Adelaide Hall

Adelaide Hall
Background information
Birth name Adelaide Louise Hall
Born (1901-10-20)20 October 1901[1]
Origin Brooklyn, New York City, U.S.
Died 7 November 1993(1993-11-07) (aged 92)
Genres Jazz, swing, traditional pop, spirituals, musical theatre
Occupation(s) Singer, actress, dancer, nightclub chanteuse
Instruments Singing, ukulele, acoustic guitar
Years active 1921–1993

Adelaide Louise Hall (20 October 1901 – 7 November 1993) was an American-born UK-based jazz singer and entertainer. Her long career spanned more than 70 years from 1921 until her death and she was a major figure in the Harlem Renaissance.[2][3][4][5][6][7] Hall entered the Guinness Book of World Records in 2003 as the world's most enduring recording artist having released material over eight consecutive decades.[8] She performed with major artists such as Art Tatum[9] Ethel Waters, Josephine Baker, Louis Armstrong, Lena Horne, Cab Calloway, Fela Sowande[10] Rudy Vallee[11] and Jools Holland, and recorded as a jazz singer with Duke Ellington (with whom she made her most famous recording, "Creole Love Call" in 1927)[12] and with Fats Waller.[13][14]

Contents

  • Early years 1
  • Marriage, 1924 2
  • Chocolate Kiddies European tour, 1925 3
  • Tan Town Topics, Small's Paradise and Desires of 1927 4
  • Recordings with Duke Ellington 5
  • Blackbirds of 1928 6
  • 1930: Brown Buddies 7
  • 1931–32: World concert tour 8
  • 1932–33: Larchmont, Westchester County, racist incident 9
  • 1933: Harlem Opera House, N.Y. 10
  • 1933: American concert tour 11
    • World Fair City, Chicago, 1933 11.1
    • Stormy Weather Revue, 1933 11.2
  • 1934: Apollo Theater, Harlem, Chocolate Soldiers revue 12
    • The Cotton Club Parade, 1934 12.1
  • 1935: North American concert tour 13
  • European career, 1935–38 14
  • British career, 1938–93 15
  • Legacy 16
    • Underneath a Harlem Moon, 2013–14 16.1
    • After Midnight, Broadway musical 2013–14 16.2
    • A Nite at the Cotton Club, 2014 16.3
    • ASCAP 100 Years, 2014 16.4
  • Discography 17
    • 1927–38 17.1
    • The Decca years, 1939–45 17.2
    • Odeon (Argentina)1943 17.3
    • London Records, Spirituals, 1949 17.4
    • Columbia (EMI) – 1951 17.5
    • Oriole – 1960 17.6
    • UK singles chart entries 17.7
  • Filmography 18
  • Exhibitions 19
  • Sources 20
  • References 21
  • External links 22

Early years

Adelaide Hall 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 Noble Sissle and Eubie Blake hit musical Shuffle Along[13][15][16][17][18] and went on to appear in a number of similar black musical shows including Runnin' Wild[19] on Broadway in 1923 in which she was given James P. Johnson's hit song "Old-Fashioned Love" to sing, Chocolate Kiddies in 1925 (European tour) that included songs written by Duke Ellington,[20] My Magnolia on Broadway in 1926 with a score written by Luckey Roberts and Alex C. Rogers,[21][22] Tan Town Topics in 1926 with songs written by Fats Waller[23][24] and in Desires of 1927 [25] (American tour October 1926 through to September 1927) with a score written by Andy Razaf and J. C. Johnson.[26][27]

Marriage, 1924

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.[28]

Chocolate Kiddies European tour, 1925

Hall was hired to join the cast of the Chocolate Kiddies revue in New York, where they rehearsed before setting sail for Europe. The initial tour started at Hamburg, Germany, on 17 May 1925, and ended in Paris, France in December 1925 visiting many major cities in-between.[29] The revue was designed to give Europeans a sampling of black entertainment from New York.[30] Included in the cast were The Three Eddies, Lottie Gee, Rufus Greenlee and Thaddeus Drayton, Bobbie and Babe Goins, Charles Davis and Sam Wooding and his Orchestra. After the initial tour disbanded, Sam Wooding and his Orchestra continued touring the Chocolate Kiddies revue for several years later.

Tan Town Topics, Small's Paradise and Desires of 1927

In 1926, upon Hall's return to New York after touring Europe with the Chocolate Kiddies, she was featured in Tan Town Topics, a revue containing songs written by Fats Waller and Spencer Williams. The cast included Fats Waller, Eddie Rector and Ralph Cooper, Adelaide Hall, Maude Mills, Arthur Gaines, Leondus Simmons and a dance troupe called the Tan Town Topics Vamps. The show opened at Harlem’s Lafayette Theatre on 5 April followed by a short road tour on the eastern Theater Owners Booking Association (TOBA) circuit taking in Baltimore, Chicago and Philadelphia.[31][32]

During July 1926, Hall appeared in residency with Lottie Gee and the Southern Syncopated Orchestra at Small’s Paradise, New York.[33] On Tuesday, 5 October, Hall appeared again at Small’s Paradise at a special party, "Handy Night", hosted by the venue to honour W. C. Handy and to celebrate the release of his newly published book Blues: An Anthology—Complete Words and Music of 53 Great Songs. For entertainment, Adelaide Hall, Lottie Gee, Maude White and Chic Collins provided a selection of jazz and blues numbers.[34]

From October 1926, Hall toured America playing the TOBA circuit until September 1927 in the highly praised show Desires of 1927, conceived by J. Homer Tutt and produced by impresario Irvin C. Miller. As the Pittsburgh Courier noted: "Adelaide Hall and assistants have some show. Speed, pretty girls, catchy music, a touch of art, which touches the border line of nudity - the names of such well-known stage celebrities as Adelaide Hall, J. Homer Tutt, Henry 'Gang' Jones, the Harmony, Trio, Charles Hawkins, Arthur Porter, 'Billy' McKelvey and Clarence Nance."[27] Billed as the star 'soubrette' of the show, Adelaide's performance included several songs, (most notably "Sweet Virginia Bliss"), flat foot dancing and accompanying herself on the ukelele whilst singing.

Recordings with Duke Ellington

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.[35] The recordings were worldwide hits and catapulted both Hall's and Ellington's careers into the mainstream.[36][37]

The story behind "Creole Love Call"'s conception is interesting to recount: In 1927, Hall and Duke Ellington were touring in the same show, Dance Mania. The show opened at the Lafayette Theatre in Harlem on 14 November and played there for one week before travelling to Philadelphia, Pennsylvania, to appear at the Standard Theatre.[38] Hall closed the first half of the bill and Duke was on in the second. Duke had a new number, "Creole Love Call", which he included in his set. Hall recounted, "I was standing in the wings behind the piano when Duke first played it ("Creole Love Call"). I started humming along with the band. He stopped the number and came over to me and said, 'That's just what I was looking for. Can you do it again?' I said, 'I can't, because I don't know what I was doing.' He begged me to try. Anyway, I did, and sang this counter melody, and he was delighted and said 'Addie, you're going to record this with the band.' A couple of days later I did".[39] When Duke was recounting the incident to a reporter he explained, "We had to do something to employ Adelaide Hall," and then added, "I always say we are primitive artists, we only employ the materials at hand … the band is an accumulation of personalities, tonal devices."[40]

On 4 December 1927, 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".[41] In 1928, "Creole Love Call" entered the Billboard song charts at #19 (USA).[42]

On 7 January 1933, Hall and Duke Ellington and his Famous Orchestra recorded "I Must Have That Man" and "Baby".[43]

Blackbirds of 1928

In 1928, Hall starred on Broadway with Bill "Bojangles" Robinson[44] in Blackbirds of 1928.[45][46] The show became the most successful all-black show ever staged on Broadway at that time and made Hall and Bojangles into household names.[47] 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 Mills died of pneumonia in 1927 before rehearsals commenced. Hall was chosen to replace her. The revue opened at Les Ambassadeurs Club in New York in January 1928, under the name Blackbird Revue, but it was renamed Blackbirds of 1928 and in May 1928 transferred to Broadway's Liberty Theatre,[48] 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.[49] It was reported in the press of the day that the show's producer Lew Leslie was so concerned about race violence connected with 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 "Bojangles" Robinson.[50]

It was this musical that not only secured Hall's success in the USA but also in Europe when the production was taken in 1929 to Paris, France, where it ran for four months at the Moulin Rouge.[51][52][53] When Adelaide Hall arrived in Paris from America at the Gare Saint-Lazare she was greeted by a reception of fans and reporters that was reported to be as large as the reception Charlie Chaplin had received two years earlier when he visited Paris.[54] The French artist Paul Colin illustrated several posters to advertise Blackbirds run at the Moulin Rouge including one entitled "Le Tumulte Noir – Dancer in Magenta" that captures Hall's performance beautifully, as she is dancing and waving her arms about.[55] In Europe, Hall rivalled Josephine Baker for popularity on the European stage.[56]

Vu (magazine) issue N°77 Au revoir Black Birds! (04 09 1929) Adelaide Hall on the front cover of Vu (magazine) as the French say farewell to Blackbirds after their tenure at the Moulin Rouge.

With Blackbirds′ music score written by Jimmy McHugh and lyrics by Dorothy Fields, Hall's performances of the songs "I Can't Give You Anything but Love, Baby", "Diga Diga Do",[49] "Bandanna Babies" and "I Must Have That Man" made them into household hits, and they continued to be audience favourites throughout her long career.

At the end of Blackbirds tenure at the Moulin Rouge, to thank the cast for their successful run and to welcome in the forthcoming Thanksgiving Day, Lew Leslie threw a big party held in the Paris suburb of Authie and, as well as the cast, invited a host of visiting luminaries including the visual artist Man Ray, lyricist Ira Gershwin, writer James Joyce, German composer Kurt Weill, American composer William Grant Still and producer Clarence Robinson. A rare group photograph taken at the event in which Adelaide Hall is seated in the centre surrounded by guests including actress and music hall star Mistinguett, recently surfaced and was sold at Swann Auction Gallery, New York for $2,640.00.[57] The Blackbirds cast sailed from France back to the US in the fall of 1929 and upon their arrival almost immediately commenced a road tour of the States opening at the Adelphi Theatre, Chicago, on the evening of 26 November. It was in Chicago during December that Adelaide Hall unexpectedly quit the production and hastened home to New York.

1930: Brown Buddies

Speculation that Hall and Liberty Theatre, New York, where it ran a fairly solid run of 111 performances until 10 January 1931.[64]

1931–32: World concert tour

In 1931, Hall embarked on a world concert tour that visited two continents (America and Europe). The tour was estimated to have performed to more than one million people. During the tour she appeared four times at New York's Palace Theatre.[65] 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.[66][67][68] 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.[69][70][71]

1932–33: Larchmont, Westchester County, racist incident

In the fall of 1932, upon her return to New York, Hall 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 her arrival in Larchmont leaked into the local media she began to encounter racist opposition from her white upper-middle-class prejudiced neighbors, who threatened court action to have Hall evicted. After her home was broken into and an attempt was made to set it alight, news of the attack hit national newspaper headlines. Receiving hundreds of letters of support from the American public imploring her to stick it out, Hall stood her ground and in a press statement she issued insisted that she was a true American citizen as her ancestry could be traced back to the Shinnecock Indian tribe of Long Island[72] and as such she had every right to reside where she wished.[73][74]

1933: Harlem Opera House, N.Y.

For one week commencing Saturday 14 January 1933, Hall returned to Harlem, NY, to appear in a music revue produced by Leonard Harper at the Harlem Opera House. A journalist from the Pittsburgh Courier newspaper who published under the initials T.Y. wrote in his review of Hall's performance that "she was excellent" and that he was so thrilled to be at the show he totally forgot to jot down on his notepad the title of the songs Hall performed. He did however apologise for this mishap. He also mentioned that Hall was accompanied on stage by a guitar 'troubadour' and a blind pianist (i.e., Art Tatum) who, he declared, "can really play".[75]

1933: American concert tour

"ADELAIDE HALL TO TOUR THE COAST" – Pittsburgh Courier headline, 22 July 1933

Hall's itinerary included all the principal cities and lasted 30 weeks[76]

World Fair City, Chicago, 1933

"Miss Adelaide Hall Captures The World Fair City and They Like It" – 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." From the Pittsburgh Courier, 19 August 1933, written by Jules Bledsoe.[77]

On 19 August 1933, the fifth annual Bud Billiken Parade and Picnic took place during the prestigious Chicago World Fair. African-Americans came out in droves to support the event held by the Chicago Defender local newspaper. 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.[78]

Stormy Weather Revue, 1933

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," review taken from The Pittsburgh Courier.[79]

In October 1933, for the first time in history the entire floor revue from Harlem's Stormy Weather" written by Harold Arlen and Ted Koehler, which had been introduced by Ethel Waters earlier that year at the Cotton Club in the Cotton Club Parade of 1933.[80]

1934: Apollo Theater, Harlem, Chocolate Soldiers revue

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[81] and helped establish the recently opened Apollo as Harlem's premier theatre.

The Cotton Club Parade, 1934

On 23 March 1934, Hall opened at Harlem's Cotton Club in The Cotton Club Parade 24th Edition.[82] It was the largest grossing show ever staged there.[83][84][85] The show ran for nine months. In the show Hall introduced the songs "Ill Wind"[86] and "Primitive Prima Donna", which Harold Arlen and Ted Koehler wrote especially for her.[87][88][89] It was during Hall's rendition of "Ill Wind" that nitrogen smoke was used to cover the floor of the stage. It was the first time such an effect had ever been used on a stage and caused a sensation.[90]

1935: North American concert tour

During 1935, Hall performed another coast-to-coast American/Canadian concert tour that took in the South. Prior to the tour commencing, she 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, Hall gives a rare insight into her life, disclosing how dramatically it had changed since her humble upbringing in Harlem.

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 that 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."[91]

European career, 1935–38

Hall arrived in Paris, France, in the fall of 1935[92] and remained living there until 1938. Her husband Bert opened a nightclub for her in Paris situated at 73 rue Pigalle in Montmartre called La Grosse Pomme where she frequently entertained.[93][94]

"It (the club) held about two hundred 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.[95]

The Quintette du Hot Club de France featuring Django Reinhardt and Stephane Grappelli were one of the house bands at the club.

At the beginning of 1936, Hall starred in the Black and White Revue. The show of fifty performers opened in Paris, France and in February 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 who had danced under the direction of Serge Diaghilev in the Russian company Ballets Russes.[96] The orchestra that travelled with the production was under the direction of Henry Crowder.[97]

In 1937, Hall choreographed her own take on the famous French dance the Can-can; she called it the Canned Apple and would perform it at her Montmartre nightclub La Grosse Pomme.[98] Hall is also credited with introducing the Truckin' dance craze to the Parisians.[99] During her residence In Europe, Hall sang with several orchestras, including those of Willie Lewis[100] and Ray Ventura and in 1937 (while on a trip to Copenhagen) she recorded four songs with Kai Ewans and his Orchestra for the Tono record label.[101]

On 13 May 1938, BBC Radio broadcast Over to Paris, an hour-long programme direct from a Paris studio that highlighted a variety of famous Parisian artists of radio, cabaret and the music hall. The show included performances from Adelaide Hall and Mistinguett, who were accompanied by two orchestras.[102]

British career, 1938–93

After many years performing in the USA and Europe, Hall went to the United Kingdom in 1938[103] to take a starring role in a stage-adapted musical version of Edgar Wallace's The Sun Never Sets at the Theatre Royal, Drury Lane.[104][105] 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. Hall lived in London from 1938 until her death.

On 28 August 1938, Hall recorded "

  • Adelaide Hall at the Internet Movie Database
  • Underneath A Harlem Moon: The Harlem to Paris years of Adelaide HallIain Cameron Williams, at Bloomsbury Publishing.

