling Through: Black Londoners on the Home Front 1939–1945 – The Cuming Museum, London (2008)[213][214][215][216]
- The Living Archive Exhibition – The London Palladium (opened 2009 – on permanent display) The collection throws a spotlight on 100 years of black performers at the Palladium, such as Adelaide Hall, the Harlem Renaissance star who made her London debut at the venue in 1931.[219]
- Oh! Adelaide – Art installation – Wimbledon Space, Wimbledon College of Art, London (2010).[220][221][222]
- There is no Archive in which Nothing Gets Lost – Oh! Adelaide – Art installation – The Museum of Fine Arts, Glassell School of Art, 5101 Montrose Boulevard, Houston, America – 7 September 2012 – 25 November 2012.[223][224]
- Creole Love Call – Exhibition – VIERTELNEUN Gallery, 1090 Vienna, Hahngasse 14, Austria – Exhibition (25 January to 28 February 2013) – Catalogue published with the presentation.[225]
- The Harlem Renaissance – Kurá Hulanda Museum, Curaçao, Willemstad, Caribbean – (2013).[226]
- Scat: Sound and Collaboration – Iniva (Institute of International Visual Arts), London EC2A 3BA (5 June – 27 July 2013).[227][228]
- Untitled – etching by Sonia Boyce – Permanent Collection, Studio Museum, Harlem, NY – In her 2006 etching Untitled, Sonia Boyce pays tribute to fourteen black female luminaries in British music history. Performers featured in the composition include Dame Shirley Bassey, Adelaide Hall, Millie Small, Cleo Laine, among others.[229]
- Black Women in Britain – Black Cultural Archives, 1 Windrush Square, BrixtonLondon SW2 1EF (24 July – 30 November 2014). [230]
- Ian Carr, Digby Fairweather and Brian Priestley. Jazz: The Rough Guide. ISBN 1-85828-528-3
- Underneath a Harlem Moon: The Harlem to Paris Years of Adelaide Hall. ISBN 0-8264-5893-9
- ^ State records confirm Adelaide Hall's year of birth as 1901 http://oxfordindex.oup.com/view/10.1093/gmo/9781561592630.article.J184500
- ^ a b Steve Voce (8 November 1993). "Obituary: Adelaide Hall". The Independent (London). Retrieved 15 June 2012.
- ^ Glenn Collins (10 November 1993). "Adelaide Hall, 92, International Star of Cabaret". The New York Times. Retrieved 15 June 2012.
- ^ "Adelaide Hall Biography – Facts, Birthday, Life Story". Biography.com. 7 November 1993. Retrieved 15 June 2012.
- ^ "Underneath a Harlem Moon: The Harlem to Paris Years of Adelaide Hall. Bayou Jazz Lives".
- ^ a b c Stephen Bourne (24 January 2003). "Review: Underneath a Harlem Moon by Iain Cameron Williams | Books". The Guardian (London). Retrieved 15 June 2012.
- ^ "Adelaide Hall Biography". Artistdirect.com. Retrieved 15 June 2012.
- ^ a b "Adelaide Hall", Faces of the Harlem Renaissance, ArtsEdge: Kennedy Center.
- ^ "Shuffle Along (1921) | The Black Past: Remembered and Reclaimed". The Black Past. Retrieved 15 June 2012.
- ^ Name. "Shuffle Along-21-Chorusgirls-Adelaide Hall ctr-Noble Sissle-01-f28 " Songbook". Songbook1.wordpress.com. Retrieved 15 June 2012.
- ^ "Stage Musicals 1920's – Part 3: New Composers". Musicals101.com. Retrieved 15 June 2012.
- ^ "Shuffle Along: The Musical at the Center of the Harlem Renaissance – Drop Me Off in Harlem", ArtsEdge, Kennedy Center.
- ^ Reside, Doug (10 February 2012). "Musical of the Month: Shuffle Along". The New York Public Library. Retrieved 15 June 2012.
- ^ The Broadway League. "Runnin' Wild". IBDB: The official source for Broadway Information. Retrieved 15 June 2012.
- ^ "Edward K. "Duke" Ellington, African American Composer & Pianist". Retrieved 15 June 2012.
- ^ Frank Cullen (2004). Vaudeville, Old and New: An Encyclopedia of Variety Performers in America. Psychology Press.
- ^ Tan Town Topics review.
- ^ "Thomas "Fats" Waller: Performances in Transcription, edited by Paul S. Machlin". Areditions.com. Retrieved 15 June 2012.
- ^ Henry Louis Gates, Evelyn Brooks Higginbotham (eds), Harlem Renaissance Lives from the African American National Biography, Oxford University Press, 2009, p. 233.
- ^ "'DESIRES OF 1927' A RIOT AT ELMORE...", The Pittsburgh Courier, 27 November 1926.
- ^ Iain Cameron Williams, Underneath a Harlem Moon: The Harlem to Paris Years of Adelaide Hall, pp. 66–67. ISBN 0-8264-5893-9.
- ^ "Duke Ellington Orch, V=Adelaide Hall – Creole Love Call : Adelaide Hall : Free Download & Streaming : Internet Archive". Archive.org. 10 March 2001. Retrieved 15 June 2012.
- ^ "Adelaide Hall talks about the Cotton Club and Duke Ellington – Video Dailymotion". Retrieved 15 June 2012.
- ^ "Adelaide Hall, 92; Jazz Singer Performed With Duke Ellington". Los Angeles Times. 22 May 2001. Retrieved 15 June 2012.
- ^ Iain Cameron Williams, Underneath A Harlem Moon, Chapter 8, pp. 122–24.
- ^ USA song chart entry for Creole Love Call (1928): http://tsort.info/music/sht3ur.htm
- ^ January 7, 1933. New York. Duke Ellington Panorama.
- ^ "Faces of the Harlem Renaissance – Bill 'Bojangles' Robinson", Drop Me Off in Harlem.
- ^ "Blackbirds of 1928 Shuffle Along (1921)", Masterworks Broadway.
- ^ Adelaide Hall photo at AncientFaces.
- ^ The Afro American, May 18, 1929.
- ^ a b Liberty Theatre.
- ^ a b Theophilus Lewis, "THE DANCE THAT DAZED MOTHER – "DIGA DIGA DO"--AS DANCED BY ADELAIDE HALL—CREATES SENSATION. "STOP IT!" CRIES MAMA. "ON WITH THE DANCE" BROADWAY DEMANDS", The Pittsburgh Courier, 10 November 1928.
- ^ Adelaide Hall returns to cast of Blackbirds. Chicago Defender , 11 August 1928
- ^ Paul Colin 1929 poster of Adelaide Hall for Moulin Rouge, Paris
- ^ Woman's Hour Music Archive: A Celebration of Adelaide Hall, Wednesday 15 January 2003.
- ^ Jean Delaurier 1929 lithograph of Blackbirds at the Moulin Rouge performing 'Porgy' http://www.bridgemanart.com/de/asset/224685/delaurier-jean-fl-1930/the-black-birds-band-in-the-moulin-rouge-revue-porgy-illustration-from-l-art-vivant-1st-august-1929-litho-b-w-photo
- ^ http://collections.si.edu/search/results.htm?q=record_ID:npg_NPG.91.199.1C
- ^ "Adelaide Hall Takes Place of 'Jo' Baker", The Afro American, 3 August 1929.
- ^ Programme page from the Palace Theatre 1930.
- ^ "White Press Acclaims Adelaide Hall As Packed House Gives Her Great Ovation", The Pittsburgh Courier, 22 February 1930.
- ^ ""Bojangles" To Be Starred With Adelaide Hall", The Pittsburgh Courier, 4 January 1930.
- ^ Bernard L. Peterson, A Century of Musicals in Black and White: An Encyclopedia of Musical Stage Works by, about or Involving African Americans, Westport, CT: Greenwood Publishing, 1993, pp. 59–60.
- ^ "Dancing in 'Brown Buddies'", The Afro American, 27 September 1930.
- ^ Brown Buddies playbill.
- ^ Iain Cameron Williams, Underneath a Harlem Moon, pp. 389, 390 & 395. Hall appears four times during her 1931/32 world tour – February (with Noble Sissle), April, July & November.
- ^ Jazz Profiles from NPR: Art Tatum.
- ^ Art Tatum biography, PBS.
- ^ Bret Primack, "Art Tatum: No Greater Art Talkin' Tatum with Hank Jones, Billy Taylor, Dick Hyman, Adam Makowicz", JazzTimes, January/February 1998.
- ^ "Art Tatum".
- ^ "Adelaide Hall – You Gave Me Everything But Love (1932)" on YouTube.
- ^ "More Than a Handful – The Incomparable Art Tatum", 17 July 2011.
- ^ "Art Tatum, One of the great jazz pianists of all time", African American Registry.
- ^ Adelaide Hall twits white neighbours on their ancestry (article retrieved) the Afro American, 27 August 1932 – http://news.google.com/newspapers?nid=2211&dat=19320827&id=y0xGAAAAIBAJ&sjid=f-UMAAAAIBAJ&pg=2002,7329768
- ^ Why can't the stars live where they please? (article retrieved) The Afro American, 3 August 1935 – http://news.google.com/newspapers?nid=2211&dat=19350803&id=8wInAAAAIBAJ&sjid=MQMGAAAAIBAJ&pg=5639,6701658
- ^ Adelaide Hall interview – Why I Moved to London (article retrieved) Baltimore Afro American, 9 July 1946 – http://news.google.com/newspapers?nid=2205&dat=19460709&id=4cMlAAAAIBAJ&sjid=4fQFAAAAIBAJ&pg=1036,3017341
- ^ Chappy Gardner, "ADELAIDE HALL TO TOUR THE COAST", The Pittsburgh Courier, 22 July 1933.
- ^ "State Street, Chicago – Miss Adelaide Hall Captures The World Fair City and They Like It", The Pittsburgh Courier, 19 August 1933.
- ^ The 1933 Chicago World's Fair – Century of Progress, by Cheryl Ganz, published by University of Illinois Press, (6 January 2012) ISBN 0252078527. Adelaide Hall at the Billiken parade and Picnic reference on page 115: http://books.google.co.uk/books?id=GYXD8t4DDoIC&pg=PT163&dq=adelaide+hall+chicago&hl=en&sa=X&ei=tZdpU5vLI8a_ObH0gcgM&ved=0CGAQ6AEwBw#v=onepage&q=adelaide%20hall%20chicago&f=false
- ^ "'Stormy Weather' Revue stars Adelaide Hall", The Pittsburgh Courier, 2 December 1933 (retrieved):
- ^ Adelaide Hall with Cotton Club revue, article in the Afro American newspaper, 23 September 1933, page 18 (retrieved): http://news.google.com/newspapers?nid=1532&dat=19330923&id=0KA9AAAAIBAJ&sjid=visMAAAAIBAJ&pg=4392,9375602
- ^ Article about producer Clarence Robinson and his involvement with Harlem's Apollo Theater and the show Chocolate Soldiers starring Adelaide Hall (retrieved): http://tommytommitomme.tumblr.com/post/46303054372/clarencerobinson
- ^ "The Cotton Club". St. James Encyclopedia of Pop Culture. 2002.
- ^ Adelaide Hall talks about 1920's Harlem and Creole Love Call" on YouTube.
- ^ Steven Watson, "The Harlen Renaissance".
- ^ Kennet B. Hilliard, "The Impact of the Music of the Harlem Renaissance on Society". Yale-New Haven Teachers Institute.
- ^ Ill Wind at JazzStandards.com
- ^ The 1934 Cotton Club Parades.
- ^ Harold Arlen website.
- ^ Gramophone, August 1934, p. 40.
- ^ "HARLEM NIGHT CLUBS BRILLIANT AND LIVELY – ADELAIDE HALL, GLADYS BENTLEY FEATURED STARS", The Pittsburgh Courier, 18 August 1934.
- ^ Afro-American newspaper, week of 16 March 1935, page 8, retrieved 25 August 2014: http://news.google.com/newspapers?nid=2211&dat=19350316&id=4AInAAAAIBAJ&sjid=MQMGAAAAIBAJ&pg=1945,2349820
- ^ "Adelaide Hall And Meeres & Meeres Off For London", The Pittsburgh Courier, 30 November 1935.
- ^ "Performer Adelaide Hall and her husband/manager, Bert Hicks, owned a nightclub in Montmartre called La Grosse Pomme...", Midnight in Paris.
- ^ "Django's Haunts", Paul Vernon Chester.
- ^ Quote used in Adelaide Hall obituary the Independent newspaper, 8 November 1993 (retrieved): http://www.independent.co.uk/news/people/obituary-adelaide-hall-1502902.html
- ^ Allardyce Barnett.
- ^ Dansk filmdatabase.