External links

  1. ^ State records confirm Adelaide Hall's year of birth as 1901.
  2. ^ a b Steve Voce (8 November 1993). "Obituary: Adelaide Hall". The Independent (London). Retrieved 15 June 2012. 
  3. ^ Glenn Collins (10 November 1993). "Adelaide Hall, 92, International Star of Cabaret". The New York Times. Retrieved 15 June 2012. 
  4. ^ "Adelaide Hall Biography – Facts, Birthday, Life Story". Biography.com. 7 November 1993. Retrieved 15 June 2012. 
  5. ^ Underneath a Harlem Moon: The Harlem to Paris Years of Adelaide Hall. Bayou Jazz Lives. 
  6. ^ a b c Stephen Bourne (24 January 2003). by Iain Cameron Williams)"Underneath a Harlem Moon"The real first lady of jazz (Review of . The Guardian (London). Retrieved 15 June 2012. 
  7. ^ "Adelaide Hall Biography". Artistdirect.com. Retrieved 15 June 2012. 
  8. ^ a b "Devotees - Honours and Tributes" (researched and compiled by Stephen Bourne), Devotional. Adelaide Hall enters Guinness Book of World Records as the World's most enduring recording artiste.
  9. ^ "Art Tatum – Strange As It Seems (1933)" on YouTube.
  10. ^ "International Opus". internationalopus.com. 
  11. ^ a b Leonard Feather, "Don't Call Them Crooners: 4 - Adelaide Hall" (interview), Radio Times, 17 February 1939, p. 15. Includes a photograph of Hall and mentions performers with whom she had recorded and performed, including Rudy Vallee.
  12. ^ Adelaide Hall singing "Creole Love Call" with Duke Ellington and his Orchestra recorded in 1927. YouTube/
  13. ^ a b "Adelaide Hall", Faces of the Harlem Renaissance, ArtsEdge: Kennedy Center.
  14. ^ a b Ken Dryden, "Fats Waller: Fats Waller on the Air 1938 Broadcasts (2009)", including duets with Adelaide Hall. AllAboutJazz, 7 April 2010; retrieved 14 September 2014.
  15. ^ "Shuffle Along (1921) | The Black Past: Remembered and Reclaimed". The Black Past. Retrieved 15 June 2012. 
  16. ^ "Stage Musicals 1920's – Part 3: New Composers". Musicals101.com. Retrieved 15 June 2012. 
  17. ^ "Shuffle Along: The Musical at the Center of the Harlem Renaissance – Drop Me Off in Harlem", ArtsEdge, Kennedy Center.
  18. ^ Reside, Doug (10 February 2012). "Musical of the Month: Shuffle Along". The New York Public Library. Retrieved 15 June 2012. 
  19. ^ The Broadway League. "Runnin' Wild". IBDB: The official source for Broadway Information. Retrieved 15 June 2012. 
  20. ^ "Edward K. "Duke" Ellington, African American Composer & Pianist". Retrieved 15 June 2012. 
  21. ^ Page 107, Show Boat: Performing Race in an American Musical by Todd Decker, Oxford University Press, 2013, ISBN 978-0-19-975937-8, mentions the musical My Magnolia.
  22. ^ Frank Cullen (2004). Vaudeville, Old and New: An Encyclopedia of Variety Performers in America. Psychology Press. 
  23. ^ "The Afro American - Google News Archive Search". google.com. 
  24. ^ "Thomas "Fats" Waller: Performances in Transcription, edited by Paul S. Machlin". Areditions.com. Retrieved 15 June 2012. 
  25. ^ Desires of 1927 musical, Page 106, A Century of Musicals in Black and White: An Encyclopedia of Musical Stage by Bernard L. Peterson, Greenwood Publishing Group. ISBN 0-313-26657-3
  26. ^ Henry Louis Gates, Evelyn Brooks Higginbotham (eds), Harlem Renaissance Lives from the African American National Biography, Oxford University Press, 2009, p. 233.
  27. ^ a b .. "'Desires of 1927' - A Riot at Elmore" (review), The Pittsburgh Courier, 27 November 1926.
  28. ^ Iain Cameron Williams, Underneath a Harlem Moon: The Harlem to Paris Years of Adelaide Hall, pp. 66–67. ISBN 0-8264-5893-9.
  29. ^ Article about Sam Wooding and the Chocolate Kiddies, Keep (It) Swinging, 11 May 2006.
  30. ^ Chip Deffaa, Voices of the Jazz Age: Profiles of Eight Vintage Jazzmen, p. 14, ISBN 0252062582.
  31. ^ 12 – 17 April 1926, Royal Theatre, Baltimore City. 10 April 1926, The Afro-American, p. 10, half-page advertisement for Tan Town Topics.
  32. ^ Tan Town TopicsReview of at the Royal Theatre, Baltimore.
  33. ^ Howard Rye, "Southern Syncopated Orchestra: The Roster", Black Music Research Journal, Volume 30, Number 1, Spring 2010. Reference to Smalls Paradise revue under "Gee, Lottie (Charlotte M.)".
  34. ^ "'Handy Night' at Small’s Paradise", The Pittsburgh Courier, Saturday, 16 October 1926, p. 10.
  35. ^ "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. 
  36. ^ "Adelaide Hall talks about the Cotton Club and Duke Ellington – Video Dailymotion". Retrieved 15 June 2012. 
  37. ^ "Adelaide Hall, 92; Jazz Singer Performed With Duke Ellington". Los Angeles Times. 22 May 2001. Retrieved 15 June 2012. 
  38. ^ Dance Mania dates listed on Ellingtonweb:http://www.ellingtonweb.ca/Hostedpages/TDWAW/DropdownmenuDRAFT.html#dec27
  39. ^ Adelaide Hall's recollection of how she came to record "Creole Love Call" with Duke Ellington taken from her obituary in the Independent, 08 November 1993:(retrieved 30 December 2014):http://www.independent.co.uk/news/people/obituary-adelaide-hall-1502902.html
  40. ^ Page 19, Duke Ellington by David Bradbury, Haus Publishing Ltd, 2005, ISBN 1-904341-66-7
  41. ^ Iain Cameron Williams, Underneath A Harlem Moon, Chapter 8, pp. 122–24.
  42. ^ USA song chart entry for ""Creole Love Call" (1928): http://tsort.info/music/sht3ur.htm
  43. ^ "Ellington Sessions 1933". depanorama.net. 
  44. ^ "Faces of the Harlem Renaissance – Bill 'Bojangles' Robinson", Drop Me Off in Harlem.
  45. ^ "Blackbirds of 1928 / Shuffle Along (1921) - The Official Masterworks Broadway Site". The Official Masterworks Broadway Site. 
  46. ^ Daniel Pinna. "Adelaide Hall". ancientfaces.com. 
  47. ^ celebrates one year run on Broadway"Blackbirds of 1928", The Afro-American, 18 May 1929. Retrieved 14 September 2014.
  48. ^ a b Danni Bayles Yeager. "Liberty_NYC Performing Arts Archive". <i>performingartsarchive.com</i>.</cite><span title="ctx_ver=Z39.88-2004&rfr_id=info%3Asid%2Fworldheritage.org%3AAdelaide+Hall&rft.au=Danni+Bayles+Yeager&rft.btitle=Liberty_NYC%3C%2F%3CTITLES%3E%0A%3CHTML%3E%0A%09%3CHEAD%3E%0A%09+%3CMETA+HTTP-EQUIV%3D%22Expires%22+CONTENT%3D%22%2B10%22%3E%0A%09+%3CTITLE%3EPerforming+Arts+Archive&rft.genre=book&rft_id=http%3A%2F%2Fwww.performingartsarchive.com%2FTheatres%2FTheatres-L%2FLiberty-Theatre_NYC%2FLiberty-Theatre_NYC.htm&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook" class="Z3988"><span style="display:none;"> </span></span></span> </li> <li id="cite_note-DazedMother-48"> <span class="mw-cite-backlink">^ <sup>a</sup> <sup>b</sup></span> <span class="reference-text">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", <i>The Pittsburgh Courier</i>, 10 November 1928.</span> </li> <li id="cite_note-51"> <span class="mw-cite-backlink">^</span> <span class="reference-text">"Adelaide Hall returns to cast of <i>Blackbirds</i>", <i>Chicago Defender</i>, 11 August 1928.</span> </li> <li id="cite_note-52"> <span class="mw-cite-backlink">^</span> <span class="reference-text">Judith Miller, <i>Art Deco</i>, Dorling Kindersley, 2005, ISBN 1405307544: lithograph by Paul Colin featuring Adelaide Hall and used as a poster to advertise <i>Blackbirds</i> at the <a href="/articles/eng/Moulin_Rouge" id="xolnki_388" title="Moulin Rouge">Moulin Rouge</a>, p. 215 (retrieved 14 September 1014).</span> </li> <li id="cite_note-53"> <span class="mw-cite-backlink">^</span> <span class="reference-text"> Music Archive<i>Woman's Hour</i>: A Celebration of Adelaide Hall, Wednesday, 15 January 2003.</span> </li> <li id="cite_note-54"> <span class="mw-cite-backlink">^</span> <span class="reference-text">Jean Delaurier 1929 lithograph of Blackbirds at the Moulin Rouge performing "Porgy",</span> </li> <li id="cite_note-55"> <span class="mw-cite-backlink">^</span> <span class="reference-text">Paris In The Jazz Age - music6cafe - article mentions <i>Blackbirds</i> show in Paris and the reception Adelaide Hall received from fans upon her arrival at <a href="/articles/eng/Gare_Saint-Lazare" id="xolnki_389" title="Gare Saint-Lazare">Gare Saint-Lazare</a> (retrieved 30 December 2014):http://music6cafe.com/2014/12/</span> </li> <li id="cite_note-56"> <span class="mw-cite-backlink">^</span> <span class="reference-text">"Le Tumulte Noir/Dancer in Magenta", artist Paul Colin’s lithograph of Adelaide Hall.</span> </li> <li id="cite_note-57"> <span class="mw-cite-backlink">^</span> <span class="reference-text">"Adelaide Hall Takes Place of 'Jo' Baker", <i>The Afro-American</i>, 3 August 1929.</span> </li> <li id="cite_note-59"> <span class="mw-cite-backlink">^</span> <span class="reference-text">Swann Auction Gallery, New York, Sale 2239 Lot 391, Group photograph of the ‘Blackbirds’ party, 1929, taken at Authie, Paris, (retrieved 1 January 2015): http://catalogue.swanngalleries.com/asp/fullCatalogue.asp?salelot=2239+++++391+&refno=++642162&saletype=</span> </li> <li id="cite_note-60"> <span class="mw-cite-backlink">^</span> <span class="reference-text"><i>Bojangles to be starred with Adelaide Hall</i> - article - 4 January 1930, page 1, Pittsburgh Courier (retrieved 29 December 2014):http://fultonhistory.com/Newspapers%2023/Pittsburgh%20PA%20Courier/Pittsburgh%20PA%20Courier%201929-1930/Pittsburgh%20PA%20Courier%201929-1930%20-%200453.pdf</span> </li> <li id="cite_note-61"> <span class="mw-cite-backlink">^</span> <span class="reference-text">"White Press Acclaims Adelaide Hall As Packed House Gives Her Great Ovation", <i>The Pittsburgh Courier</i>, 22 February 1930.</span> </li> <li id="cite_note-62"> <span class="mw-cite-backlink">^</span> <span class="reference-text">Bill Robinson and Adelaide Hall Palace Theatre performance review printed in Billboard magazine 23 August 1930 and reproduced in Blacks in Blackface: A Sourcebook on Early Black Musical Shows By Henry T. Sampson, chapter 5, page 524 (retrieved 17 December 2014): https://books.google.co.uk/books?id=DVsKAgAAQBAJ&pg=PA524&lpg=PA524&dq=palace+theatre+new+york+adelaide+hall&source=bl&ots=0g9xVMEZH_&sig=JxMyVbtf7kXk7nXBCUPUEmGGUDQ&hl=en&sa=X&ei=P3iRVIj0MbCN7AbyzYHYDw&ved=0CD4Q6AEwBA#v=onepage&q=palace%20theatre%20new%20york%20adelaide%20hall&f=false</span> </li> <li id="cite_note-63"> <span class="mw-cite-backlink">^</span> <span class="reference-text"><i>Adelaide Hall Gets hand in Vaudeville Debut</i> - <i>Former Star of Blackbirds Scores Heavily in Opening at Palace, N.Y</i>., <i>The Afro American</i>, Baltimore, newspaper, page 9, 15 February 1930 (retrieved 29 December 2014:http://news.google.com/newspapers?nid=2211&dat=19300215&id=PWBGAAAAIBAJ&sjid=kOUMAAAAIBAJ&pg=5190,2225065</span> </li> <li id="cite_note-64"> <span class="mw-cite-backlink">^</span> <span class="reference-text">Bernard L. Peterson, <i>A Century of Musicals in Black and White</i> article in <i>Brown Buddies</i>: An Encyclopedia of Musical Stage Works by, about or Involving African Americans</span>, Westport, CT: Greenwood Publishing, 1993, pp. 59–60. </li> <li id="cite_note-66"> <span class="mw-cite-backlink">^</span> <span class="reference-text">"Dancing in 'Brown Buddies'", <i>The Afro-American</i>, 27 September 1930.</span> </li> <li id="cite_note-Playbill-63"> <span class="mw-cite-backlink">^ <sup>a</sup> <sup>b</sup></span> <span class="reference-text"> playbill<i>Brown Buddies</i>, Playbill Vault.</span> </li> <li id="cite_note-69"> <span class="mw-cite-backlink">^</span> <span class="reference-text">Iain Cameron Williams, <i>Underneath a Harlem Moon</i>, pp. 389, 390 & 395. Hall appears four times during her 1931/32 world tour: February (with <a href="/articles/eng/Noble_Sissle" id="xolnki_390" title="Noble Sissle">Noble Sissle</a>), April, July and November.</span> </li> <li id="cite_note-70"> <span class="mw-cite-backlink">^</span> <span class="reference-text"><cite class="citation web">John Murph. "NPR's Jazz Profiles: Art Tatum". <i>npr.org</i>.</cite><span title="ctx_ver=Z39.88-2004&rfr_id=info%3Asid%2Fworldheritage.org%3AAdelaide+Hall&rft.au=John+Murph&rft.btitle=NPR%27s+Jazz+Profiles%3A+Art+Tatum&rft.genre=book&rft_id=http%3A%2F%2Fwww.npr.org%2Fprograms%2Fjazzprofiles%2Farchive%2Ftatum.html&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook" class="Z3988"><span style="display:none;"> </span></span></span> </li> <li id="cite_note-71"> <span class="mw-cite-backlink">^</span> <span class="reference-text">Art Tatum biography, PBS.</span> </li> <li id="cite_note-72"> <span class="mw-cite-backlink">^</span> <span class="reference-text">Bret Primack, "Art Tatum: No Greater Art Talkin' Tatum with Hank Jones, Billy Taylor, Dick Hyman, Adam Makowicz", <i>JazzTimes</i>, January/February 1998.</span> </li> <li id="cite_note-73"> <span class="mw-cite-backlink">^</span> <span class="reference-text">"Adelaide Hall – You Gave Me Everything But Love (1932)" on <a href="/articles/eng/YouTube" id="xolnki_391" title="YouTube">YouTube</a>.</span> </li> <li id="cite_note-74"> <span class="mw-cite-backlink">^</span> <span class="reference-text">"More Than a Handful – The Incomparable Art Tatum", 17 July 2011.</span> </li> <li id="cite_note-75"> <span class="mw-cite-backlink">^</span> <span class="reference-text">Art Tatum biography, African American Registry.</span> </li> <li id="cite_note-76"> <span class="mw-cite-backlink">^</span> <span class="reference-text">"Adelaide Hall twits white neighbours on their ancestry", <i>The Afro-American</i>, 27 August 1932.</span> </li> <li id="cite_note-77"> <span class="mw-cite-backlink">^</span> <span class="reference-text">"Why can’t the stars live where they please?" <i>The Afro-American</i>, 3 August 1935.</span> </li> <li id="cite_note-78"> <span class="mw-cite-backlink">^</span> <span class="reference-text">"Adelaide Hall interview – Why I Moved to London", <i>Baltimore Afro-American</i>, 9 July 1946.</span> </li> <li id="cite_note-79"> <span class="mw-cite-backlink">^</span> <span class="reference-text">Saturday, 21 January 1933, <i>Pittsburgh Courier</i>, page 6, second section – review under 'New York's First Nighter' Adelaide Hall returns to Harlem, (retrieved 1 February 2015): http://fultonhistory.com/Newspapers%2023/Pittsburgh%20PA%20Courier/Pittsburgh%20PA%20Courier%201933/Pittsburgh%20PA%20Courier%201933%20-%200053.pdf</span> </li> <li id="cite_note-80"> <span class="mw-cite-backlink">^</span> <span class="reference-text">Chappy Gardner, "ADELAIDE HALL TO TOUR THE COAST", <i>The Pittsburgh Courier</i>, 22 July 1933.</span> </li> <li id="cite_note-81"> <span class="mw-cite-backlink">^</span> <span class="reference-text">"State Street, Chicago – Miss Adelaide Hall Captures The World Fair City and They Like It", <i>The <a href="/articles/eng/Pittsburgh_Courier" id="xolnki_392" title="Pittsburgh Courier">Pittsburgh Courier</a></i>, 19 August 1933.</span> </li> <li id="cite_note-82"> <span class="mw-cite-backlink">^</span> <span class="reference-text">Cheryl Ganz, <i>The 1933 Chicago World's Fair – Century of Progress</i>, University of Illinois Press, 6 January 2012 (ISBN 0252078527). Adelaide Hall at the Billiken parade and Picnic reference on p. 115.