- ^ Adelaide Hall introduced Truckin' to Paris – article (retrieved) Baltimore Afro-American, 6 November 1993 – http://news.google.com/newspapers?nid=2205&dat=19931106&id=mJ8lAAAAIBAJ&sjid=7fQFAAAAIBAJ&pg=1675,3403220
- ^ Adelaide Hall shows Paris Canned Apple (retrieved article) The Afro American, 25 December 1937 – http://news.google.com/newspapers?nid=2211&dat=19371225&id=gxomAAAAIBAJ&sjid=mP0FAAAAIBAJ&pg=3591,4341116
- ^ Adelaide Hall and Willie Lewis and his Entertainers recording of Say You're Mine. http://www.allmusic.com/song/say-youre-mine-mt0005764420
- ^ Kai Ewans Orchestra with Adelaide Hall singing 'Where or When': https://archive.org/details/KaiEwansOrchVadelaideHall-WhereOrWhen1937
- ^ "Why I Moved to London, How America's Peculiar Brand of Democracy Forced a Brooklyn Girl to Live in Europe" – article by Douglass Hall (with a large photograph of Adelaide Hall) Baltimore Afro-American, p. 5, 9 July 1946.
- ^ IMDb.
- ^ a b "Hall, Adelaide (1901–1993), Actor, Singer", BFI ScreenOnline.
- ^ Adelaide Hall biography at 100 Great Black Britons.
- ^ "That Old Feeling" sung by Adelaide Hall with Fats Waller playing the organ on YouTube.
- ^ Broadcast To America released on CD in 2012.
- ^ "On The Air: 1938 Broadcasts", The Jazz Loft.
- ^ Thomas Cunniffe, "Fats Waller At The Pipe Organ".
- ^ Saturday 25 February 1939, Radio Times BBC TV listings, retrieved: http://www.radiotimesarchive.co.uk/pdf/RT-TV-1939.pdf
- ^ Adelaide Hall interview in Radio Times, 17 February 1939, page 15. The article under the heading, 'Don't Call Them Crooners', includes a photograph of Adelaide; retrieved: http://www.radiotimesarchive.co.uk/pdf/RT-TV-1939.pdf
- ^ Saturday 20 May 1939, Radio Times BBC TV listings, retrieved: http://www.radiotimesarchive.co.uk/pdf/RT-TV-1939.pdf
- ^ Radio Times,18 August 1939 page 17,BBC TV listings retrieved: http://www.radiotimesarchive.co.uk/pdf/RT-TV-1939.pdf
- ^ The Kentucky Minstrels: IMBD Kentucky Minstrels film reference http://www.imdb.com/title/tt3616006/
- ^ BBC TV programme listings for 1 September 1939: http://uktvschedules.editthis.info/wiki/01_September_1939
- ^ Radio Times, issue 25 August 1939, page 21 – retrieved: http://www.radiotimesarchive.co.uk/pdf/RT-TV-1939.pdf
- ^ Article – 'What really did happen that day in 1939, when the BBC Television Service closed down for the duration of the conflict?' http://www.transdiffusion.org/tv/baird/tvoff
- ^ The new-featured vocalist in Joe Loss's broadcasts is one of America's veterans of jazz singing, her career dating back to the first big Negro revue, Shuffle Along, produced on Broadway in1921. Ref: Joe Loss biography in which Adelaide Hall is mentioned as being a featured vocalist in his band: http://www.allmusic.com/artist/joe-loss-mn0000140296
- ^ PIccadixie (Variety) 12.00 midnight radio show. General Listening Barometer, Week 28, Sunday 6 July 1943. Subject to the limitations of sampling, the figures below show the percentage of the whole adult population of Great Britain who listened to each item. PROGRAMME FOR THE FORCES HOME SERVICE http://www.britishonlinearchives.co.uk/page.php?did=248-r9-11-05&pageno=6&date_option=equal&textonly=yes
- ^ Piccadixie poster: Piccadixie. Performers: Adelaide Hall (singer), Oliver Wakefield (comedian), George Elrick (musician). New Empress Theatre, Brixton, London. 8 December 1941: http://collections.vam.ac.uk/item/O1162583/poster-unknown/
- ^ Baltimore Afro-American newspaper, 13 November 1993, page B7, Article by Ida Peters, mentions Adelaide Hall entertained the troops in Europe for the USO (retrieved); http://news.google.com/newspapers?nid=2205&dat=19931106&id=mJ8lAAAAIBAJ&sjid=7fQFAAAAIBAJ&pg=1675,3
- ^ See exhibition resources pack for 'Keep Smiling Through', which has references to Adelaide entertaining the troops during WWII and her famous uniform. http://www.southwark.gov.uk/info/200162/the_cuming_museum/1157/previous_exhibitions/5
- ^ Prestige Records Discography: 1933–1948.
- ^ YouTube – Adelaide Hall.
- ^ Stephen Bourne, "When Adelaide Hall Went to War", WW2 People's War, BBC.
- ^ "Home Front – Songs From World War II".
- ^ "Music from The Old Florida Club".
- ^ "Adelaide Hall (1901–1993)", IMDb.
- ^ "Thief of Bagdad, The (1940)", Cast and credits, BFI Screenonline.
- ^ "The Thief of Bagdad (1940) movie download", Gesualdo.
- ^ The Thief of Bagdad (1940), Dramatic Vocalise Database.
- ^ Miklós Rózsa interview explaining how he came to write the score for The Thief of Bagdad http://www.powell-pressburger.org/Reviews/40_Thief/Thief06.html
- ^ http://www.youtube.com/watch?v=LiB8MfyETKU
- ^ WW2 People's War, BBC.
- ^ "Adelaide Hall – Variety in Sepia – October 1947" on YouTube.
- ^ A view of the 'Cafe Continental' stage set in the television studio at RadiOlympia Theatre, London, September 1947. Getty Images: http://www.gettyimages.in/detail/nieuwsfoto's/the-first-radiolympia-since-the-war-30-september-1947-the-nieuwsfotos/102730194
- ^ "Adelaide Hall – "Swing Low, Sweet Chariot" (1948)" on YouTube.
- ^ "Adelaide Hall at the Nightingale Club, London (1948)" Video on YouTube.
- ^ "British Programmes".
- ^ "How Do You View?" at Television Heaven.
- ^ The Royal Variety Performance, 29 October 1951, Victoria Palace Theatre, London.
- ^ A mention of Adelaide Hall being the first black female artiste to appear on the bill of the Royal Variety Performance is included in this list of awards, honours and firsts for British black female artistes: http://www.npg.org.uk/devotional/honours.html
- ^ Louis Lautier, "Capital Spotlight", Baltimore Afro-American, 14 October 1952, p. 17.
- ^ Jet, 15 May 1952, p.66.
- ^ Caricature drawing of Adelaide Hall in her role as Butterfly in Love From Judy drawn by Gilbert Sommerlad held in the V&A Collection Archive: http://collections.vam.ac.uk/item/O86665/adelaide-hall-in-love-from-caricature-sommerlad-gilbert/
- ^ Love From Judy – The Guide to Musical Theatre.