</span> </li> <li id="cite_note-83"> <span class="mw-cite-backlink">^</span> <span class="reference-text">The <a href="/articles/eng/Pittsburgh_Courier" id="xolnki_393" title="Pittsburgh Courier">Pittsburgh Courier</a>, 2 December 1933."'Stormy Weather' Revue stars Adelaide Hall", <i>The Pittsburgh Courier</i>, 2 December 1933.</span> </li> <li id="cite_note-84"> <span class="mw-cite-backlink">^</span> <span class="reference-text">"Adelaide Hall with Cotton Club revue", article in <i>The Afro-American</i>, 23 September 1933, p. 18.</span> </li> <li id="cite_note-85"> <span class="mw-cite-backlink">^</span> <span class="reference-text">Article about producer Clarence Robinson and his involvement with Harlem's Apollo Theater and the show <i>Chocolate Soldiers</i> starring Adelaide Hall.</span> </li> <li id="cite_note-86"> <span class="mw-cite-backlink">^</span> <span class="reference-text">Steven Suskin, "Cotton Club Parade, 1934", in <i>Show Tunes: The Songs, Shows, and Careers of Broadway's Major Composers</i>, Oxford University Press, 2010, p. 147 (retrieved 14 September 2014).</span> </li> <li id="cite_note-87"> <span class="mw-cite-backlink">^</span> <span class="reference-text">Adelaide Hall talks about 1920's Harlem and Creole Love Call" on <a href="/articles/eng/YouTube" id="xolnki_394" title="YouTube">YouTube</a>.</span> </li> <li id="cite_note-88"> <span class="mw-cite-backlink">^</span> <span class="reference-text">Steven Watson, "The Harlem Renaissance".</span> </li> <li id="cite_note-89"> <span class="mw-cite-backlink">^</span> <span class="reference-text">Kennet B. Hilliard, "The Impact of the Music of the Harlem Renaissance on Society". Yale-New Haven Teachers Institute.</span> </li> <li id="cite_note-90"> <span class="mw-cite-backlink">^</span> <span class="reference-text">"Ill Wind" at JazzStandards.com</span> </li> <li id="cite_note-91"> <span class="mw-cite-backlink">^</span> <span class="reference-text"><cite class="citation web">Tom Morgan. "Jass.com: Cotton Club Revues 1934". <i>jass.com</i>.</cite><span title="ctx_ver=Z39.88-2004&rfr_id=info%3Asid%2Fworldheritage.org%3AAdelaide+Hall&rft.au=Tom+Morgan&rft.btitle=Jass.com%3A+Cotton+Club+Revues+1934&rft.genre=book&rft_id=http%3A%2F%2Fjass.com%2Fcotton1934.html&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook" class="Z3988"><span style="display:none;"> </span></span></span> </li> <li id="cite_note-92"> <span class="mw-cite-backlink">^</span> <span class="reference-text"><cite class="citation web">"Harold Arlen - Biography - The Cotton Club Years". <i>haroldarlen.com</i>.</cite><span title="ctx_ver=Z39.88-2004&rfr_id=info%3Asid%2Fworldheritage.org%3AAdelaide+Hall&rft.btitle=Harold+Arlen+-+Biography+-+The+Cotton+Club+Years&rft.genre=book&rft_id=http%3A%2F%2Fwww.haroldarlen.com%2Fbio-4.html&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook" class="Z3988"><span style="display:none;"> </span></span></span> </li> <li id="cite_note-93"> <span class="mw-cite-backlink">^</span> <span class="reference-text">"HARLEM NIGHT CLUBS BRILLIANT AND LIVELY – ADELAIDE HALL, GLADYS BENTLEY FEATURED STARS", <i>The Pittsburgh Courier</i>, 18 August 1934.</span> </li> <li id="cite_note-94"> <span class="mw-cite-backlink">^</span> <span class="reference-text">Adelaide Hall obituary in the Independent newspaper in which it mentions the use of nitrogen smoke used during Hall's appearance at the Cotton Club: (article retrieved 26 december 2014): http://www.independent.co.uk/news/people/obituary-adelaide-hall-1502902.html</span> </li> <li id="cite_note-95"> <span class="mw-cite-backlink">^</span> <span class="reference-text">"Looking at the Stars with Ralph Matthews", <i>The Afro-American</i>, week of 16 March 1935, p. 8; retrieved 25 August 2014.</span> </li> <li id="cite_note-96"> <span class="mw-cite-backlink">^</span> <span class="reference-text">"Adelaide Hall And Meeres & Meeres Off For London", <i>The Pittsburgh Courier</i>, 30 November 1935.</span> </li> <li id="cite_note-97"> <span class="mw-cite-backlink">^</span> <span class="reference-text">"Performer Adelaide Hall and her husband/manager, Bert Hicks, owned a nightclub in Montmartre called La Grosse Pomme...", Midnight in Paris.</span> </li> <li id="cite_note-98"> <span class="mw-cite-backlink">^</span> <span class="reference-text">"Django's Haunts", Paul Vernon Chester.</span> </li> <li id="cite_note-99"> <span class="mw-cite-backlink">^</span> <span class="reference-text">Quoted in Adelaide Hall obituary, <i>The Independent</i>, 8 November 1993.</span> </li> <li id="cite_note-100"> <span class="mw-cite-backlink">^</span> <span class="reference-text">Albert Gaubier danced under the direction of Serge Diaghilev. Albert Gaubier biography, retrieved 17 December 2014: http://translate.google.co.uk/translate?hl=en&sl=da&u=http://www.danskefilm.dk/skuespiller/10555.html&prev=search</span> </li> <li id="cite_note-101"> <span class="mw-cite-backlink">^</span> <span class="reference-text"><a href="/articles/eng/Henry_Crowder" id="xolnki_395" title="Henry Crowder">Henry Crowder</a> biography: Allardyce Barnett.</span> </li> <li id="cite_note-102"> <span class="mw-cite-backlink">^</span> <span class="reference-text">"Adelaide Hall shows Paris Canned Apple", <i>The Afro-American</i>, 25 December 1937.</span> </li> <li id="cite_note-103"> <span class="mw-cite-backlink">^</span> <span class="reference-text">"Adelaide Hall introduced Truckin' to Paris", <i>Baltimore Afro-American</i>, 6 November 1993.</span> </li> <li id="cite_note-104"> <span class="mw-cite-backlink">^</span> <span class="reference-text">Adelaide Hall and Willie Lewis and his Entertainers recording of "Say You're Mine", AllMusic.</span> </li> <li id="cite_note-105"> <span class="mw-cite-backlink">^</span> <span class="reference-text">Kai Ewans Orchestra with Adelaide Hall singing "Where or When".</span> </li> <li id="cite_note-106"> <span class="mw-cite-backlink">^</span> <span class="reference-text">’Over to Paris’ programme listing: http://genome.ch.bbc.co.uk/1c39099f7c744903a3f314232db022d1</span> </li> <li id="cite_note-107"> <span class="mw-cite-backlink">^</span> <span class="reference-text">Douglass Hall, "Why I Moved to London, How America's Peculiar Brand of Democracy Forced a Brooklyn Girl to Live in Europe", <i>Baltimore Afro-American</i>, 9 July 1946, p. 5 (with a large photograph of Adelaide Hall).</span> </li> <li id="cite_note-108"> <span class="mw-cite-backlink">^</span> <span class="reference-text"><i>The Sun Never Sets</i> cast list: (retrieved) list IMDb.</span> </li> <li id="cite_note-screenonline1-104"> <span class="mw-cite-backlink">^ <sup>a</sup> <sup>b</sup></span> <span class="reference-text">"Hall, Adelaide (1901–1993), Actor, Singer", BFI ScreenOnline.</span> </li> <li id="cite_note-110"> <span class="mw-cite-backlink">^</span> <span class="reference-text">"That Old Feeling" sung by Adelaide Hall with Fats Waller playing the organ on <a href="/articles/eng/YouTube" id="xolnki_396" title="YouTube">YouTube</a>.</span> </li> <li id="cite_note-112"> <span class="mw-cite-backlink">^</span> <span class="reference-text"><i>Broadcast To America</i> released on CD in 2012.</span> </li> <li id="cite_note-114"> <span class="mw-cite-backlink">^</span> <span class="reference-text">"Harlem in Mayfair", BBC TV listings, <i>Radio Times</i>, Saturday, 25 February 1939.</span> </li> <li id="cite_note-115"> <span class="mw-cite-backlink">^</span> <span class="reference-text">BBC TV listings, <i>Radio Times</i>, Saturday, 20 May 1939.</span> </li> <li id="cite_note-116"> <span class="mw-cite-backlink">^</span> <span class="reference-text">BBC TV listings, <i>Radio Times</i>, 18 August 1939, p. 17.</span> </li> <li id="cite_note-117"> <span class="mw-cite-backlink">^</span> <span class="reference-text">"The Kentucky Minstrels", IMBD.</span> </li> <li id="cite_note-118"> <span class="mw-cite-backlink">^</span> <span class="reference-text">BBC TV programme listings for 1 September 1939.</span> </li> <li id="cite_note-119"> <span class="mw-cite-backlink">^</span> <span class="reference-text"><i>Radio Times</i>, issue, 25 August 1939, p. 21.</span> </li> <li id="cite_note-120"> <span class="mw-cite-backlink">^</span> <span class="reference-text">Russ J. Graham, "The edit that rewrote history - What really did happen that day in 1939, when the <a href="/articles/eng/BBC" id="xolnki_397" title="BBC">BBC</a> Television Service closed down 'for the duration of the conflict'?" Transdiffusion Broadcasting System, 31 October 2005.</span> </li> <li id="cite_note-121"> <span class="mw-cite-backlink">^</span> <span class="reference-text">Joe Loss biography, in which Adelaide Hall is mentioned as being a featured vocalist in his band: "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 in 1921."</span> </li> <li id="cite_note-122"> <span class="mw-cite-backlink">^</span> <span class="reference-text">PROGRAMME FOR THE FORCES HOME SERVICE. "PIccadixie" (<i>Variety</i>) 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.</span> </li> <li id="cite_note-123"> <span class="mw-cite-backlink">^</span> <span class="reference-text">A poster advertising <i>Piccadixie</i> with the performers: Adelaide Hall (singer), Oliver Wakefield (comedian), Brixton, London, 8.12.1941, can be found at the V&A in their collection.</span> </li> <li id="cite_note-124"> <span class="mw-cite-backlink">^</span> <span class="reference-text">Article by Ida Peters , 13 November 1993, p. B7)<i>Baltimore Afro-American</i>( mentions that Adelaide Hall entertained the troops in Europe for the USO.</span> </li> <li id="cite_note-125"> <span class="mw-cite-backlink">^</span> <span class="reference-text">Angie Macdonald, "Keep Smiling Through", Dulwich Online, 11 April 2008. Review of the "Keep Smiling Through" exhibition that features recollections of Adelaide Hall entertaining the troops during WWII.</span> </li> <li id="cite_note-126"> <span class="mw-cite-backlink">^</span> <span class="reference-text">Prestige Records Discography: 1933–1948.</span> </li> <li id="cite_note-127"> <span class="mw-cite-backlink">^</span> <span class="reference-text">"During World War II, she hosted a radio show in London called Wrapped in Velvet"; extract from June Sochen, <i>From Mae to Madonna: Women Entertainers in Twentieth-century America</i>, p. 38. ISBN 9780813191997.</span> </li> <li id="cite_note-128"> <span class="mw-cite-backlink">^</span> <span class="reference-text">David Hinkley, "Scat-Singing Pioneer Adelaide Hall Never Really Went Out Of Style", <i>New York Daily News</i> (reprinted by the Knight-Ridder/Tribune News Service, 19 November 1993, 1119K3115.</span> </li> <li id="cite_note-129"> <span class="mw-cite-backlink">^</span> <span class="reference-text">Stephen Bourne, "When Adelaide Hall Went to War", WW2 People's War, BBC.</span> </li> <li id="cite_note-130"> <span class="mw-cite-backlink">^</span> <span class="reference-text">"Home Front – Songs From World War II".</span> </li> <li id="cite_note-131"> <span class="mw-cite-backlink">^</span> <span class="reference-text"><cite class="citation web">"Adelaide Hall - Cocktails With Elvira". <i>wordpress.com</i>.</cite><span title="ctx_ver=Z39.88-2004&rfr_id=info%3Asid%2Fworldheritage.org%3AAdelaide+Hall&rft.btitle=Adelaide+Hall+-+Cocktails+With+Elvira&rft.genre=book&rft_id=http%3A%2F%2Felvirabarney.wordpress.com%2Ftag%2Fadelaide-hall%2F&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook" class="Z3988"><span style="display:none;"> </span></span></span> </li> <li id="cite_note-133"> <span class="mw-cite-backlink">^</span> <span class="reference-text"><cite class="citation web">"Adelaide Hall". <i>IMDb</i>.</cite><span title="ctx_ver=Z39.88-2004&rfr_id=info%3Asid%2Fworldheritage.org%3AAdelaide+Hall&rft.btitle=Adelaide+Hall&rft.genre=book&rft_id=http%3A%2F%2Fwww.imdb.com%2Fname%2Fnm0355263%2F&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook" class="Z3988"><span style="display:none;"> </span></span></span> </li> <li id="cite_note-134"> <span class="mw-cite-backlink">^</span> <span class="reference-text"><cite class="citation web">"BFI Screenonline: Thief of Bagdad, The (1940) Credits". <i>screenonline.org.uk</i>.</cite><span title="ctx_ver=Z39.88-2004&rfr_id=info%3Asid%2Fworldheritage.org%3AAdelaide+Hall&rft.btitle=BFI+Screenonline%3A+Thief+of+Bagdad%2C+The+%281940%29+Credits&rft.genre=book&rft_id=http%3A%2F%2Fwww.screenonline.org.uk%2Ffilm%2Fid%2F438437%2Fcredits.html&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook" class="Z3988"><span style="display:none;"> </span></span></span> </li> <li id="cite_note-135"> <span class="mw-cite-backlink">^</span> <span class="reference-text"><cite class="citation web">"Gesualdo". <i>tumblr.com</i>.</cite><span title="ctx_ver=Z39.88-2004&rfr_id=info%3Asid%2Fworldheritage.org%3AAdelaide+Hall&rft.btitle=Gesualdo&rft.genre=book&rft_id=http%3A%2F%2Falluyp.tumblr.com%2Fpost%2F9499098412&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook" class="Z3988"><span style="display:none;"> </span></span></span> </li> <li id="cite_note-136"> <span class="mw-cite-backlink">^</span> <span class="reference-text">Miklós Rózsa interview explaining how he came to write the score for <i>The Thief of Bagdad</i>.</span> </li> <li id="cite_note-137"> <span class="mw-cite-backlink">^</span> <span class="reference-text">An original radio recording - ENSA Presents Spotlight on the Stars - Adelaide Hall with the BBC Variety Orchestra – broadcast in 1943: YouTube.</span> </li> <li id="cite_note-138"> <span class="mw-cite-backlink">^</span> <span class="reference-text"> magazine (British issue)<i>Vogue</i>, August 1940 (retrieved 13 September 2014).</span> </li> <li id="cite_note-139"> <span class="mw-cite-backlink">^</span> <span class="reference-text">WW2 People's War, BBC.</span> </li> <li id="cite_note-140"> <span class="mw-cite-backlink">^</span> <span class="reference-text">Getty Images:A view of the 'Cafe Continental' stage set in the television studio at RadiOlympia Theatre, London, September 1947.</span> </li> <li id="cite_note-141"> <span class="mw-cite-backlink">^</span> <span class="reference-text">IMDb listing for Variety in Sepia (1947):http://www.imdb.com/title/tt4177254/?ref_=ttfc_fc_tt</span> </li> <li id="cite_note-142"> <span class="mw-cite-backlink">^</span> <span class="reference-text">"Adelaide Hall – 'Swing Low, Sweet Chariot' (1948)" on <a href="/articles/eng/YouTube" id="xolnki_400" title="YouTube">YouTube</a>.</span> </li> <li id="cite_note-143"> <span class="mw-cite-backlink">^</span> <span class="reference-text">"Adelaide Hall at the Nightingale Club, London (1948)" Video on <a href="/articles/eng/YouTube" id="xolnki_401" title="YouTube">YouTube</a>.</span> </li> <li id="cite_note-144"> <span class="mw-cite-backlink">^</span> <span class="reference-text">"British Programmes", Whirligig: "<i>How Do You View</i>? (1951) was the first-ever comedy series on British television and starred <a href="/articles/eng/Terry-Thomas" id="xolnki_402" title="Terry-Thomas">Terry Thomas</a>: the show's musical spot was filled by guests such as <a href="/articles/eng/Dickie_Valentine" id="xolnki_403" title="Dickie Valentine">Dickie Valentine</a>, <a href="/articles/eng/Lita_Roza" id="xolnki_404" title="Lita Roza">Lita Roza</a>, Adelaide Hall and <a href="/articles/eng/Jimmy_Young_(disc_jockey)" id="xolnki_405" title="Jimmy Young (disc jockey)">Jimmy Young</a>."</span> </li> <li id="cite_note-145"> <span class="mw-cite-backlink">^</span> <span class="reference-text">The Royal Variety Performance, 29 October 1951, Victoria Palace Theatre, London.</span> </li> <li id="cite_note-146"> <span class="mw-cite-backlink">^</span> <span class="reference-text">A mention of Adelaide Hall being the first black female artist 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.</span> </li> <li id="cite_note-147"> <span class="mw-cite-backlink">^</span> <span class="reference-text">[2]The 1951 Royal Variety Performance programme shows that Primus and her company appeared at the same time as Hall</span> </li> <li id="cite_note-148"> <span class="mw-cite-backlink">^</span> <span class="reference-text"><a href="/articles/eng/Louis_Lautier" id="xolnki_406" title="Louis Lautier">Louis Lautier</a>, "Capital Spotlight", <i>Baltimore Afro-American</i>, 14 October 1952, p. 17.</span> </li> <li id="cite_note-149"> <span class="mw-cite-backlink">^</span> <span class="reference-text"><i>Jet</i>, 15 May 1952, p. 66. Article about Adelaide Hall (includes a photograph) mentioning her Calypso Club in London and how she taught Princess Elizabeth to dance the Charleston.</span> </li> <li id="cite_note-150"> <span class="mw-cite-backlink">^</span> <span class="reference-text"><i>Love From Judy</i>Caricature of Adelaide Hall in her role as Butterfly in drawn by Gilbert Sommerlad held in the V&A Collection Archive.</span> </li> <li id="cite_note-151"> <span class="mw-cite-backlink">^</span> <span class="reference-text"><cite class="citation web">"Love From Judy". <i>guidetomusicaltheatre.com</i>.</cite><span title="ctx_ver=Z39.88-2004&rfr_id=info%3Asid%2Fworldheritage.org%3AAdelaide+Hall&rft.btitle=Love+From+Judy&rft.genre=book&rft_id=http%3A%2F%2Fwww.guidetomusicaltheatre.com%2Fshows_l%2Flovefrom_judy.htm&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook" class="Z3988"><span style="display:none;"> </span></span></span> </li> <li id="cite_note-NYTobit-144"> <span class="mw-cite-backlink">^ <sup>a</sup> <sup>b</sup> <sup>c</sup></span> <span class="reference-text">Glenn Collins, "Adelaide Hall, 92, International Star of Cabaret" (obituary, listing some of her stage performances), <i>New York Times</i>, 10 November 1993.</span> </li> <li id="cite_note-153"> <span class="mw-cite-backlink">^</span> <span class="reference-text"> in Philly world premiere"<i>Jamaica</i>"Lena Horne and (with large photograph of Lena, Adelaide and Ricardo Montalban), <i>Washington Afro-American</i>, 3 September 1957, p. 33.</span> </li> <li id="cite_note-154"> <span class="mw-cite-backlink">^</span> <span class="reference-text">"Adelaide Hall in new musical", <i>Washington Afro-American</i>, 12 August 1958.</span> </li> <li id="cite_note-155"> <span class="mw-cite-backlink">^</span> <span class="reference-text"><cite class="citation web">"TV Pop Diaries 1960". <i>tvpopdiaries.co.uk</i>.</cite><span title="ctx_ver=Z39.88-2004&rfr_id=info%3Asid%2Fworldheritage.org%3AAdelaide+Hall&rft.btitle=TV+Pop+Diaries+1960&rft.genre=book&rft_id=http%3A%2F%2Fwww.tvpopdiaries.co.uk%2F1960.html&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook" class="Z3988"><span style="display:none;"> </span></span></span> </li> <li id="cite_note-156"> <span class="mw-cite-backlink">^</span> <span class="reference-text">"Muses With Milligan – BBCtv 1965 – Restoration Split Screen Demo" on <a href="/articles/eng/YouTube" id="xolnki_407" title="YouTube">YouTube</a>.</span> </li> <li id="cite_note-158"> <span class="mw-cite-backlink">^</span> <span class="reference-text"><i>Looks Familiar</i> at BFI.</span> </li> <li id="cite_note-159"> <span class="mw-cite-backlink">^</span> <span class="reference-text"><i>What Is Jazz?</i> at BFI.</span> </li> <li id="cite_note-160"> <span class="mw-cite-backlink">^</span> <span class="reference-text"> credits<i>It Don't Mean a Thing</i>, BFI.</span> </li> <li id="cite_note-161"> <span class="mw-cite-backlink">^</span> <span class="reference-text"> credits<i>Parkinson: 300</i>, BFI.</span> </li> <li id="cite_note-162"> <span class="mw-cite-backlink">^</span> <span class="reference-text"><cite class="citation web">"The Sacred Music of Duke Ellington (1983)". <i>BFI</i>.</cite><span title="ctx_ver=Z39.88-2004&rfr_id=info%3Asid%2Fworldheritage.org%3AAdelaide+Hall&rft.btitle=The+Sacred+Music+of+Duke+Ellington+%281983%29&rft.genre=book&rft_id=http%3A%2F%2Fftvdb.bfi.org.uk%2Fsift%2Ftitle%2F119040%3Fview%3Dcredit&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook" class="Z3988"><span style="display:none;"> </span></span></span> </li> <li id="cite_note-163"> <span class="mw-cite-backlink">^</span> <span class="reference-text"> concert<i>The Sacred Music of Duke Ellington</i> at St. Paul's Cathedral, London, 1982: Library of Congress details for the event.</span> </li> <li id="cite_note-164"> <span class="mw-cite-backlink">^</span> <span class="reference-text">Bernard L. Peterson, <i>A Century of Musicals in Black and White: An Encyclopedia of Musical Stage</i>, pp. 40–41 – Black Broadway cast details, etc.</span> </li> <li id="cite_note-165"> <span class="mw-cite-backlink">^</span> <span class="reference-text">Listing for Michael's Pub, <i>New York</i> magazine, 2 June 1980, p. 94.</span> </li> <li id="cite_note-166"> <span class="mw-cite-backlink">^</span> <span class="reference-text">Thomas P. Hustad, <i>Born to Play: The Ruby Braff Discography and Directory of Performances (Studies in Jazz)</i>, Scarecrow Press, 3 May 2012, p. 397. ISBN 0810882647.</span> </li> <li id="cite_note-167"> <span class="mw-cite-backlink">^</span> <span class="reference-text">Newport Jazz Festival listings, <i>New York</i> magazine, 7 July 1980, p. 109.</span> </li> <li id="cite_note-168"> <span class="mw-cite-backlink">^</span> <span class="reference-text">Dolores Barclay, "The Blues is a Woman - Newport Jazz Festival concert honors all women who have recorded blues", <i>Ebony</i>, September 1980, pp. 94–98. A photograph of Hall performing at the event is on p. 96.</span> </li> <li id="cite_note-169"> <span class="mw-cite-backlink">^</span> <span class="reference-text">Peter Keepnews, "Pianist Eubie Blake feted as he hits century mark", <i>Billboard</i>, 19 February 1983, p. 55.</span> </li> <li id="cite_note-170"> <span class="mw-cite-backlink">^</span> <span class="reference-text">Ruth Gilbert, "In and Around Town Adelaide Hall at the Cookery", <i>New York</i> magazine, p. 28.</span> </li> <li id="cite_note-171"> <span class="mw-cite-backlink">^</span> <span class="reference-text"> video<i>The Cotton Club comes to the Ritz</i> (retrieved 6 September 2014).</span> </li> <li id="cite_note-172"> <span class="mw-cite-backlink">^</span> <span class="reference-text">Library of Congress data for <i>Omnibus</i> series, episode "The Cotton Club comes to the Ritz" (retrieved 6 September 2014).</span> </li> <li id="cite_note-173"> <span class="mw-cite-backlink">^</span> <span class="reference-text"><i>The South Bank Show</i>, episode "The Real Cotton Club". Library of Congress.</span> </li> <li id="cite_note-174"> <span class="mw-cite-backlink">^</span> <span class="reference-text">Photograph of Adelaide Hall onstage at the Barbican, July 1986.</span> </li> <li id="cite_note-175"> <span class="mw-cite-backlink">^</span> <span class="reference-text"><cite class="citation news">Wilson, John S. (14 October 1988). "Review/Music; Adelaide Hall Opens Weill Cabaret Bill". <i>The New York Times</i>.</cite><span title="ctx_ver=Z39.88-2004&rfr_id=info%3Asid%2Fworldheritage.org%3AAdelaide+Hall&rft.atitle=Review%2FMusic%3B+Adelaide+Hall+Opens+Weill+Cabaret+Bill&rft.aufirst=John+S.&rft.aulast=Wilson&rft.date=14+October+1988&rft.genre=article&rft.jtitle=The+New+York+Times&rft_id=http%3A%2F%2Fwww.nytimes.com%2F1988%2F10%2F14%2Farts%2Freview-music-adelaide-hall-opens-weill-cabaret-bill.html&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal" class="Z3988"><span style="display:none;"> </span></span></span> </li> <li id="cite_note-176"> <span class="mw-cite-backlink">^</span> <span class="reference-text">Adelaide Hall (<a href="/articles/eng/King%27s_Head_Theatre" id="xolnki_408" title="King's Head Theatre">King's Head Theatre</a>, Islington,) review, <i><a href="/articles/eng/The_Spectator" id="xolnki_409" title="The Spectator">The Spectator</a></i>, 10 December 1988, p. 45.</span> </li> <li id="cite_note-177"> <span class="mw-cite-backlink">^</span> <span class="reference-text">"Adelaide Hall, jazz singer", <i>Desert Island Discs</i>, 2 December 1972.</span> </li> <li id="cite_note-178"> <span class="mw-cite-backlink">^</span> <span class="reference-text">"Adelaide Hall, jazz singer", <i>Desert Island Discs</i>, 13 January 1991.</span> </li> <li id="cite_note-179"> <span class="mw-cite-backlink">^</span> <span class="reference-text">"Royal Ellington (1989)", concert at the Royal Festival Hall. BFI.</span> </li> <li id="cite_note-180"> <span class="mw-cite-backlink">^</span> <span class="reference-text"><a href="/articles/eng/Gavin_Bryars" id="xolnki_410" title="Gavin Bryars">Gavin Bryars</a>' reminisces about the Adelaide Hall concert at the Studio Theatre, Haymarket, Leicester: http://www.gavinbryars.com/work/writing/occasional-writings/composer-gavin-bryars-conversation-about-adelaide-hall’s-concert</span> </li> <li id="cite_note-181"> <span class="mw-cite-backlink">^</span> <span class="reference-text">"Jazz on a Summer's Night: Sophisticated Lady (1990)", BFI.</span> </li> <li id="cite_note-182"> <span class="mw-cite-backlink">^</span> <span class="reference-text">Gold Badge Award list for 1992.</span> </li> <li id="cite_note-186"> <span class="mw-cite-backlink">^</span> <span class="reference-text"><cite class="citation web">"Featured Content on Myspace". <i>Myspace</i>.</cite><span title="ctx_ver=Z39.88-2004&rfr_id=info%3Asid%2Fworldheritage.org%3AAdelaide+Hall&rft.btitle=Featured+Content+on+Myspace&rft.genre=book&rft_id=https%3A%2F%2Fwww.myspace.com%2Fadelaidehall&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook" class="Z3988"><span style="display:none;"> </span></span></span> </li> <li id="cite_note-187"> <span class="mw-cite-backlink">^</span> <span class="reference-text">"Died, Adelaide Hall", Time Inc., 22 November 1993.</span> </li> <li id="cite_note-188"> <span class="mw-cite-backlink">^</span> <span class="reference-text">Adelaide Hall grave at the Cemetery of the Evergreens, Brooklyn.</span> </li> <li id="cite_note-189"> <span class="mw-cite-backlink">^</span> <span class="reference-text">"On This Day in History", <i>Brooklyn Eagle</i>.</span> </li> <li id="cite_note-192"> <span class="mw-cite-backlink">^</span> <span class="reference-text"><i>The Afro American</i>, newspaper, 2 December 1939, page 6 – (article) <i>Twelve Sing Way Back to America</i> by William N. Jones – "<i><a href="/articles/eng/Bricktop" id="xolnki_411" title="Bricktop">Bricktop</a> has been back in America several weeks while Adelaide Hall has been singing for the soldiers. Miss Hall, whose popularity with the British 'Tommy’s' ranks with that of <a href="/articles/eng/Gracie_Fields" id="xolnki_412" title="Gracie Fields">Gracie Fields</a>, may remain in England as Miss Fields has recently suffered a breakdown.</i>" (retrieved 14 October 2015): https://news.google.com/newspapers?nid=2211&dat=19391118&id=5k9AAAAAIBAJ&sjid=RgMGAAAAIBAJ&pg=1335,3800200&hl=en</span> </li> <li id="cite_note-193"> <span class="mw-cite-backlink">^</span> <span class="reference-text"><cite class="citation web">"100 Great Records Of The 1920s.". <i>aceterrier.com</i>.</cite><span title="ctx_ver=Z39.88-2004&rfr_id=info%3Asid%2Fworldheritage.org%3AAdelaide+Hall&rft.btitle=100+Great+Records+Of+The+1920s.&rft.genre=book&rft_id=http%3A%2F%2Faceterrier.com%2F%3Fpage_id%3D551&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook" class="Z3988"><span style="display:none;"> </span></span></span> </li> <li id="cite_note-194"> <span class="mw-cite-backlink">^</span> <span class="reference-text">Page 194, <i>The Collected Works of Langston Hughes: Works for Children and Young Adults</i> - Biographies v. 12 (The Collected Works of Langston Hughes) Works for Children and Young Adults: Biographies by Langston Hughes, reissued 2001, ISBN 978-0826213723</span> </li> <li id="cite_note-195"> <span class="mw-cite-backlink">^</span> <span class="reference-text">Lost Gay Novels: A Reference Guide to Fifty Works from the First Half of the Century by Anthony Slide – Chapter 36, <a href="/articles/eng/Strange_Brother" id="xolnki_413" title="Strange Brother">Strange Brother</a>: https://books.google.co.uk/books?id=So8EIVtTFyYC&pg=PT190&lpg=PT190&dq=blair+niles+adelaide+hall&source=bl&ots=ReZehv9gUJ&sig=Xy_744hnN9_S-ko7BdTDHD9S0Ds&hl=en&sa=X&ei=mPGuVIeFJo7U7AaUmICoBQ&ved=0CCUQ6AEwAQ#v=onepage&q=blair%20niles%20adelaide%20hall&f=false</span> </li> <li id="cite_note-196"> <span class="mw-cite-backlink">^</span> <span class="reference-text">Marsha Hunt, <i>Like Venus Fading</i>, Harper Collins.</span> </li> <li id="cite_note-197"> <span class="mw-cite-backlink">^</span> <span class="reference-text"><a href="/articles/eng/Gavin_Bryars" id="xolnki_414" title="Gavin Bryars">Gavin Bryars</a> explains where he got the inspiration for his composition <i>When Harry Met Addie</i>: http://www.gavinbryars.com/work/composition/when-harry-met-addie</span> </li> <li id="cite_note-198"> <span class="mw-cite-backlink">^</span> <span class="reference-text"><i>The Guardian</i> newspaper review (retrieved 1 February 2015: http://www.theguardian.com/culture/1999/may/04/artsfeatures.jazz</span> </li> <li id="cite_note-199"> <span class="mw-cite-backlink">^</span> <span class="reference-text"><i>When Harry Met Addie</i> concert details:http://www.schott-international.com/shop/php/Proxy.php?purl=/essh/9/show,165998.html</span> </li> <li id="cite_note-200"> <span class="mw-cite-backlink">^</span> <span class="reference-text">"The Wonderful Girls In Our Lives", 1973, Morecambe & Wise.</span> </li> <li id="cite_note-bluesandsoul.com-187"> <span class="mw-cite-backlink">^</span> <span class="reference-text"><cite class="citation web">Stephen Clark - Design. "Laura Mvula: Reflections of...". <i>bluesandsoul.com</i>.</cite><span title="ctx_ver=Z39.88-2004&rfr_id=info%3Asid%2Fworldheritage.org%3AAdelaide+Hall&rft.au=Stephen+Clark+-+Design&rft.btitle=Laura+Mvula%3A+Reflections+of...