- ^ New York Times obituary for Adelaide Hall, which lists some of her stage performances (retrieved)10 November 1993: http://www.nytimes.com/1993/11/10/obituaries/adelaide-hall-92-international-star-of-cabaret.html
- ^ "Lena Horne and Jamaica in Philly world premiere" (with a large photograph of Lena, Adelaide and Ricardo Montalban), Washington Afro-American newspaper, 3 September 1957, p. 33.
- ^ "Adelaide Hall in new musical", Washington Afro-American, 12 August 1958.
- ^ TV pop diaries: http://www.tvpopdiaries.co.uk/1960.html
- ^ William S Peterson, John Betjeman: a bibliography, Oxford University Press, 2006, p. 366.
- ^ "Muses With Milligan – BBCtv 1965 – Restoration Split Screen Demo" on YouTube.
- ^ New York Times obituary for Adelaide Hall, which lists some of her stage performances (retrieved) 10 November 1993: http://www.nytimes.com/1993/11/10/obituaries/adelaide-hall-92-international-star-of-cabaret.html
- ^ Looks Familiar at BFI.
- ^ What Is Jazz? at BFI.
- ^ It Don't Mean a Thing credits, BFI.
- ^ Parkinson: 300 credits, BFI.
- ^ The Sacred Music of Duke Ellington credits, BFI.
- ^ The Sacred Music of Duke Ellington concert at St. Paul's Cathedral, London, 1982: Library of Congress details for the event: http://www.loc.gov/item/jots.200018968
- ^ A Century of Musicals in Black and White: An Encyclopedia of Musical Stage by Bernard L. Peterson, pages 40 – 41 – Black Broadway cast details etc.; http://books.google.co.uk/books?id=yAnjPO1E5ewC&pg=PA41&lpg=PA41&dq=adelaide+hall+Black+Broadway+Town+Hall+New+York+1980&source=bl&ots=yb1-IjKtEA&sig=3j_yea6mRcVLTsACJ7FoIgEmOa0&hl=en&sa=X&ei=l2tqU9zfA4LaOLnUgLAP&ved=0CD0Q6AEwAzgK#v=onepage&q=adelaide%20hall%20Black%20Broadway%20Town%20Hall%20New%20York%201980&f=false
- ^ New York magazine, 2 June 1980, page 94, listing for Michael's Pub (retrieved): http://books.google.co.uk/books?id=WOUCAAAAMBAJ&pg=PA94&dq=adelaide+hall+at+Michael's+Pub+New+York+1980&hl=en&sa=X&ei=NmRqU7vXD8KbPZ6wgOAF&ved=0CEIQ6AEwAg#v=onepage&q=adelaide%20hall%20at%20Michael's%20Pub%20New%20York%201980&f=false
- ^ Born to Play: The Ruby Braff Discography and Directory of Performances (Studies in Jazz) by Thomas P. Hustad – page 397, published by Scarecrow Press, ISBN 0810882647 (3 May 2012): http://books.google.co.uk/books?id=rDKhApTppgAC&pg=PA397&dq=adelaide+hall+los+angeles&hl=en&sa=X&ei=J5ppU9mJEYLGPPfvgcAG&ved=0CHQQ6AEwCQ#v=onepage&q=adelaide%20hall%20los%20angeles&f=false
- ^ New York magazine, page 109, listings (retrieved): http://books.google.co.uk/books?id=WuUCAAAAMBAJ&pg=PA107&lpg=PA107&dq=Adelaide+Hall+at+the+Avery+Fisher+Hall&source=bl&ots=ETEUJaY5CU&sig=Nymf8H2JehAi8cjkncqq0jhI7_s&hl=en&sa=X&ei=3I5rU6uVOYi3O5yZgZAF&ved=0CDIQ6AEwAQ#v=onepage&q=Adelaide%20Hall%20at%20the%20Avery%20Fisher%20Hall&f=false
- ^ Newport Jazz festival: September 1980, 'The Blues is a Woman' article in Ebony magazine, pages 94 – 98. A photograph of Adelaide Hall performing at the event is on page 96,: http://books.google.co.uk/books?id=-IspNLpUTN4C&pg=PA94&dq=ebony+adelaide+hall&hl=en&sa=X&ei=vltqU-i6EYeIONnYgYgI&ved=0CDMQ6AEwAA#v=onepage&q=ebony%20adelaide%20hall&f=false
- ^ Pianist Eubie Blake feted as he hits century mark (Billboard article, 19 February 1983, retrieved): http://books.google.co.uk/books?id=SSQEAAAAMBAJ&pg=PT54&dq=adelaide+hall+at+eubie+blake+century+concert&hl=en&sa=X&ei=0kdqU5_jIcb6PKSjgPgF&ved=0CEYQ6AEwAA#v=onepage&q=adelaide%20hall%20at%20eubie%20blake%20century%20concert&f=false
- ^ 'In and Around Town' by Ruth Gilbert, New York magazine, page 28: Adelaide Hall at the Cookery: http://books.google.co.uk/books?id=I7cBAAAAMBAJ&pg=PA28&dq=adelaide+hall+at+the+cookery+new+york&hl=en&sa=X&ei=52FqU7bbLsGQyAGVw4HgBg&ved=0CDMQ6AEwAA#v=onepage&q=adelaide%20hall%20at%20the%20cookery%20new%20york&f=false
- ^ "Omnibus: The Cotton Club Comes to the Ritz (1985)", BFI.
- ^ The South Bank Show series episode details: The Real Cotton Club: Library of Congress: http://www.loc.gov/item/jots.200018733
- ^ Photograph of Adelaide Hall onstage at the Barbican Centre, July 1986: http://photos.allaboutjazz.com/gallery_image.php?id=9356#.U2uNgV64llI
- ^ Wilson, John S. (14 October 1988). "Review/Music; Adelaide Hall Opens Weill Cabaret Bill". The New York Times.
- ^ Adelaide Hall (King's Head, Islington,) review in The Spectator magazine, page 45, 10 December 1988 http://archive.spectator.co.uk/article/10th-december-1988/45/jazz
- ^ "Adelaide Hall, Actor, Jazz singer", Desert Island Discs, 2 December 1972.
- ^ "Adelaide Hall, jazz singer", Desert Island Discs, 13 January 1991.
- ^ Castaway Archives, Desert Island Discs.
- ^ "Jazz on a Summer's Night: Sophisticated Lady (1990)", BFI.
- ^ Gold Badge Award list for 1992: http://www.goldbadgeawards.com/legacy/legacy1992.htm
- ^ http://www.npg.org.uk/devotional/honours.html
- ^ Adelaide Hall enters Guinness Book of World Records as the World's most enduring recording artiste.
- ^ "Art Tatum – Strange As It Seems (1933)" on YouTube.
- ^ "Fela Sowande", International Opus.