&rft.genre=book&rft_id=http%3A%2F%2Fwww.bluesandsoul.com%2Ffeature%2F826%2Fgreat_expectations%2F&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook" class="Z3988"><span style="display:none;"> </span></span></span> </li> <li id="cite_note-202"> <span class="mw-cite-backlink">^</span> <span class="reference-text">"Laura Mvula releases orchestral recording of 'Sing to the Moon'". Retrieved 13 August 2014.</span> </li> <li id="cite_note-203"> <span class="mw-cite-backlink">^</span> <span class="reference-text">Adrian Thrills, "From soul singer to Proms diva: Rising star Laura Mvula has a classical makeover", <i>Daily Mail</i>, 8 August 2014; retrieved 13 August 2014.</span> </li> <li id="cite_note-204"> <span class="mw-cite-backlink">^</span> <span class="reference-text">Miranda Bryant, "Laura Mvula’s over the Moon as she stars at Proms with orchestra", <i>Evening Standard</i>, 8 August 2014; retrieved 13 August 2014.</span> </li> <li id="cite_note-205"> <span class="mw-cite-backlink">^</span> <span class="reference-text">Kate Bussmann, "Laura Mvula records Sing to the Moon at <a href="/articles/eng/Abbey_Road_Studios" id="xolnki_415" title="Abbey Road Studios">Abbey Road Studios</a> with a live orchestra", <i>Telegraph</i>, 7 August 2014; retrieved 13 August 2014.</span> </li> <li id="cite_note-206"> <span class="mw-cite-backlink">^</span> <span class="reference-text">Hayley Levitt, review<i>After Midnight</i>, TheaterMania, 3 November 2013.</span> </li> <li id="cite_note-207"> <span class="mw-cite-backlink">^</span> <span class="reference-text">"After Midnight - An Homage to Harlem's Golden Age", New York City Theatre.</span> </li> <li id="cite_note-208"> <span class="mw-cite-backlink">^</span> <span class="reference-text">Marilyn Stasio, "Broadway Review: 'After Midnight'", <i>Variety</i>, 3 November 2013.</span> </li> <li id="cite_note-209"> <span class="mw-cite-backlink">^</span> <span class="reference-text"><cite class="citation news">Isherwood, Charles (3 November 2013). After Midnight,' on Broadway, Fetes the Heyday of an Era"<span style="padding-left:0.2em;">'</span>". <i>The New York Times</i>.</cite><span title="ctx_ver=Z39.88-2004&rfr_id=info%3Asid%2Fworldheritage.org%3AAdelaide+Hall&rft.atitle=%27After+Midnight%2C%27+on+Broadway%2C+Fetes+the+Heyday+of+an+Era&rft.aufirst=Charles&rft.aulast=Isherwood&rft.date=3+November+2013&rft.genre=article&rft.jtitle=The+New+York+Times&rft_id=http%3A%2F%2Fwww.nytimes.com%2F2013%2F11%2F04%2Ftheater%2Freviews%2Fafter-midnight-on-broadway-fetes-the-heyday-of-an-era.html%3F_r%3D0&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal" class="Z3988"><span style="display:none;"> </span></span></span> </li> <li id="cite_note-210"> <span class="mw-cite-backlink">^</span> <span class="reference-text">"A Nite at the Cotton Club", Past shows, Southern Broadway Dinner Theatre.</span> </li> <li id="cite_note-211"> <span class="mw-cite-backlink">^</span> <span class="reference-text">"ASCAP 100": Adelaide Hall’s recording of "I Can't Give You Anything but Love, Baby" is chosen to represent 1928 in the ASCAP 100 years timeline. Retrieved 4 September 2014,</span> </li> <li id="cite_note-212"> <span class="mw-cite-backlink">^</span> <span class="reference-text"><cite class="citation web">"Victor matrix BVE-39370. Creole love call / Duke Ellington Orchestra". <i>ucsb.edu</i>.</cite><span title="ctx_ver=Z39.88-2004&rfr_id=info%3Asid%2Fworldheritage.org%3AAdelaide+Hall&rft.btitle=Victor+matrix+BVE-39370.+Creole+love+call+%2F+Duke+Ellington+Orchestra&rft.genre=book&rft_id=http%3A%2F%2Fvictor.library.ucsb.edu%2Findex.php%2Fmatrix%2Fdetail%2F800013629%2FBVE-39370-Creole_love_call&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook" class="Z3988"><span style="display:none;"> </span></span></span> </li> <li id="cite_note-213"> <span class="mw-cite-backlink">^</span> <span class="reference-text"><cite class="citation web">"Victor matrix BVE-39371. Blues I love to sing / Duke Ellington Orchestra". <i>ucsb.edu</i>.</cite><span title="ctx_ver=Z39.88-2004&rfr_id=info%3Asid%2Fworldheritage.org%3AAdelaide+Hall&rft.btitle=Victor+matrix+BVE-39371.+Blues+I+love+to+sing+%2F+Duke+Ellington+Orchestra&rft.genre=book&rft_id=http%3A%2F%2Fvictor.library.ucsb.edu%2Findex.php%2Fmatrix%2Fdetail%2F800013630%2FBVE-39371-Blues_I_love_to_sing&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook" class="Z3988"><span style="display:none;"> </span></span></span> </li> <li id="cite_note-ellingtonweb.ca-200"> <span class="mw-cite-backlink">^ <sup>a</sup> <sup>b</sup></span> <span class="reference-text"><cite class="citation web">"1927 The Dooji Collection: Ellington 78 rpm labels". <i>ellingtonweb.ca</i>.</cite><span title="ctx_ver=Z39.88-2004&rfr_id=info%3Asid%2Fworldheritage.org%3AAdelaide+Hall&rft.btitle=1927+The+Dooji+Collection%3A+Ellington+78+rpm+labels&rft.genre=book&rft_id=http%3A%2F%2Fellingtonweb.ca%2FHostedpages%2FDoojiCollection%2FDoojiCollection-1927.html&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook" class="Z3988"><span style="display:none;"> </span></span></span> </li> <li id="cite_note-215"> <span class="mw-cite-backlink">^</span> <span class="reference-text"><cite class="citation web">"Victor matrix BVE-Test-110. Must have that man / Adelaide Hall". <i>ucsb.edu</i>.</cite><span title="ctx_ver=Z39.88-2004&rfr_id=info%3Asid%2Fworldheritage.org%3AAdelaide+Hall&rft.btitle=Victor+matrix+BVE-Test-110.+Must+have+that+man+%2F+Adelaide+Hall&rft.genre=book&rft_id=http%3A%2F%2Fvictor.library.ucsb.edu%2Findex.php%2Fmatrix%2Fdetail%2F900002191%2FBVE-Test-110-Must_have_that_man&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook" class="Z3988"><span style="display:none;"> </span></span></span> </li> <li id="cite_note-216"> <span class="mw-cite-backlink">^</span> <span class="reference-text"><cite class="citation web">"Victor matrix BVE-Test-111. Baby / Adelaide Hall". <i>ucsb.edu</i>.</cite><span title="ctx_ver=Z39.88-2004&rfr_id=info%3Asid%2Fworldheritage.org%3AAdelaide+Hall&rft.btitle=Victor+matrix+BVE-Test-111.+Baby+%2F+Adelaide+Hall&rft.genre=book&rft_id=http%3A%2F%2Fvictor.library.ucsb.edu%2Findex.php%2Fmatrix%2Fdetail%2F900002192%2FBVE-Test-111-Baby&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook" class="Z3988"><span style="display:none;"> </span></span></span> </li> <li id="cite_note-218"> <span class="mw-cite-backlink">^</span> <span class="reference-text">Adelaide Hall with Duke Ellington and His Famous Orchestra: http://www.mosaicrecords.com/discography.asp?number=248-MD-CD&price=$179.00&copies=11%20CDs</span> </li> <li id="cite_note-219"> <span class="mw-cite-backlink">^</span> <span class="reference-text"><cite class="citation web">"1933-1934 Dooji Collection: Ellington 78 rpm labels". <i>ellingtonweb.ca</i>.</cite><span title="ctx_ver=Z39.88-2004&rfr_id=info%3Asid%2Fworldheritage.org%3AAdelaide+Hall&rft.btitle=1933-1934+Dooji+Collection%3A+Ellington+78+rpm+labels&rft.genre=book&rft_id=http%3A%2F%2Fellingtonweb.ca%2FHostedpages%2FDoojiCollection%2FDoojiCollection-1933-34.html&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook" class="Z3988"><span style="display:none;"> </span></span></span> </li> <li id="cite_note-220"> <span class="mw-cite-backlink">^</span> <span class="reference-text">Adelaide Hall with <a href="/articles/eng/Duke_Ellington" id="xolnki_416" title="Duke Ellington">Duke Ellington</a> and His Famous Orchestra: http://www.mosaicrecords.com/discography.asp?number=248-MD-CD&price=$179.00&copies=11%20CDs</span> </li> <li id="cite_note-221"> <span class="mw-cite-backlink">^</span> <span class="reference-text">Jazz recordings listing:http://www.jazzdisco.org/prestige-records/discography-1933-1948/</span> </li> <li id="cite_note-222"> <span class="mw-cite-backlink">^</span> <span class="reference-text">Pop music history (Columbia Records):http://myweb.tiscali.co.uk/popmusichistory/Labels/Columbia.pdf</span> </li> <li id="cite_note-223"> <span class="mw-cite-backlink">^</span> <span class="reference-text">"Adelaide Hall – Discography" at 45Cat</span> </li> <li id="cite_note-224"> <span class="mw-cite-backlink">^</span> <span class="reference-text"><cite class="citation web">"45cat - Adelaide Hall - Common Sense / Blue Bird On My Shoulder - Oriole - UK - CB 1556". <i>45cat.com</i>.</cite><span title="ctx_ver=Z39.88-2004&rfr_id=info%3Asid%2Fworldheritage.org%3AAdelaide+Hall&rft.btitle=45cat+-+Adelaide+Hall+-+Common+Sense+%2F+Blue+Bird+On+My+Shoulder+-+Oriole+-+UK+-+CB+1556&rft.genre=book&rft_id=http%3A%2F%2Fwww.45cat.com%2Frecord%2Fcb1556%23comments&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook" class="Z3988"><span style="display:none;"> </span></span></span> </li> <li id="cite_note-225"> <span class="mw-cite-backlink">^</span> <span class="reference-text"><cite class="citation web">Carolyn Hope. "Barry's Hits of All Decades Pop rock n roll Music Chart Hits". <i>hitsofalldecades.com</i>.</cite><span title="ctx_ver=Z39.88-2004&rfr_id=info%3Asid%2Fworldheritage.org%3AAdelaide+Hall&rft.au=Carolyn+Hope&rft.btitle=Barry%27s+Hits+of+All+Decades+Pop+rock+n+roll+Music+Chart+Hits&rft.genre=book&rft_id=http%3A%2F%2Fhitsofalldecades.com%2Fchart_hits%2Findex.php%3Foption%3Dcom_content%26task%3Dview%26id%3D2561%26Itemid%3D52&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook" class="Z3988"><span style="display:none;"> </span></span></span> </li> <li id="cite_note-226"> <span class="mw-cite-backlink">^</span> <span class="reference-text"><cite class="citation web">Carolyn Hope. "Barry's Hits of All Decades Pop rock n roll Music Chart Hits". <i>hitsofalldecades.com</i>.</cite><span title="ctx_ver=Z39.88-2004&rfr_id=info%3Asid%2Fworldheritage.org%3AAdelaide+Hall&rft.au=Carolyn+Hope&rft.btitle=Barry%27s+Hits+of+All+Decades+Pop+rock+n+roll+Music+Chart+Hits&rft.genre=book&rft_id=http%3A%2F%2Fhitsofalldecades.com%2Fchart_hits%2Findex.php%3Foption%3Dcom_content%26task%3Dview%26id%3D2563%26Itemid%3D52&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook" class="Z3988"><span style="display:none;"> </span></span></span> </li> <li id="cite_note-227"> <span class="mw-cite-backlink">^</span> <span class="reference-text">IMDb <i>On the Air and Off</i> (Short):http://www.imdb.com/title/tt0175004/?ref_=nm_flmg_slf_14</span> </li> <li id="cite_note-228"> <span class="mw-cite-backlink">^</span> <span class="reference-text">IMDb <i>Broadway Varieties</i> (Short):http://www.imdb.com/title/tt0172194/?ref_=nm_flmg_slf_13</span> </li> <li id="cite_note-229"> <span class="mw-cite-backlink">^</span> <span class="reference-text"><i>Behind The Blackout</i> (1940) British Pathé Newsreel: http://www.britishpathe.com/video/behind-the-blackout/query/contortionists</span> </li> <li id="cite_note-230"> <span class="mw-cite-backlink">^</span> <span class="reference-text">Adelaide Hall, BFI film listings:http://www.screenonline.org.uk/people/id/580633/credits.html</span> </li> <li id="cite_note-231"> <span class="mw-cite-backlink">^</span> <span class="reference-text"><i>Olivelli's</i> (1951) British Pathé Newsreel http://www.britishpathe.com/video/olivellis/query/adelaide+hall</span> </li> <li id="cite_note-232"> <span class="mw-cite-backlink">^</span> <span class="reference-text"><cite class="citation web">"Women In Wartime". <i>Imperial War Museums</i>.</cite><span title="ctx_ver=Z39.88-2004&rfr_id=info%3Asid%2Fworldheritage.org%3AAdelaide+Hall&rft.btitle=Women+In+Wartime&rft.genre=book&rft_id=http%3A%2F%2Farchive.iwm.org.uk%2Fupload%2Fpackage%2F41%2Fwomen%2Fdisplays.htm&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook" class="Z3988"><span style="display:none;"> </span></span></span> </li> <li id="cite_note-233"> <span class="mw-cite-backlink">^</span> <span class="reference-text">Helia Ebrahimi, "Women and War exhibition", MailOnline.</span> </li> <li id="cite_note-234"> <span class="mw-cite-backlink">^</span> <span class="reference-text">The Queen opens the exhibition "Women and War", Imperial War Museum, 14 October 2003.</span> </li> <li id="cite_note-235"> <span class="mw-cite-backlink">^</span> <span class="reference-text"><cite class="citation web">"Latest 7 » Dress is more". <i>thelatest.co.uk</i>.</cite><span title="ctx_ver=Z39.88-2004&rfr_id=info%3Asid%2Fworldheritage.org%3AAdelaide+Hall&rft.btitle=Latest+7++%C2%BB+Dress+is+more&rft.genre=book&rft_id=http%3A%2F%2Fthelatest.co.uk%2F7%2Fdress-is-more&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook" class="Z3988"><span style="display:none;"> </span></span></span> </li> <li id="cite_note-236"> <span class="mw-cite-backlink">^</span> <span class="reference-text">Little Black Dress exhibition, Brighton & Hove Museum. Adelaide Hall exhibit information retrieved 24 August 2014.</span> </li> <li id="cite_note-237"> <span class="mw-cite-backlink">^</span> <span class="reference-text">.<i>Devotional</i>"Adelaide Hall (1901–1993)", </span> </li> <li id="cite_note-238"> <span class="mw-cite-backlink">^</span> <span class="reference-text"><cite class="citation web">"National Portrait Gallery - Devotional". <i>npg.org.uk</i>.</cite><span title="ctx_ver=Z39.88-2004&rfr_id=info%3Asid%2Fworldheritage.org%3AAdelaide+Hall&rft.btitle=National+Portrait+Gallery+-+Devotional&rft.genre=book&rft_id=http%3A%2F%2Fwww.npg.org.uk%2Fdevotional%2Findex.html&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook" class="Z3988"><span style="display:none;"> </span></span></span> </li> <li id="cite_note-239"> <span class="mw-cite-backlink">^</span> <span class="reference-text">"Little Black Dress at the Fashion & Textile Museum", Sunday, 22 June 2008. London SE1 Community website.</span> </li> <li id="cite_note-240"> <span class="mw-cite-backlink">^</span> <span class="reference-text">Angie Macdonald, "Keep Smiling Through", 11 April 2008.</span> </li> <li id="cite_note-241"> <span class="mw-cite-backlink">^</span> <span class="reference-text">"Keep Smiling Through: Black Londoners on the Home Front 1939–1945", All in London.</span> </li> <li id="cite_note-242"> <span class="mw-cite-backlink">^</span> <span class="reference-text">"Jazzonia & the Harlem Diaspora, Curated by Diana Rodriguez & Judith Waring", Chelsea Space.</span> </li> <li id="cite_note-243"> <span class="mw-cite-backlink">^</span> <span class="reference-text">"Art College Hosts Jazzonia And The Harlem Diaspora Exhibition", <i>Jazzwise</i>, 8 July 2009.</span> </li> <li id="cite_note-244"> <span class="mw-cite-backlink">^</span> <span class="reference-text">Lalayn Baluch, "London Palladium hosts exhibition celebrating black performance history", <i>The Stage</i>, 19 June 2009.</span> </li> <li id="cite_note-245"> <span class="mw-cite-backlink">^</span> <span class="reference-text"><cite class="citation web">"nomorepotlucks » Fluid Locations: Discussing Archives and Representation with Sonia Boyce – Sally Frater". <i>nomorepotlucks.org</i>.</cite><span title="ctx_ver=Z39.88-2004&rfr_id=info%3Asid%2Fworldheritage.org%3AAdelaide+Hall&rft.btitle=nomorepotlucks+%C2%BB+Fluid+Locations%3A+Discussing+Archives+and+Representation+with+Sonia+Boyce+%E2%80%93+Sally+Frater&rft.genre=book&rft_id=http%3A%2F%2Fnomorepotlucks.org%2Fsite%2Ffluid-locations-discussing-archives-and-representation-with-sonia-boyce-sally-frater&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook" class="Z3988"><span style="display:none;"> </span></span></span> </li> <li id="cite_note-246"> <span class="mw-cite-backlink">^</span> <span class="reference-text">"Oh Adelaide!" Vimeo</span> </li> <li id="cite_note-247"> <span class="mw-cite-backlink">^</span> <span class="reference-text">"There is no archive in which nothing gets lost". Art & Education.</span> </li> <li id="cite_note-248"> <span class="mw-cite-backlink">^</span> <span class="reference-text">"There is no archive in which nothing gets lost". Museum of Fine Arts Houston.</span> </li> <li id="cite_note-249"> <span class="mw-cite-backlink">^</span> <span class="reference-text">Carrie Marie Schneider, "Inter(re)view with Sally Frater, curator of 'There is no archive in which nothing gets lost'", Glasstire, 4 November 2012.</span> </li> <li id="cite_note-250"> <span class="mw-cite-backlink">^</span> <span class="reference-text">Marianne Vlaschits, "Creole Love Call", ViertelNeun Gallery.</span> </li> <li id="cite_note-251"> <span class="mw-cite-backlink">^</span> <span class="reference-text"><cite class="citation web">"Temporary: The Harlem Renaissance". <i>kurahulanda.com</i>.</cite><span title="ctx_ver=Z39.88-2004&rfr_id=info%3Asid%2Fworldheritage.org%3AAdelaide+Hall&rft.btitle=Temporary%3A+The+Harlem+Renaissance&rft.genre=book&rft_id=http%3A%2F%2Fwww.kurahulanda.com%2Ftemporary-harlem-renaissance&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook" class="Z3988"><span style="display:none;"> </span></span></span> </li> <li id="cite_note-252"> <span class="mw-cite-backlink">^</span> <span class="reference-text">Sonia Boyce, "Scat: Sound and Collaboration", Iniva.</span> </li> <li id="cite_note-253"> <span class="mw-cite-backlink">^</span> <span class="reference-text">"Scat: Sound and Collaboration", 5 June – 27 July 2013, Iniva.</span> </li> <li id="cite_note-254"> <span class="mw-cite-backlink">^</span> <span class="reference-text">"Permanent Collection Highlight; Sonia Boyce: Untitled, 2006" (from the "Rivington Place Portfolio"). 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.</span> </li> <li id="cite_note-255"> <span class="mw-cite-backlink">^</span> <span class="reference-text">"Black Women in Britain" exhibition details website, retrieved 25 August 2014.</span> </li> </ol> </div> <h2> <span class="mw-headline" id="References">References</span> </h2> <ul> <li> <a href="/articles/eng/Ian_Carr" id="xolnki_384" title="Ian Carr">Ian Carr</a>, <a href="/articles/eng/Digby_Fairweather" id="xolnki_385" title="Digby Fairweather">Digby Fairweather</a> and <a href="/articles/eng/Brian_Priestley" id="xolnki_386" title="Brian Priestley">Brian Priestley</a>. <i>Jazz: The Rough Guide</i>. ISBN 1-85828-528-3 </li> <li> Iain Cameron Williams. <i>Underneath a Harlem Moon: The Harlem to Paris Years of Adelaide Hall</i>. ISBN 0-8264-5893-9 </li> </ul> <h2> <span class="mw-headline" id="Sources">Sources</span> </h2> <ul> <li> <i>Women and War</i> – Imperial War Museum, London (2003–04).<sup id="cite_ref-232" class="reference">[218]</sup><sup id="cite_ref-233" class="reference">[219]</sup><sup id="cite_ref-234" class="reference">[220]</sup> </li> <li> <i>Little Black Dress</i> – Brighton Museum and Art Gallery, Brighton (2007).<sup id="cite_ref-235" class="reference">[221]</sup><sup id="cite_ref-236" class="reference">[222]</sup> </li> <li> <i>Devotional</i> – National Portrait Gallery, London (2007)<sup id="cite_ref-237" class="reference">[223]</sup><sup id="cite_ref-238" class="reference">[224]</sup> </li> <li> <i>Little Black Dress</i> – London Fashion Museum, London (2008).<sup id="cite_ref-239" class="reference">[225]</sup> </li> <li> <i>Keep Smiling Through: Black Londoners on the Home Front 1939–1945</i> – The Cuming Museum, London (2008).<sup id="cite_ref-240" class="reference">[226]</sup><sup id="cite_ref-241" class="reference">[227]</sup> </li> <li> <i>Jazzonia and the Harlem Diaspora</i> – Chelsea Space, London (2009).<sup id="cite_ref-242" class="reference">[228]</sup><sup id="cite_ref-243" class="reference">[229]</sup> </li> <li> <i>The Living Archive Exhibition</i> – 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.<sup id="cite_ref-244" class="reference">[230]</sup> </li> <li> <i>Oh! Adelaide</i> – Art installation, Wimbledon Space, Wimbledon College of Art, London (2010).<sup id="cite_ref-245" class="reference">[231]</sup><sup id="cite_ref-246" class="reference">[232]</sup><sup id="cite_ref-247" class="reference">[233]</sup> </li> <li> <i>There is no Archive in which Nothing Gets Lost</i> – <i>Oh! Adelaide</i> – Art installation – The Museum of Fine Arts, Glassell School of Art, 5101 Montrose Boulevard, Houston, America – 7 September 2012 – 25 November 2012.<sup id="cite_ref-248" class="reference">[234]</sup><sup id="cite_ref-249" class="reference">[235]</sup> </li> <li> <i>Creole Love Call</i> – Exhibition – VIERTELNEUN Gallery, 1090 Vienna, Hahngasse 14, Austria – Exhibition (25 January to 28 February 2013) – Catalogue published with the presentation.<sup id="cite_ref-250" class="reference">[236]</sup> </li> <li> <i>The Harlem Renaissance</i> – Kurá Hulanda Museum, Curaçao, Willemstad, Caribbean (2013).<sup id="cite_ref-251" class="reference">[237]</sup> </li> <li> <i>Scat: Sound and Collaboration</i> – Iniva (Institute of International Visual Arts), London EC2A 3BA (5 June – 27 July 2013).<sup id="cite_ref-252" class="reference">[238]</sup><sup id="cite_ref-253" class="reference">[239]</sup> </li> <li> <i>Untitled</i> – etching by Sonia Boyce. Permanent Collection, Studio Museum, Harlem, NY. In her 2006 etching <i>Untitled</i>, Sonia Boyce pays tribute to 14 black female luminaries in British music history. Performers featured in the composition include Dame <a href="/articles/eng/Shirley_Bassey" id="xolnki_381" title="Shirley Bassey">Shirley Bassey</a>, Adelaide Hall, <a href="/articles/eng/Millie_Small" id="xolnki_382" title="Millie Small">Millie Small</a>, <a href="/articles/eng/Cleo_Laine" id="xolnki_383" title="Cleo Laine">Cleo Laine</a>, among others.<sup id="cite_ref-254" class="reference">[240]</sup> </li> <li> <i>Black Women in Britain</i>, Black Cultural Archives, 1 Windrush Square, Brixton, London SW2 1EF (24 July – 30 November 2014).<sup id="cite_ref-255" class="reference">[241]</sup> </li> </ul>Exhibitions that feature or have featured content relating to Adelaide Hall: <h2> <span class="mw-headline" id="Exhibitions">Exhibitions</span> </h2> <ul> <li> <i><a href="/articles/eng/A_Son_of_Satan" id="xolnki_371" title="A Son of Satan">A Son of Satan</a></i> (1924) (USA) (Micheaux Film) </li> <li> <i><a href="/articles/eng/Dancers_in_the_Dark" id="xolnki_372" title="Dancers in the Dark">Dancers in the Dark</a></i> (1932) (USA) (Hall's singing voice is used but she is uncredited) </li> <li> <i>On the Air and Off</i> (1933) (USA short, filmed at <a href="/articles/eng/Biograph_Studios" id="xolnki_373" title="Biograph Studios">Biograph Studios</a>, Bronx, New York City) (<a href="/articles/eng/Universal_Pictures" id="xolnki_374" title="Universal Pictures">Universal Pictures</a>)<sup id="cite_ref-227" class="reference">[213]</sup> </li> <li> <i>Broadway Varieties</i> (1934) (USA short, filmed at <a href="/articles/eng/Biograph_Studios" id="xolnki_375" title="Biograph Studios">Biograph Studios</a>, Bronx, New York City) (<a href="/articles/eng/Universal_Pictures" id="xolnki_376" title="Universal Pictures">Universal Pictures</a>)<sup id="cite_ref-228" class="reference">[214]</sup> </li> <li> <i>All-Coloured Vaudeville Show</i> (1935) (USA) </li> <li> <i>The Kentucky Minstrels</i> (1939 (British TV movie) </li> <li> <a href="/articles/eng/The_Thief_of_Bagdad_(1940_film)" id="xolnki_377" title="The Thief of Bagdad (1940 film)"><i>The Thief of Bagdad</i></a> (1940) (UK) </li> <li> <i>Behind The Blackout</i> (1940) British Pathé Newsreel <sup id="cite_ref-229" class="reference">[215]</sup> </li> <li> <i><a href="/articles/eng/Variety_in_Sepia" id="xolnki_378" title="Variety in Sepia">Variety in Sepia</a></i> (1947) (UK) (<a href="/articles/eng/BBC_TV" id="xolnki_379" title="BBC TV">BBC TV</a>) </li> <li> <i>A World is Turning (towards the coloured people)</i> (1948) (UK)<sup id="cite_ref-230" class="reference">[216]</sup> </li> <li> <i>Olivelli's</i> (1951) British Pathé Newsreel <sup id="cite_ref-231" class="reference">[217]</sup> </li> <li> <i><a href="/articles/eng/Night_and_the_City" id="xolnki_380" title="Night and the City">Night and the City</a></i> (1959) (UK) (role – singer – the scenes were deleted from the final edit) </li> <li> <i>Brown Sugar</i> (1986) (American TV mini-series) </li> <li> <i>Sophisticated Lady</i> (1989) (UK) (documentary about Adelaide Hall) </li> <li> <i>Adelaide Hall – Live at the Riverside</i> (1989) (UK) (Adelaide Hall in concert) </li> </ul> <h2> <span class="mw-headline" id="Filmography">Filmography</span> </h2> <ul> <li> No.15 - <i>There Goes That Song Again</i> by Adelaide Hall (June) </li> </ul> <p> Singles chart, 1945: </p> <ul> <li> No. 28 - <i>Where Are You?</i> by Adelaide Hall (December) </li> </ul> <p> Singles chart, 1941:<sup id="cite_ref-226" class="reference">[212]</sup> </p> <ul> <li> No. 30 – <i>Careless</i> by Adelaide Hall (May) </li> <li> No. 28 - <i>Begin The Beguine</i> by Adelaide Hall (June) </li> <li> No. 26 - <i>All The Things You Are</i> by Adelaide Hall (December) </li> </ul> <ul> <li> Highest chart position – Song – Artist – Peak Month </li> </ul> <p> Singles chart, 1940:<sup id="cite_ref-225" class="reference">[211]</sup> </p> <h3> <span class="mw-headline" id="UK_singles_chart_entries">UK singles chart entries</span> </h3> <table class="wikitable sortable" border="1"> <tr> <th> Songs </th> <th> Label & Number </th> <th> Date </th> <th> Artist </th> </tr> <tr> <td> "Bluebird on my Shoulder" / "Common Sense"<sup id="cite_ref-223" class="reference">[209]</sup> </td> <td> Oriole (CB 1556) </td> <td> (May 1960) (recorded in London)<sup id="cite_ref-224" class="reference">[210]</sup> </td> <td> Adelaide Hall </td> </tr> </table> <h3> <span class="mw-headline" id="Oriole_.E2.80.93_1960">Oriole – 1960</span> </h3> <table class="wikitable sortable" border="1"> <tr> <th> Songs </th> <th> Label & Number </th> <th> Date </th> <th> Artist </th> </tr> <tr> <td> "Can't Help Loving That Man of Mine" / "Bill" </td> <td> Columbia Gramophone Co. (EMI Records) </td> <td> (11 July 1951) (recorded in London, UK) </td> <td> Adelaide Hall </td> </tr> <tr> <td> "How Many Times" / "Vanity"<sup id="cite_ref-222" class="reference">[208]</sup> </td> <td> Columbia Gramophone Co. (EMI Records) </td> <td> (11 July 1951) (recorded in London) </td> <td> Adelaide Hall </td> </tr> </table> <h3> <span class="mw-headline" id="Columbia_.28EMI.29_.E2.80.93_1951">Columbia (EMI) – 1951</span> </h3> <table class="wikitable sortable" border="1"> <tr> <th> Songs </th> <th> Label & Number </th> <th> Release Date </th> <th> Artist </th> </tr> <tr> <td> "Nobody Know de Trouble I’ve Seen" / "<a href="/articles/eng/Sometimes_I_Feel_Like_a_Motherless_Child" id="xolnki_368" title="Sometimes I Feel Like a Motherless Child">Sometimes I Feel Like a Motherless Child</a>" </td> <td> London </td> <td> (1949) </td> <td> Adelaide Hall and Kenneth Cantril </td> </tr> <tr> <td> <i><a href="/articles/eng/Deep_River_(song)" id="xolnki_369" title="Deep River (song)">Deep River</a></i> / "Bye and Bye" </td> <td> London </td> <td> (1949) </td> <td> Adelaide Hall and Kenneth Cantril </td> </tr> <tr> <td> "My Lord, What a Morning" / "<a href="/articles/eng/Swing_Low_Sweet_Chariot" id="xolnki_370" title="Swing Low Sweet Chariot">Swing Low Sweet Chariot</a>" </td> <td> London </td> <td> (1949) </td> <td> Adelaide Hall and Kenneth Cantril </td> </tr> </table> <p> Adelaide Hall and Kenneth Cantril, <i>Spirituals</i>, 78 rpm set </p> <h3> <span class="mw-headline" id="London_Records.2C_Spirituals.2C_1949">London Records, <i>Spirituals</i>, 1949</span> </h3> <table class="wikitable sortable" border="1"> <tr> <th> Songs </th> <th> Label & Number </th> <th> Release Date </th> </tr> <tr> <td> "Segun Pasan Los Anos (As Time Goes By)" / "Vamos a Perdernos (Let's Get Lost)" </td> <td> Odeon DR-7240/7239 </td> <td> (1943) </td> </tr> </table> <h3> <span class="mw-headline" id="Odeon_.28Argentina.291943">Odeon (Argentina)1943</span> </h3> <table class="wikitable sortable" border="1"> <tr> <th> Songs </th> <th> Label & Number </th> <th> Release Date </th> </tr> <tr> <td> "I Have Eyes" / "I Promise You" </td> <td> Decca F-7049 </td> <td> (27 April 1939) </td> </tr> <tr> <td> "Deep Purple" / "Solitude" </td> <td> Decca F-7083 </td> <td> (15 May 1939) </td> </tr> <tr> <td> "A New Moon and an Old Serenade" / "Our Love" </td> <td> Decca F-7095 </td> <td> (6 June 1939) </td> </tr> <tr> <td> "Don't Worry 'Bout Me" / "'Tain't What You Do" </td> <td> Decca F-7121 </td> <td> (23 June 1939) </td> </tr> <tr> <td> "Transatlantic Lullaby" / "I Get Along Without You Very Well" </td> <td> Decca F-7132 </td> <td> (26 July 1939) </td> </tr> <tr> <td> "Moon Love" / "Yours For a Song" </td> <td> Decca F-7272 </td> <td> (17 October 1939) </td> </tr> <tr> <td> "Day In, Day Out"/ "I Poured My Heart into a Song" </td> <td> Decca F-7304 </td> <td> (8 Nov.1939) </td> </tr> <tr> <td> "My Heart Belongs to Daddy" / "Have You Met Miss Jones"? </td> <td> Decca F-7305 </td> <td> (8 November 1939) </td> </tr> <tr> <td> "Serenade in Love" / "Fare Thee Well" </td> <td> Decca F-7340 </td> <td> (27 December 1939) </td> </tr> <tr> <td> "Where or When" / "The Lady is a Tramp" </td> <td> Decca F-7345 </td> <td> (19 January 1940) </td> </tr> <tr> <td> "Careless" / "Don't Make Me Laugh" </td> <td> Decca F-7340 </td> <td> (11 March 1940) </td> </tr> <tr> <td> "Chloe" / "Begin the Beguine" </td> <td> Decca F-7460 </td> <td> (15 April 1940) </td> </tr> <tr> <td> "This Can't be Love" / "No Souvenirs" </td> <td> Decca F-7501 </td> <td> (3 May 1940) </td> </tr> <tr> <td> "Who Told You I Cared"? / "Shake Down the Stars" </td> <td> Decca F-7522 </td> <td> (31 May 1940) </td> </tr> <tr> <td> "Mist on the River" / "Fools Rush In" </td> <td> Decca F-7583 </td> <td> (15 August 1940) </td> </tr> <tr> <td> "All The Things You Are" / "I Wanna Be Loved" </td> <td> Decca F-7636 </td> <td> (9 Oct.1940) </td> </tr> <tr> <td> "Goodnight Again" / "Trade Winds" </td> <td> Decca F-7678 </td> <td> (12 December 1940) </td> </tr> <tr> <td> "Our Love Affair" / "And So Do I" </td> <td> Decca F-7681 </td> <td> (12 December 1940) </td> </tr> <tr> <td> "Moon For Sale" / "Yesterday's Dreams" </td> <td> Decca