- ^ Adelaide Hall interview in Radio Times, 17 February 1939, page 15. The article under the heading, 'Don't Call Them Crooners', includes a photograph of Adelaide and it mentions performers she had recorded and performed with including Rudy Vallee; retrieved: http://www.radiotimesarchive.co.uk/pdf/RT-TV-1939.pdf
- ^ "Duke Ellington & His Orchestra – Creole Love Call – Victor 21137" on YouTube.
- ^ Ken Dryden, "Fats Waller: Fats Waller on the Air 1938 Broadcasts (2009)", AllAboutJazz, 7 April 2010.
- ^ "Adelaide Hall ... the real first Lady of Jazz".
- ^ Glenn Collins, "Adelaide Hall, 92, International Star of Cabaret", New York Times, 10 November 1993.
- ^ Died, Adelaide Hall (brief article), Time, Inc., November 22, 1993.
- ^ Adelaide Hall grave at the Cemetery of the Evergreens, Brooklyn: http://www.findagrave.com/cgi-bin/fg.cgi?page=gr&GSln=Hall&GSfn=Adelaide&GSiman=1&GScid=154236&GRid=7979544&
- ^ Brooklyn Eagle 'On This Day in History' article: http://126.96.36.199/archive/category.php?category_id=23&id=9096
- ^ https://new.myspace.com/adelaidehall
- ^ "The Wonderful Girls In Our Lives", 1973, Morecambe & Wise.
- ^ http://aceterrier.com/?page_id=551
- ^ BluesandSoul interview/feature with Laura Mvula.
- ^ Laura Mvula releases orchestral recording of Sing to the Moon. (Retrieved 13 August 2014) http://www.bowers-wilkins.co.uk/Society_of_Sound/Society_of_Sound/Music/Laura-Mvula.html
- ^ Laura Mvula has a classical makeover (Daily Mail retrieved 13 August 2014) http://www.dailymail.co.uk/tvshowbiz/article-2719543/From-soul-singer-Proms-diva-Rising-star-Laura-Mvula-classical-makeover.html
- ^ Laura Mvula is over the moon as she appears at the London Proms on 19 August 2014 with the Metropole Orkest performing her album 'Sing to the Moon' (Evening Standard: retrieved 13 August 2014) http://www.standard.co.uk/showbiz/celebrity-news/laura-mvulas-over-the-moon-as-she-stars-at-proms-with-orchestra-9657181.html
- ^ Laura Mvula records Sing to the Moon at Abbey Road Studios with a live orchestra (Telegraph: retrieved 13 August 2014): http://www.telegraph.co.uk/culture/culturevideo/musicvideo/11017140/Laura-Mvula-records-Sing-to-the-Moon-at-Abbey-Road-with-a-live-orchestra.html
- ^ http://www.theatermania.com/new-york-city-theater/reviews/11-2013/after-midnight_66520.html
- ^ http://www.newyorkcitytheatre.com/theaters/brooksatkinsontheater/after-midnight.php
- ^ Variety Broadway review of After Midnight http://variety.com/2013/legit/reviews/broadway-review-after-midnight-1200791616/
- ^ Isherwood, Charles (3 November 2013). "'After Midnight,' on Broadway, Fetes the Heyday of an Era". The New York Times.
- ^ http://www.southernbroadway.com
- ^ http://www.southernbroadway.com/#!brandybio/cmc2,
- ^ Matrix BVE-39370. Creole love call / Duke Ellington Orchestra.
- ^ Matrix BVE-39371. Blues I love to sing / Duke Ellington Orchestra.
- ^ a b Ellington 78 rpm Labels −1927 recordings.
- ^ Matrix BVE-Test-110. Must have that man / Adelaide Hall.
- ^ Matrix BVE-Test-111. Baby / Adelaide Hall.
- ^ Ellington 78 rpm Labels, 1933 – 1934 recordings.
- ^ http://www.docstoc.com/docs/4403744/TONO-The-three-Danish-Tono-labels-Between-and-there
- ^ http://www.45cat.com/45_forum_topic_view.php?ps=391&t=2032&h=p65144#p65144
- ^ Oriole catalogue.
- ^ a b Adelaide Hall Discography, CD Universe.
- ^ iTunes
- ^ Show Boat at CastAlbums.
- ^ Jamaica at CastAlbums.
- ^ Lew Leslie's Blackbirds of 1928 at CastAlbums.
- ^ Cole Porter Centennial Gala Concert at CastAlbums.
- ^ Prewar Vocal Jazz Story 1923 – 1945 at Allmusic.com
- ^ Moulin Rouge: Original music and songs at Allmusic.com.
- ^ Complete Original American Decca Recordings at AllMusic.com
- ^ CD Universe.
- ^ Love From Judy at CastAlbums.
- ^ Imperial War Museum.
- ^ Helia Ebrahimi, "Women and War exhibition", MailOnline.
- ^ The Queen opens the exhibition "Women and War", Imperial War Museum, 14 October 2003.
- ^ "Dress is more", Latest 7.
- ^ Little Black Dress Exhibition.
- ^ Little Black Dress exhibition, Brighton & Hove Museum. Adelaide Hall exhibit information retrieved 24 August 2014: http://searchcollections.brighton-hove-rpml.org.uk/detail.php?type=related&kv=402502&t=objects
- ^ "Adelaide Hall (1901–1993)", Devotional.
- ^ Devotional, National Portrait Gallery.
- ^ "Little Black Dress at the Fashion & Textile Museum", Sunday 22 June 2008. London SE1 Community Website.
- ^ "New exhibition", ItzCaribbean.
- ^ Previous exhibitions – "Keep smiling through: black londoners on the home front 1939 to 1945", The Cuming Museum.
- ^ Angie Macdonald, "Keep Smiling Through", 11 April 2008.
- ^ "Keep Smiling Through: Black Londoners on the Home Front 1939–1945", All in London.
- ^ "Jazzonia & the Harlem Diaspora, Curated by Diana Rodriguez & Judith Waring", Chelsea Space.
- ^ "Art College Hosts Jazzonia And The Harlem Diaspora Exhibition", Jazzwise, 8 July 2009.
- ^ Lalayn Baluch, "London Palladium hosts exhibition celebrating black performance history", The Stage, 19 June 2009.
- ^ "Fluid Locations: Discussing Archives and Representation with Sonia Boyce – Sally Frater".
- ^ "Oh Adelaide!" Vimeo
- ^ "There is no archive in which nothing gets lost". Art & Education.
- ^ "There is no archive in which nothing gets lost". Museum of Fine Arts Houston.
- ^ Carrie Marie Schneider, "Inter(re)view with Sally Frater, curator of 'There is no archive in which nothing gets lost'", Glasstire, 4 November 2012.
- ^ Marianne Vlaschits, "Creole Love Call", ViertelNeun Gallery.
- ^ Museum Kurá Hulanda.
- ^ Sonia Boyce, "Scat: Sound and Collaboration", Iniva.
- ^ "Scat: Sound and Collaboration", 5 June – 27 July 2013, Iniva.
- ^ Untitled by Sonia Boyce (from the "Rivington Place Portfolio"), 2006 – Hard, soft ground and spitbite etching on Pescia Magnani paper 30 × 20 inches. Museum purchase with funds provided by the Acquisition Committee 08.10.1 – (retrieved 15 August 2014)- See more at: http://www.studiomuseum.org/studio-blog/features/permanent-collection-highlight-sonia-boyce-iuntitledi-2006#sthash.hVMJtPfz.dpuf
- ^ Black Women in Britain exhibition details website retrieved 25 August 2014: http://www.bcaheritage.org.uk/programme/reimagine/
External links[edit]
- Adelaide Hall—100 Great Black Britons
- Adelaide Hall marked at the Cuming Museum exhibition on black Londoners wartime contributions, April 2008.
- Adelaide Hall at the Internet Movie Database
- Iain Cameron Williams, Underneath A Harlem Moon: The Harlem to Paris years of Adelaide Hall at Bloomsbury Publishing


text:
Champions World Resort
No availability found through our partners. Please contact the business directly or check some of our recommended alternatives.
Travel Blogs from Kissimmee
Be Our Guest - Magic Kingdom
... do it justice, but trust us, it's breathtaking. Terry had the French onion soup, roast beef sandwich, and a chocolate cupcake with "the gray stuff" on top. Brook had the potato lentil soup, ham and cheese sandwich, and a chocolate cupcake with "the gray stuff" on top. The food was fine, but you go there for the atmosphere, not necessarily the food. Next up, Hollywood ...
Taking the Mickey in Orlando
... back to Magic Kingdom to watch their night time shows, but a crazy storm rolled in during the afternoon and so we ended up staying in our room all day.
On Sunday we went to Hollywood Studios, where they were having a special Star Wars weekend, with stars from the movies making appearances. I've never seen Star Wars, and have no interest in it whatsoever, but there were a lot of fans in costume at the park. We managed to get on the busiest rides early ...
The Popcorn was Good
... with 3-D glasses
Islands of Adventure Attractions:
The Amazing Adventures of Spiderman
Harry Potter and the Forbidden Journey
Everything else was pretty much rides in dark where things popped out at you, with or without 3D glasses. They liked squirting water at you, e.g. in the Shrek movie when someone sneezed. This happened a few times on different rides.
I wasn't impressed with the Universal way of doing things. They've added ...
Kennedy Space Centre
... a Rocket Garden, with a number of real rockets, that never got used. We also visited the Astronaut Memorial dedicated to the people that have lost their lives for the space program, there are 3 shuttles that have exploded on takeoff/landing, but other people have lost their lives
in training flights.
Home sweet home
... out the maps, decide where we would go the next day, find a hotel, and Steve would call and make a reservation. It all went very smoothly.
We saw mountains, prairies, valleys, rivers, deserts, wildlife, and absolutely incredible vistas. We drove a lot of miles (7554), used a lot of gas (373 gallons), drank a lot of wine (not saying how much), and saw a lot of this great country in which we live.
Would we do ...
How has this hotel rated in the past?
- Restaurant
- Swimming pool
- Fitness/Health center
- Wheelchair accessibility
- Business Services
- Free parking

subset: commoncrawl


text:
crossdresser tricks straight guy
crossdresser tricks straight guy
Main/wholesome crossdresser - television tropes & idioms, The wholesome crossdresser trope as used in popular culture, with a list of examples from all media.. Crossdressing tips, Crossdressing tips make the most of your experience with these tips for cross dressing.. Top 5 crossdresser/transgender hairstyle mistakes, For crossdressers and transgender women. discover the 5 most common hairstyle mistakes that prevent you from passing as a woman..
Crossdressing - the bigcloset transgendered story pages, Bruce and other bullies who follow him pick on john by calling him alice and calling him a girl. eventually, everyone follows bruce's lead, driving john crazy.. Do you feel guilty about crossdressing or being transgender?, Let's get one thing straight - there's nothing wrong with crossdressing or being transgender. if you have to lie or sneak around to keep your femme side hidden. Thebreastformstore.co,uk - crossdresser / transgender tips, Tips & tricks for crossdresers & transgenders etiquette and dining tips for the new transgender woman written by denae doylë. are you really nervous about going out.


text:
From the Drawing Board: One-bedroom flat over garage a traveller's bolt-hole
Photo: Natasha Mulhall.
Several years ago, Bill Jurukovski, of Inner Architecture, was approached by clients requesting a radical change to their living arrangements. Happily ensconced for years in a grand, freestanding, four-bedroom Victorian house in Glebe, they wanted a tiny, one-bedroom granny flat added to their old, hardly salubrious, detached garage.
Downsizing taken to the max in one fell swoop? Actually, a clever strategy allowing the couple to travel the world while renting out the family home, returning to the flat when and if required.
The challenge: Jurukovski's task was interesting. The garage sat not so much at the bottom of the couple's garden as at the bottom of a sandstone outcrop at the bottom of their garden - a full level below the house. It occupied a tiny triangular site, facing the cliff on one side and narrow rear lanes on the other two. A public walkway ran the length of the western boundary.
It also overlooked downhill neighbours, and had no protection from the western sun. Budget was an issue, too. The existing garage needed to stay, with the granny flat to sit on top.
The solution: Jurukovski's design is about creating a sense of space in what is a tiny triangular footprint - 65 square metres.
The flat-roofed concrete garage was reinforced with steel to carry an extra storey before an open-plan living, eating and dining space was positioned above. A one bedroom, walk-through robe and bathroom level was then stretched out to the north-west and elevated a level above this - allowing for maximum ceiling heights and openings for light and ventilation in the living area.
Horizontal and vertical slot windows were inserted around the living space to draw your eye through and beyond the space. An outdoor courtyard has been inserted between the dramatic sandstone outcrop and living space, with full-height openings allowing visual and physical connection - increasing the perception of space and light.
The project's most defining feature, however, is its exterior. Red cedar, it's visually strong and visible across the valley it overlooks, standing out as a fascinating jewel box. It could also be recognised as a symbol of the big result that can be achieved in a small space for a relatively small output. All up, the work was completed for about $250,000.
Techniques to maximise space: Clustered services hug external walls - the kitchen, laundry and other facilities have been efficiently grouped to wrap around the south-facing wall, allowing for an uncluttered open-plan living space.
The living space opens to the outside. The illusion is created of a bigger space, with sight lines automatically drawn to the outside.
The palette is consistent and light - white, white and more white.