F-7708 </td> <td> (7 February 1941) </td> </tr> <tr> <td> "Ain't it a Shame About Mame"? / "Room Five Hundred and Four" </td> <td> Decca F-7709 </td> <td> (7 February 1941) </td> </tr> <tr> <td> "It's Always You" / "How Did He Look"? </td> <td> Decca F-7879 </td> <td> (23 May 1941) </td> </tr> <tr> <td> "Yes, My Darling Daughter" / "The Things I Love" </td> <td> Decca F-7891 </td> <td> (23 May 1941) </td> </tr> <tr> <td> "I Hear A Rhapsody" / "Mississippi Mama" </td> <td> Decca F-7918 </td> <td> (3 July 1941) </td> </tr> <tr> <td> "I Yi, Yi, Yi, Yi (I Like You Very Much)" / "Moonlight in Mexico" </td> <td> Decca F-7942 </td> <td> (7 August 1941) </td> </tr> <tr> <td> "As If You Didn't Know" / "I Take To You" </td> <td> Decca F-8030 </td> <td> (5 November 1941) </td> </tr> <tr> <td> "Minnie From Trinidad" / "Sand in my Shoes" </td> <td> Decca F-8031 </td> <td> (5 November 1941) </td> </tr> <tr> <td> "Song of the Islands" / "Pagan Love Song" </td> <td> Decca F-8058 </td> <td> (7 November 1941) </td> </tr> <tr> <td> "I Don't Want to Set the World on Fire" / "My Sister and I" </td> <td> Decca F-8043 </td> <td> (18 November 1941) </td> </tr> <tr> <td> "A Sinner Kissed an Angel" / "Why Don't We Do This More Often"? </td> <td> Decca F-8092 </td> <td> (2 February 1942) </td> </tr> <tr> <td> "Tropical Magic" / "Intermezzo" </td> <td> Decca F-8118 </td> <td> (2 February 1942) </td> </tr> <tr> <td> "My Devotion" / "Sharing it all With You" </td> <td> Decca F-8263 </td> <td> (January 1943) </td> </tr> <tr> <td> "Let's Get Lost" / "As Time Goes By" </td> <td> Decca F-8292 </td> <td> (1943) </td> </tr> <tr> <td> "I Don't Want Anybody at All (If I Can't Have You)" / "I Heard You Cried Last Night" </td> <td> Decca F-8362 </td> <td> (6 September 1943) </td> </tr> <tr> <td> "Sophisticated Lady" / "I'm getting Sentimental Over You" </td> <td> Decca F-8467 </td> <td> (4 August 1944) </td> </tr> <tr> <td> "There Goes That Song Again" / "I'm Gonna Love That Guy" </td> <td> Decca F-8517 </td> <td> (3 March 1945) </td> </tr> </table> <h3> <span class="mw-headline" id="The_Decca_years.2C_1939.E2.80.9345">The Decca years, 1939–45</span> </h3> <table class="wikitable sortable" border="1"> <tr> <th> Songs </th> <th> Label & Number </th> <th> Date </th> <th> Artist </th> </tr> <tr> <td> "<a href="/articles/eng/Creole_Love_Call" id="xolnki_344" title="Creole Love Call">Creole Love Call</a>" / "The Blues I Love to Sing" </td> <td> BVE-39370-1<sup id="cite_ref-212" class="reference">[199]</sup>/ BVE-39371-1<sup id="cite_ref-213" class="reference">[200]</sup> Victor Records </td> <td> (26 October 1927) (recorded Victor Studio No. 1, Camden, NJ )<sup id="cite_ref-ellingtonweb.ca_200-0" class="reference">[201]</sup> </td> <td> <a href="/articles/eng/Duke_Ellington" id="xolnki_345" title="Duke Ellington">Duke Ellington</a> Orchestra (vocals by Adelaide Hall) </td> </tr> <tr> <td> "I Must Have That Man" / "Baby" </td> <td> BVE-Test-110<sup id="cite_ref-215" class="reference">[202]</sup><sup id="cite_ref-216" class="reference">[203]</sup> </td> <td> (21 June 1928) (recorded in New York) </td> <td> Adelaide Hall with piano acc. by George Rickman </td> </tr> <tr> <td> "Chicago Stomp Down" </td> <td> W81777-A / W81777-B / W81777-C Columbia Records </td> <td> (3 November 1927) (recorded OKeh session, Union Square, New York City)<sup id="cite_ref-ellingtonweb.ca_200-1" class="reference">[201]</sup> </td> <td> <a href="/articles/eng/Duke_Ellington" id="xolnki_346" title="Duke Ellington">Duke Ellington</a> Orchestra (vocals by Adelaide Hall) </td> </tr> <tr> <td> "I Must Have That Man" / "Baby" </td> <td> E-28059 / E-28060 Brunswick 4031 </td> <td> (14 August 1928) (recorded in New York) </td> <td> Adelaide Hall acc. by <a href="/articles/eng/Lew_Leslie" id="xolnki_347" title="Lew Leslie">Lew Leslie</a>'s Blackbirds Orchestra </td> </tr> <tr> <td> "Rhapsody in Love" / "<a href="/articles/eng/Minnie_The_Moocher" id="xolnki_348" title="Minnie The Moocher">Minnie The Moocher</a>" </td> <td> R-218 / R-221 Brunswick </td> <td> (October 1931) (recorded in London, UK) </td> <td> Adelaide Hall with piano acc. by Francis J. Carter and Bennie Paine </td> </tr> <tr> <td> "Too Darn Fickle" / "I Got Rhythm" </td> <td> R-225 / R-229 </td> <td> (October 1931) (recorded in London) </td> <td> Adelaide Hall with piano acc. by Francis J. Carter and Bennie Paine </td> </tr> <tr> <td> "Baby Mine" / "I'm Redhot From Harlem" </td> <td> R-230 / R-232 </td> <td> (October 1931) (recorded in London) </td> <td> Adelaide Hall with piano acc. by Francis J. Carter and Bennie Paine </td> </tr> <tr> <td> "Strange As It Seems" / "I'll Never Be The Same" </td> <td> Br 6373 / Br6362 Brunswick </td> <td> (5 August 1932) (recorded in New York) </td> <td> Adelaide Hall with orchestra acc. </td> </tr> <tr> <td> "You Gave Me Everything but Love" / "This Time It's Love" </td> <td> B-12166-A / B-12167-A Brunswick </td> <td> (10 August 1932) (recorded in New York) </td> <td> Adelaide Hall with piano acc. by Francis J. Carter and <a href="/articles/eng/Art_Tatum" id="xolnki_349" title="Art Tatum">Art Tatum</a> </td> </tr> <tr> <td> "I Must Have That Man" / "Baby" </td> <td> B-12773-B / B-12774-B CBS </td> <td> (21 December 1932) (recorded ARC session, New York City) </td> <td> Adelaide Hall with <a href="/articles/eng/Duke_Ellington" id="xolnki_350" title="Duke Ellington">Duke Ellington</a> and his Famous Orchestra<sup id="cite_ref-218" class="reference">[204]</sup> </td> </tr> <tr> <td> "I Must Have That Man" / "Baby" </td> <td> B-12773-C / B-12774-C Brunswick </td> <td> (7 January 1933) (recorded Arc session, New York City)<sup id="cite_ref-219" class="reference">[205]</sup> </td> <td> Adelaide Hall with <a href="/articles/eng/Duke_Ellington" id="xolnki_351" title="Duke Ellington">Duke Ellington</a> and his Famous Orchestra<sup id="cite_ref-220" class="reference">[206]</sup> </td> </tr> <tr> <td> "Drop Me Off in Harlem" / "Reaching for the Cotton Moon" </td> <td> BS-78827-1-2 / BS-78828-1-2-3 Victor </td> <td> (4 December 1933) </td> <td> Adelaide Hall with <a href="/articles/eng/Mills_Blue_Rhythm_Band" id="xolnki_352" title="Mills Blue Rhythm Band">Mills Blue Rhythm Band</a> </td> </tr> <tr> <td> "I Must Have That Man" / "Baby" </td> <td> B-12773-B / B-12774-B issue 5063 <a href="/articles/eng/Lucky_Records" id="xolnki_353" title="Lucky Records">Lucky Records</a> Co. Tokyo (Japan) issued 1935 </td> <td> (21 December 1932) (recorded ARC session, New York City) </td> <td> Adelaide Hall with <a href="/articles/eng/Duke_Ellington" id="xolnki_354" title="Duke Ellington">Duke Ellington</a> and his Famous Orchestra </td> </tr> <tr> <td> "I'm in the Mood For Love" / "Truckin'" </td> <td> P-77612 / p-77613 Ultraphone AP 1574 </td> <td> (January 1936, Paris, France) </td> <td> Adelaide Hall (vocals and tap dancing) accompanied by <a href="/articles/eng/Joe_Turner_(jazz_pianist)" id="xolnki_355" title="Joe Turner (jazz pianist)">Joe Turner</a> on piano </td> </tr> <tr> <td> "East of the Sun and West of the Moon" / "Solitude" </td> <td> P-77616 / P-77618 Ultraphone AP1575 </td> <td> (20 January 1936, Paris, France) </td> <td> Adelaide Hall with John Ellsworth and his Orchestra with <a href="/articles/eng/Stephane_Grappelli" id="xolnki_356" title="Stephane Grappelli">Stephane Grappelli</a> on violin) Alex Renard (trumpet) Christian Wagner (clarinet, alto saxophone) Jacques Metehen (piano) Roger Chaput (guitar) Maurice Chailloux (drums) and others<sup id="cite_ref-221" class="reference">[207]</sup> </td> </tr> <tr> <td> "I'm Shooting High" / "Say You're Mine" </td> <td> CPT-2649-1 / CPT-2652-1 Pathe PA 914 </td> <td> (5 May 1936, Paris) </td> <td> Adelaide Hall with <a href="/articles/eng/Willie_Lewis" id="xolnki_357" title="Willie Lewis">Willie Lewis</a> and his Orchestra </td> </tr> <tr> <td> "After You've Gone" / "Swing Guitars" </td> <td> CPT-1 / CPT-1 Pathe PA </td> <td> (15 May 1936, Paris) </td> <td> Adelaide Hall with <a href="/articles/eng/Willie_Lewis" id="xolnki_358" title="Willie Lewis">Willie Lewis</a> and his Orchestra </td> </tr> <tr> <td> "I'm Shooting High" </td> <td> CPT-1 / Pathe PA </td> <td> (15 October 1936, Paris) </td> <td> Adelaide Hall with <a href="/articles/eng/Willie_Lewis" id="xolnki_359" title="Willie Lewis">Willie Lewis</a> and his Orchestra (Trumpeter <a href="/articles/eng/Bill_Coleman" id="xolnki_360" title="Bill Coleman">Bill Coleman</a> is included on this recording) </td> </tr> <tr> <td> "There's a Lull in my Life" / "Medley" </td> <td> K-6001 / K-6001 D-599 Tono (Copenhagen, Denmark) </td> <td> (December 1937) </td> <td> Adelaide Hall with the <a href="/articles/eng/Kai_Ewans" id="xolnki_361" title="Kai Ewans">Kai Ewans</a> Orchestra </td> </tr> <tr> <td> "<a href="/articles/eng/Stormy_Weather_(song)" id="xolnki_362" title="Stormy Weather (song)">Stormy Weather</a>" / "<a href="/articles/eng/Where_or_When" id="xolnki_363" title="Where or When">Where or When</a>" </td> <td> K-6002 / K-6002 Tono (Copenhagen, Denmark) </td> <td> (December 1937) </td> <td> Adelaide Hall with the <a href="/articles/eng/Kai_Ewans" id="xolnki_364" title="Kai Ewans">Kai Ewans</a> Orchestra </td> </tr> <tr> <td> "That old Feeling" / "<a href="/articles/eng/I_Can%27t_Give_You_Anything_but_Love" id="xolnki_365" title="I Can't Give You Anything but Love">I Can't Give You Anything but Love</a>" </td> <td> HMV (EMI Records) </td> <td> (28 August 1938) (recorded at <a href="/articles/eng/Abbey_Road_Studios" id="xolnki_366" title="Abbey Road Studios">Abbey Road Studios</a>, London, UK) </td> <td> Adelaide Hall with organ acc. by <a href="/articles/eng/Fats_Waller" id="xolnki_367" title="Fats Waller">Fats Waller</a> </td> </tr> </table> <h3> <span class="mw-headline" id="1927.E2.80.9338">1927–38</span> </h3> <h2> <span class="mw-headline" id="Discography">Discography</span> </h2> <p> On 14 February 2014, the <a href="/articles/eng/American_Society_of_Composers,_Authors_and_Publishers" id="xolnki_339" title="American Society of Composers, Authors and Publishers">American Society of Composers, Authors and Publishers</a> (ASCAP) celebrated its centenary by publishing a timeline of songs chosen to represent the past hundred years. One song was chosen to represent each year. <a href="/articles/eng/Dorothy_Fields" id="xolnki_340" title="Dorothy Fields">Dorothy Fields</a> and <a href="/articles/eng/Jimmy_McHugh" id="xolnki_341" title="Jimmy McHugh">Jimmy McHugh</a>’s song "<a href="/articles/eng/I_Can%27t_Give_You_Anything_but_Love,_Baby" id="xolnki_342" title="I Can't Give You Anything but Love, Baby">I Can't Give You Anything but Love, Baby</a>", written for the Broadway revue <i><a href="/articles/eng/Blackbirds_of_1928" id="xolnki_343" title="Blackbirds of 1928">Blackbirds of 1928</a></i>, was chosen for 1928 and Adelaide Hall’s recording of the song was chosen to represent the year.<sup id="cite_ref-211" class="reference">[198]</sup> </p> <h3> <span class="mw-headline" id="ASCAP_100_Years.2C_2014"><i>ASCAP 100 Years</i>, 2014</span> </h3> <p> In February 2014 a new stage show called <i>A Nite at the Cotton Club</i>, produced by Lydia Dillingham, opened at the Southern Broadway Dinner Theatre at The Historic Hildreth Brothers Building in Alabama, USA, in which the actress Brandy Davis portrays Adelaide Hall. The entire run sold out.<sup id="cite_ref-210" class="reference">[197]</sup> </p> <h3> <span class="mw-headline" id="A_Nite_at_the_Cotton_Club.2C_2014"><i>A Nite at the Cotton Club</i>, 2014</span> </h3> <p> At least three of the songs that Adelaide Hall introduced to the world are performed in the show, including headliner <a href="/articles/eng/Fantasia_Barrino" id="xolnki_337" title="Fantasia Barrino">Fantasia Barrinos</a> rendition of "<a href="/articles/eng/I_Can%27t_Give_You_Anything_but_Love,_Baby" id="xolnki_338" title="I Can't Give You Anything but Love, Baby">I Can't Give You Anything but Love, Baby</a>" and Carmen Ruby Floyd's performance of Ellington and Hall's "Creole Love Call". The song "Diga Diga Do" also appears in the show.<sup id="cite_ref-209" class="reference">[196]</sup> </p> <p> A new musical revue <i><a href="/articles/eng/After_Midnight_(musical)" id="xolnki_328" title="After Midnight (musical)">After Midnight</a></i> featuring the classic music of <a href="/articles/eng/Duke_Ellington" id="xolnki_329" title="Duke Ellington">Duke Ellington</a>, <a href="/articles/eng/Dorothy_Fields" id="xolnki_330" title="Dorothy Fields">Dorothy Fields</a> & <a href="/articles/eng/Jimmy_McHugh" id="xolnki_331" title="Jimmy McHugh">Jimmy McHugh</a>, and <a href="/articles/eng/Harold_Arlen" id="xolnki_332" title="Harold Arlen">Harold Arlen</a>, premiered to much praise at the <a href="/articles/eng/Brooks_Atkinson_Theatre" id="xolnki_333" title="Brooks Atkinson Theatre">Brooks Atkinson Theatre</a> in New York on 3 November 2013 and was booked through to 31 August 2014.<sup id="cite_ref-206" class="reference">[193]</sup><sup id="cite_ref-207" class="reference">[194]</sup> The show is an idealised fantasy of Harlem in its 1920s–1930s heyday and salutes black musicians and performers such as <a href="/articles/eng/Ethel_Waters" id="xolnki_334" title="Ethel Waters">Ethel Waters</a>, Adelaide Hall, <a href="/articles/eng/Cab_Calloway" id="xolnki_335" title="Cab Calloway">Cab Calloway</a>, Duke Ellington and the <a href="/articles/eng/Nicholas_Brothers" id="xolnki_336" title="Nicholas Brothers">Nicholas Brothers</a>, who became international stars during that era.<sup id="cite_ref-208" class="reference">[195]</sup> </p> <h3> <span class="mw-headline" id="After_Midnight.2C_Broadway_musical_2013.E2.80.9314"><i>After Midnight</i>, Broadway musical 2013–14</span> </h3> <p> On 11 August 2014, Mvula released her second album, an orchestral version of her top 10 debut album <i>Sing to the Moon</i>,<sup id="cite_ref-202" class="reference">[189]</sup><sup id="cite_ref-203" class="reference">[190]</sup> and on 19 August 2014 Laura appeared at <a href="/articles/eng/The_Proms" id="xolnki_325" title="The Proms">The Proms</a> at the <a href="/articles/eng/Royal_Albert_Hall" id="xolnki_326" title="Royal Albert Hall">Royal Albert Hall</a> performing her entire album <i>Sing to the Moon</i> accompanied by the <a href="/articles/eng/Metropole_Orkest" id="xolnki_327" title="Metropole Orkest">Metropole Orkest</a>.<sup id="cite_ref-204" class="reference">[191]</sup><sup id="cite_ref-205" class="reference">[192]</sup> </p> <blockquote> Well, the actual song 'Sing to the Moon' came from a time when I was reading a book called <i>Underneath a Harlem Moon</i>, 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.