Views are maximised - you can see from one corner of the house to the opposite. This longer view makes the house appear larger.


text:
A little story about Something and Nothing.
About the AuthorAmanda Lenker
AmandaLenker Venice, California
After graduating from Ohio University in 2006, Amanda Lenker moved from her hometown of Dublin, Ohio to Los Angeles, California where she works in Theatrical Casting. Since her youth, she has passionately worked for, and supported the arts. Her poetry is one of many creative endeavors.
Publish Date December 07, 2009
Dimensions Small Square 24 pgs Standard Paper
Category Children
Comments (0)
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text:
The BFFE committee consists of Rager Ossels (chair), Emile Fallaux, Kees Hin en Pieter van Huystee.
|Main sponsor
Buddhist broadcasting Foundation
Boeddhistische Omroep Stichting
- 30-07-2014
- BFFE is looking for enthousiastic volunteers!
- The BFFE is looking for volunteers! Can you help or would you like to know more? Mail with info about your experience to firstname.lastname@example.com and/or call 06-1430 3006
- 30-07-2014
- BFFE 2014: October 3-5
- The 9th edition of the Buddhist Film Festival Europe will take place from Friday October 3rd through Sunday October 5th, 2014, at EYE in Amsterdam. The theme of this year's festival is BARDO – TRANSFORMATION. More information will follow shortly!


text:
In brief: Shelby County pension fund rebounds
Stock market gains helped drive the value of Shelby County's employee pension fund to an estimated $1 billion in April, close to its peak before the financial crisis, said David Pontius, the county's manager of pension investments.
The fund hit its high point of nearly $1.1 billion in October 2007, according to the pension office.
The fund's low point came in February 2009, when it was worth just $616.7 million.
The County Commission is considering a pension overhaul that would create a new, less generous plan for new employees and require employees in existing plans to contribute more money.
— Daniel Connolly
Charges against Cannon Smith dropped
Charges of public drunkenness and disorderly conduct against Cannon Smith were dismissed Tuesday in General Sessions Criminal Court.
Smith, a football player for the University of Memphis and son of FedEx founder and CEO Frederick Smith, was arrested around 3:30 a.m. on Dec. 15 after officers said he refused to pay a cab fare on Beale Street and then challenged police to a fight.
Shelby County Deputy Dist. Atty. Gen. John Campbell said Smith's treatment was typical for such a case. Campbell said prosecutors consider factors such as time the defendant has already spent in jail and seriousness of the incident.
According to a court affidavit and Memphis police, officers were flagged down Dec. 15 at Second and Beale, where a Yellow Cab driver told them that Smith was refusing to pay his fare.
Officers reported that Smith had a strong odor of intoxicants on his breath and slurred speech.
— Lawrence Buser
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text:
AICN COMICS Q&@: Matt Adler talks with MEN OF WAR writer Ivan Brandon, plus a 5 page preview of issue #2!!!
@'s by MEN OF WAR's Ivan Brandon!!!
MATT ADLER (MA): How did you wind up writing MEN OF WAR? Was a war comic something you wanted to do for a while, or were you approached by someone at DC with the idea?
IVAN BRANDON (IB): I was approached. I'm kind of an obsessive war nerd and it was really an interesting challenge to me.
MA: What prompted the decision to set the series in contemporary times, with Sgt. Rock's grandson, rather than making it a WWII series with the original Sgt. Rock?
IB: We're living in a period of prolonged war. It made more sense to tell a story that people could relate to directly. I have some friends who've been overseas; I wanted to tell a story for them.
MA: How different of a character is Joseph Rock from Frank Rock?
IB: He's of a different era. And he's dealing with the weight of that lineage, of being down the line from a great man who was a hero in a war that didn't throw the term around. Frank Rock was a natural. Joe Rock is younger, still learning how to be a hero.
MA: The region that Rock and his team are infiltrating isn't named, at least in the first issue. Was that a conscious choice?
IB: Yeah. The first arc is really about being overwhelmed and disoriented, about men who have to perform even in an unfamiliar environment, with dangers they can't see.
MA: We see in the first issue hints of the larger DC Universe, with Rock's team encountering a superhuman on the battlefield, which they seem to take a dim view of; are we going to see a different take on superhumans in this book than in most DCU books?
IB: A very different take, hopefully. To the soldiers in MEN OF WAR, the metahumans are weapons. Tanks, Bombers. You avoid the tank.
MA: Your artist is Tom Derenick. What does he bring to the book?
IB: Tom's really working outside of his comfort zone, I think. This is a book that's really forced him to think differently, and I think it's really elevated his game to a different place.
MA: Where does the series go from here? Will the story arcs be mostly self-contained with different missions, or are you planning a larger through-line for the series?
IB: It's hard to say too much without giving it away. But my goal is to tell a lot of different kinds of stories in the book. Some will be more about the DCU, some less. Every conflict is a different world with different dangers and different concerns. Hopefully the arcs reflect that.
MA: MEN OF WAR #2 is on sale Wednesday!
Matt Adler is a writer/journalist, currently writing for AICN among other outlets. He's been reading comics for 20 years, writing about them for 7, and spends way, way, too much time thinking about them, which means he really has no choice but to figure out how to make a living out of them. He welcomes all feedback.
Proofs, co-edits & common sense provided by Sleazy G
And check out AICN COMICS' New Facebook Page!!!
Readers Talkbackcomments powered by Disqus
+ Expand All
Oct. 3, 2011, 8:55 p.m. CST
by MainMan2001
It's the best movie in a long time and this site hasn't said a god damn thing about it
Oct. 3, 2011, 11:30 p.m. CST
by Andrew Quinsatt
There is a search function right above this article and all you have to do is type the words Drive movie... You'll see all kinds of reviews and raves for the movie.. Trust me I read this site religiously and they have talked about it quite a bit..
Oct. 4, 2011, 8:59 a.m. CST
probably a stupid question...
by exador
but...matt adler... is that just an alias? or just a coincidence that it's the name of the guy who starred in North Shore... just curious...North Shore is one of my alltime fav movies...
Oct. 4, 2011, 9:38 a.m. CST
by MattAdler
It's my real name. I'm just glad he isn't THAT famous, or else it would be a real pain in the ass!
Oct. 4, 2011, 11:44 a.m. CST
thanks for responding matt...
by exador
I was just recently watching North Shore with my kids (my daughter loves the soundtrack and at 8 yrs old has taken a big liking to groups like Killing Joke...which makes me rather proud :) anyhow...when i saw your name i was all 'holy shit...it's the guy from the movie!'.... sorry for the confusion...by the way...i'm an avid reader of your posts here, and i think you're doing an awesome job....
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What Makes a Great Cover Photo?
Posted on June 9th 2013
Whether you're handing out business cards, shaking hands, or engaging with potential Fans on Facebook, a first impression means everything. Clients, consumers, even new friends will decide within seconds if they have a good feeling about you and/or your brand, or a bad feeling, and your income depends on the former. So, let's dive into the tips for creating a stellar first impression on the digital realm with Facebook's Cover Photo options.
Facebook Cover Photo
Earlier in 2013, Facebook relaxed its grasp on Cover Photos, allowing business owners to use more text, provide contact information, and even include a call to action. As long as you stay within the 20% Text Rule, you essentially have free reign to let your creative juices flow.
This is remarkable for small business owners who are looking to truly capitalize on their social media efforts. From limiting all text, calls to action, and sales promo on a Cover Photo, Facebook effectively opened the doors to unlimited possibilities. The broader guidelines allow for greater branding, stronger call to action, and creativity overload!
First Impressions
According to Forbes.com, you have approximately 7 seconds to leave your impression as a genuine brand or a phony. Seven seconds to convince someone to trust you with their interests, or to let them down and have them running for the hills.
The number one tip for a great first impression as stated by Forbes in 'Seven Seconds to Make a First Impressions' is to 'adjust your attitude.' This doesn't just apply to face-to-face encounters; it applies to your Facebook Cover Photo as well. Take, for example, EraseDisease.com's initial cover photo. You'll notice the stiff, dark colors and unrealized branding. The cover photo is murky, missing any sense of creativity, and has no true purpose or direction.
With Facebook's new Cover Photo update, small business owners are able to 'adjust their attitude' through creative, innovative invitations of engagement. Notice how this brand updated it's cover photo to something a bit more branded, complete with inviting colors, website information, social media icons and a short explanation of the product.
The entire 'attitude' of the page changes, thus changing the receptiveness of potential consumers within those 7 seconds of a first impression. Now, when Facebook users hover their cursor over this brand, potentially interested in its philosophy, it sees an attractive, bright image.
So, how do we get from drab and dark to inviting and appealing? Follow these steps:
- The Right Image - The most effective image is something that speaks to your audience on an emotional level – something that intrigues them and summons them to learn more. The image should speak for itself, leveraging your brand message in imagery. Technically speaking, the image needs to be sized or cropped to 851x315 pixels.
- Call to Action – Utilize Facebook's 20% Text Rule and take full advantage of its possibilities. A logo does not count as text, so if your logo includes text, or as seen above the logo contains the URL, us it in the cover photo to get that URL in front of your audience. If your logo does not include your URL, add it! Consider what you want your Facebook Fans to do. Do you want them to Like the page? Add that as a call to action. Do you want them to visit your website, purchase a product or take advantage of a promotion? Add it! With the 20% Text Rule, you need to add some text letting your audience know exactly what you want them to do.
- Promotional – One of my favorite basic essentials of the Facebook Cover Photo, and something that not many small business owners take advantage of, is the ability to swap out that photo as often as you want, with as many different calls to action and themes as you want. Of course, you always want to remain true and consistent to your brand message, but consider your current content marketing campaigns and integrate that into your cover photo. Is there a holiday coming up? Use that as a theme? Are you running a contest? Talk about it in the cover photo. This is your first impression, which means that whatever you are pushing and promoting at that time should absolutely be in your cover photo.
The possibilities for Facebook's new cover photo guidelines are truly limitless, so take advantage of them! In marketing, when you are given opportunities like this is imperative that you pounce, and pounce often with superb creativity.
Excellent advise Kandice, we have been telling clients and associates for years how critical these "first" and often lasting impressions are. Tell the readers more, this is good stuff.
Sound advise, Kandice.
I have been wondering about all those social media logos - you not really able to link to them, so user would have to look you up on Twitter etc. More noise than call to action, in my mind - or what do you think?
And a bit funny, that erasedisease.com have gone down in likes since they changed to their new timeline cover...


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Waterboarding Is Torture! Attorney General Eric Holder
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Attention all Jasper County poets – In 2016, the State of Indiana will celebrate its bicentennial.
OverDrive, the library's eBook and eAudio provider, has introduced some changes this summer aimed to improve your online experience.
To make title choices easier for younger readers, OverDrive has introduced new age-oriented rooms for teens and children looking for ebooks online.
Did you know the first annual Touch of Dutch Arts & Crafts Festival was started by the Friends of the DeMotte Library 39 years ago on August 16, 1975? The Friends wanted to find a way to benefit the DeMotte Library and give local artists and craftsmen a place to display their talents.
If you are out at the fair this week, looking for a cool place and a good time, stop by the Community Building from 2-3pm each day for storytime and a craft.
Miss Karla from DeMotte was out on Monday and will be back on Friday. Miss Rachael from Wheatfield was out on Tuesday and Miss Nancy from Rensselaer will be out on Thursday.
DC Entertainment has declared that July 23 will be "Batman Day" to celebrate the Caped Crusader's 75th anniversary.
As part of the Spark a Reaction summer reading program at Rensselaer, we pulled out an old Plasma Ball that has been around at the library probably since they first came out in the '80s.
Our patrons have asked some interesting questions today about the boil order that -- as of 2:30pm Monday, June 23 -- is still in effect in Rensselaer until further notice.
Looking for ideas for summer reading? How about the reading lists of authors and celebrities? How about if you could then donate those books to U.S. Service Members and communities in need of new books?
Things We Read, Inc. is a 501(c)(3) nonprofit incorporated in the state of New York that aims to do just that.
For the next few weeks, area graduates will be focusing on those last steps before they walk down the aisle and get their diploma. But for other high-school-aged students, now is also a good time to be thinking about what happens next.
Tuesday, May 6 is primary election day in Indiana, and if you are not sure if you are ready, check out this list for your last minute voting needs:
When can I vote: The polls are open 6 a.m. to 6 p.m. Tuesday.
These are the latest selections from our monthly book drawing hosted by charitable sorority Psi Iota Xi. Stop in the Rensselaer Library at any time and enter these drawings to win a free adult or children's book. Congrats to the lucky winners of these fabulous looking books!
And much thanks to Psi Iota Xi for making this continuing literacy effort possible.
National Library Week honors libraries, librarians, and library staff all across the country, and is celebrated the week of April 14-19.
If you are connected to the tech world, you have probably already heard about Heartbleed, a fancy name for a recently discovered flaw in website security that may have made several commonly used websites vulnerable to attacks.
From April 1, 2014 to April 15, 2014 the Jasper County Public Library will be conducting an online survey to find out how our patrons use the library's computers and Internet connection and how this service has ma
A reception celebrating the five-year anniversary of Indiana Memory will be held in Indianapolis this Friday from 1:00 PM until 3:00 PM (EST).
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