<sup id="cite_ref-bluesandsoul.com_187-0" class="reference">[188]</sup> </blockquote> <p> During 2013, British singer <a href="/articles/eng/Laura_Mvula" id="xolnki_323" title="Laura Mvula">Laura Mvula</a> revealed in a <i>Blues and Soul</i> interview with assistant editor Pete Lewis that her song "<a href="/articles/eng/Sing_to_the_Moon" id="xolnki_324" title="Sing to the Moon">Sing to the Moon</a>" (from her hit debut album <i>Sing to the Moon</i>, RCA/Sony Music) was inspired by the 2003 biography of Adelaide Hall entitled <i>Underneath a Harlem Moon: The Harlem to Paris Years of Adelaide Hall</i>, by Iain Cameron Williams: </p> <h3> <span class="mw-headline" id="Underneath_a_Harlem_Moon.2C_2013.E2.80.9314"><i>Underneath a Harlem Moon</i>, 2013–14</span> </h3> <p> It was Hall's husband, Bert Hicks, who suggested to <a href="/articles/eng/Eric_Bartholomew" id="xolnki_321" title="Eric Bartholomew">Eric Bartholomew</a>'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 <a href="/articles/eng/Morecambe_and_Wise" id="xolnki_322" title="Morecambe and Wise">Morecambe and Wise</a>.<sup id="cite_ref-200" class="reference">[187]</sup> </p> <p> Hall was loosely portrayed as the nightclub chanteuse in the <a href="/articles/eng/Francis_Ford_Coppola" id="xolnki_319" title="Francis Ford Coppola">Francis Ford Coppola</a> 1984 movie <i><a href="/articles/eng/The_Cotton_Club_(film)" id="xolnki_320" title="The Cotton Club (film)">The Cotton Club</a></i>. </p> <p> <i>When Harry Met Addie</i> composed by <a href="/articles/eng/Gavin_Bryars" id="xolnki_313" title="Gavin Bryars">Gavin Bryars</a> (1999) (Publisher: Schott Music Ltd., London).<sup id="cite_ref-197" class="reference">[184]</sup> Bryars wrote <i>When Harry Met Addie</i> as a tribute to Adelaide Hall and saxophonist <a href="/articles/eng/Harry_Carney" id="xolnki_314" title="Harry Carney">Harry Carney</a>. The piece was first performed at the Duke Ellington Memorial Concert at the <a href="/articles/eng/Queen_Elizabeth_Hall" id="xolnki_315" title="Queen Elizabeth Hall">Queen Elizabeth Hall</a>, London on 1 May 1999<sup id="cite_ref-198" class="reference">[185]</sup> and was commissioned by the baritone saxophonist/bass clarinettist <a href="/articles/eng/John_Surman" id="xolnki_316" title="John Surman">John Surman</a>. The soprano was <a href="/articles/eng/Cristina_Zavalloni" id="xolnki_317" title="Cristina Zavalloni">Cristina Zavalloni</a> and the London Sinfonietta Big Band was conducted by <a href="/articles/eng/Diego_Masson" id="xolnki_318" title="Diego Masson">Diego Masson</a>.<sup id="cite_ref-199" class="reference">[186]</sup> </p> <p> Published in 1998, <a href="/articles/eng/Marsha_Hunt_(singer_and_novelist)" id="xolnki_310" title="Marsha Hunt (singer and novelist)">Marsha Hunt</a>'s novel <i>Like Venus Fading</i> was inspired by the lives of Adelaide Hall (known as the <i>lightly-tanned Venus</i>), <a href="/articles/eng/Josephine_Baker" id="xolnki_311" title="Josephine Baker">Josephine Baker</a> and <a href="/articles/eng/Dorothy_Dandridge" id="xolnki_312" title="Dorothy Dandridge">Dorothy Dandridge</a>.<sup id="cite_ref-196" class="reference">[183]</sup> </p> <p> Adelaide Hall is mentioned in the novel <i><a href="/articles/eng/Strange_Brother" id="xolnki_308" title="Strange Brother">Strange Brother</a></i> (set in New York in the late 1920s, early 1930s) written by <a href="/articles/eng/Blair_Niles" id="xolnki_309" title="Blair Niles">Blair Niles</a> and first published in 1931.<sup id="cite_ref-195" class="reference">[182]</sup> </p> <p> Influential writer <a href="/articles/eng/Langston_Hughes" id="xolnki_300" title="Langston Hughes">Langston Hughes</a> in his book <i>Famous Negro Music Makers</i> (published by Dodd, Mead, 1955) lists individual musicians that helped develop jazz, after which he states that ‘jazz singers too, had not been without influence on the development of this (Jazz) music,’ and then includes Adelaide Hall alongside Louis Armstrong, <a href="/articles/eng/Cab_Calloway" id="xolnki_301" title="Cab Calloway">Cab Calloway</a>, <a href="/articles/eng/Ray_Nance" id="xolnki_302" title="Ray Nance">Ray Nance</a> and <a href="/articles/eng/Joe_Carroll" id="xolnki_303" title="Joe Carroll">Joe Carroll</a>, <a href="/articles/eng/Dizzy_Gillespie" id="xolnki_304" title="Dizzy Gillespie">Dizzy Gillespie</a>, Ella Fitzgerald, <a href="/articles/eng/Billie_Holiday" id="xolnki_305" title="Billie Holiday">Billie Holiday</a>, <a href="/articles/eng/Albert_Hunter" id="xolnki_306" title="Albert Hunter">Albert Hunter</a>, Baby Cox and <a href="/articles/eng/Florence_Mills" id="xolnki_307" title="Florence Mills">Florence Mills</a> as all being outstanding jazz vocalists of their time.<sup id="cite_ref-194" class="reference">[181]</sup> </p> <p> 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.<sup id="cite_ref-193" class="reference">[180]</sup> </p> <p> Adelaide Hall was one of the major entertainers of the <a href="/articles/eng/Harlem_Renaissance" id="xolnki_293" title="Harlem Renaissance">Harlem Renaissance</a>. Along with <a href="/articles/eng/Louis_Armstrong" id="xolnki_294" title="Louis Armstrong">Louis Armstrong</a>, she pioneered <a href="/articles/eng/Scat_singing" id="xolnki_295" title="Scat singing">scat singing</a> and is widely acknowledged as one of the world's first <a href="/articles/eng/Jazz" id="xolnki_296" title="Jazz">jazz</a> singers. Indeed, <a href="/articles/eng/Ella_Fitzgerald" id="xolnki_297" title="Ella Fitzgerald">Ella Fitzgerald</a> regarded her as such.<sup id="cite_ref-guardian2003_5-1" class="reference">[6]</sup> Hall was the first female vocalist to sing and record with <a href="/articles/eng/Duke_Ellington" id="xolnki_298" title="Duke Ellington">Duke Ellington</a>. She holds the accolade of being the 20th century's most enduring female recording artist, her recording career having spanned eight decades. In 1941, Hall replaced <a href="/articles/eng/Gracie_Fields" id="xolnki_299" title="Gracie Fields">Gracie Fields</a> as Britain's highest paid female entertainer.<sup id="cite_ref-guardian2003_5-2" class="reference">[6]</sup><sup id="cite_ref-192" class="reference">[179]</sup> </p> <h2> <span class="mw-headline" id="Legacy">Legacy</span> </h2> <p> Adelaide Hall died on 7 November 1993, aged 92, at London's <a href="/articles/eng/Charing_Cross_Hospital" id="xolnki_284" title="Charing Cross Hospital">Charing Cross Hospital</a>.<sup id="cite_ref-Voce_1-1" class="reference">[2]</sup><sup id="cite_ref-NYTobit_144-2" class="reference">[145]</sup><sup id="cite_ref-186" class="reference">[175]</sup><sup id="cite_ref-187" class="reference">[176]</sup> Honouring her wish, her funeral took place in New York at the <a href="/articles/eng/Cathedral_of_the_Incarnation_(Garden_City,_New_York)" id="xolnki_285" title="Cathedral of the Incarnation (Garden City, New York)">Cathedral of the Incarnation (Garden City, New York)</a> and she was laid to rest beside her mother at the <a href="/articles/eng/Cemetery_of_the_Evergreens" id="xolnki_286" title="Cemetery of the Evergreens">Cemetery of the Evergreens</a> in Brooklyn.<sup id="cite_ref-188" class="reference">[177]</sup> In London, a memorial service was held for her at <a href="/articles/eng/St_Paul%27s,_Covent_Garden" id="xolnki_287" title="St Paul's, Covent Garden">St Paul's, Covent Garden</a> (known as the 'actor's church'), which was attended by many stars including <a href="/articles/eng/Elaine_Page" id="xolnki_288" title="Elaine Page">Elaine Page</a>, <a href="/articles/eng/Elisabeth_Welch" id="xolnki_289" title="Elisabeth Welch">Elisabeth Welch</a>, <a href="/articles/eng/Lon_Satton" id="xolnki_290" title="Lon Satton">Lon Satton</a> and <a href="/articles/eng/Elaine_Delmar" id="xolnki_291" title="Elaine Delmar">Elaine Delmar</a>. One of the participants, TV presenter and broadcaster <a href="/articles/eng/Michael_Parkinson" id="xolnki_292" title="Michael Parkinson">Michael Parkinson</a>, remarked rather fittingly during his eulogy: "Adelaide lived to be ninety-two and never grew old."<sup id="cite_ref-189" class="reference">[178]</sup> </p> <p> In 1990, Hall starred in the movie <i>Sophisticated Lady</i>, a documentary about her life, which included a performance of her in concert recorded live at the <a href="/articles/eng/Riverside_Studios" id="xolnki_282" title="Riverside Studios">Riverside Studios</a> in London.<sup id="cite_ref-181" class="reference">[173]</sup> Her final US concert appearances took place in 1992 at Carnegie Hall, in the <i>Cabaret Comes to Carnegie</i> series. Also in 1992, she was presented with a Gold Badge Award from the <a href="/articles/eng/British_Academy_of_Songwriters,_Composers_and_Authors" id="xolnki_283" title="British Academy of Songwriters, Composers and Authors">British Academy of Songwriters, Composers and Authors</a>.<sup id="cite_ref-182" class="reference">[174]</sup> After attending the award ceremony she 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."<sup id="cite_ref-Devotonal_7-1" class="reference">[8]</sup> </p> <p> In October 1988, Hall presented a one-woman show at Gavin Bryars and sold out almost as soon as it was announced.<sup id="cite_ref-180" class="reference">[172]</sup> </p> <p> In 1985, Hall appeared on British TV in the cast of <i>Omnibus: The Cotton Club comes to the Ritz</i>, a 60-minute BBC documentary in which some of the performers from Harlem's Cotton Club were filmed performing at the <a href="/articles/eng/The_Ritz_London_Hotel" id="xolnki_266" title="The Ritz London Hotel">Ritz Hotel</a> in London along with contemporary musicians. Also on the bill were <a href="/articles/eng/Cab_Calloway" id="xolnki_267" title="Cab Calloway">Cab Calloway</a> and his Orchestra, <a href="/articles/eng/Doc_Cheatham" id="xolnki_268" title="Doc Cheatham">Doc Cheatham</a>, <a href="/articles/eng/Max_Roach" id="xolnki_269" title="Max Roach">Max Roach</a> and <a href="/articles/eng/The_Nicholas_Brothers" id="xolnki_270" title="The Nicholas Brothers">the Nicholas Brothers</a>.<sup id="cite_ref-171" class="reference">[163]</sup><sup id="cite_ref-172" class="reference">[164]</sup> In 1985, Hall appeared on British TV on the <i><a href="/articles/eng/South_Bank_Show" id="xolnki_271" title="South Bank Show">South Bank Show</a></i> in a documentary entitled <i>The Real Cotton Club</i>.<sup id="cite_ref-173" class="reference">[165]</sup> In July 1986, Hall performed in concert at the <a href="/articles/eng/Barbican_Centre" id="xolnki_272" title="Barbican Centre">Barbican Centre</a>, London.<sup id="cite_ref-174" class="reference">[166]</sup> </p> <p> In April 1980, Hall returned to the USA and from 1 to 24 May she appeared in the cast of <i>Black Broadway</i> (a retrospective musical revue) at the Avery Fisher Hall as part of the <a href="/articles/eng/Newport_Jazz_Festival" id="xolnki_259" title="Newport Jazz Festival">Newport Jazz Festival</a>. Called <i>The Blues is a Woman</i>, the program, narrated by <a href="/articles/eng/Carmen_McRae" id="xolnki_260" title="Carmen McRae">Carmen McRae</a>, featured music by Adelaide Hall, <a href="/articles/eng/Big_Mama_Thornton" id="xolnki_261" title="Big Mama Thornton">Big Mama Thornton</a>, <a href="/articles/eng/Nell_Carter" id="xolnki_262" title="Nell Carter">Nell Carter</a> and <a href="/articles/eng/Koko_Taylor" id="xolnki_263" title="Koko Taylor">Koko Taylor</a>.<sup id="cite_ref-167" class="reference">[159]</sup><sup id="cite_ref-168" class="reference">[160]</sup> Back in the States, in February 1983, Hall appeared on the bill of the 100th birthday celebration for composer <a href="/articles/eng/Eubie_Blake" id="xolnki_264" title="Eubie Blake">Eubie Blake</a> held at the <a href="/articles/eng/Shubert_Theatre_(New_York_City)" id="xolnki_265" title="Shubert Theatre (New York City)">Shubert Theater</a>, 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.<sup id="cite_ref-169" class="reference">[161]</sup> On 5 April 1983, Hall commenced a month-long engagement at the Cookery in New York. Her accompanists were Ronnie Whyte and Frank Tate.<sup id="cite_ref-170" class="reference">[162]</sup> </p> <p> Between 1969 and 1970, Hall made two jazz recordings with <a href="/articles/eng/Humphrey_Lyttelton" id="xolnki_222" title="Humphrey Lyttelton">Humphrey Lyttelton</a>. This was followed by theatre tours and concert appearances; she sang at <a href="/articles/eng/Duke_Ellington" id="xolnki_223" title="Duke Ellington">Duke Ellington</a>'s memorial service at <a href="/articles/eng/St_Martin-in-the-Fields" id="xolnki_224" title="St Martin-in-the-Fields">St Martin-in-the-Fields</a> in 1974. On 4 January 1974, she appeared on the British TV shows <i>Looks Familiar</i> (as a panelist)<sup id="cite_ref-158" class="reference">[150]</sup> and on <i>What Is Jazz</i>, with <a href="/articles/eng/Humphrey_Lyttelton" id="xolnki_225" title="Humphrey Lyttelton">Humphrey Lyttelton</a>.<sup id="cite_ref-159" class="reference">[151]</sup> On 15 June 1976, she appeared on British TV in <i>It Don't Mean a Thing</i>.<sup id="cite_ref-160" class="reference">[152]</sup> and in 1981 appeared on the <a href="/articles/eng/Michael_Parkinson" id="xolnki_226" title="Michael Parkinson">Michael Parkinson</a> BBC TV show <i>Parkinson</i> as a guest.<sup id="cite_ref-161" class="reference">[153]</sup> In July 1982, Hall appeared at a Gala concert held at <a href="/articles/eng/St._Paul%27s_Cathedral" id="xolnki_227" title="St. Paul's Cathedral">St. Paul's Cathedral</a> in London to celebrate the sacred music of Duke Ellington. A live recording of the concert titled <i>The Sacred Music of Duke Ellington</i> was filmed for a <a href="/articles/eng/Channel_4" id="xolnki_228" title="Channel 4">Channel 4</a> TV documentary. Artists also taking part included <a href="/articles/eng/Tony_Bennett" id="xolnki_229" title="Tony Bennett">Tony Bennett</a>, <a href="/articles/eng/Phyllis_Hyman" id="xolnki_230" title="Phyllis Hyman">Phyllis Hyman</a>, <a href="/articles/eng/Jacques_Loussier" id="xolnki_231" title="Jacques Loussier">Jacques Loussier</a>, <a href="/articles/eng/Alan_Downey" id="xolnki_232" title="Alan Downey">Alan Downey</a>, <a href="/articles/eng/Wayne_Sleep" id="xolnki_233" title="Wayne Sleep">Wayne Sleep</a>, <a href="/articles/eng/Ronnie_Scott" id="xolnki_234" title="Ronnie Scott">Ronnie Scott</a>, <a href="/articles/eng/Stan_Tracey" id="xolnki_235" title="Stan Tracey">Stan Tracey</a> and the New Swingle Singers.<sup id="cite_ref-162" class="reference">[154]</sup> The concert was hosted by <a href="/articles/eng/Rod_Steiger" id="xolnki_236" title="Rod Steiger">Rod Steiger</a> and narrated by <a href="/articles/eng/Douglas_Fairbanks_Jr" id="xolnki_237" title="Douglas Fairbanks Jr">Douglas Fairbanks Jr</a>.<sup id="cite_ref-163" class="reference">[155]</sup> </p> <p> On 1 April 1960, Hall appeared on the BBC TV music show <i>The Music Goes Round</i> hosted by John Watt. The show was an NBA TV version of the radio show <i>Songs from the Shows</i>.<sup id="cite_ref-155" class="reference">[148]</sup> On 3 March 1965, Hall appeared on BBC2 television in <i>Muses with Milligan</i> with <a href="/articles/eng/Spike_Milligan" id="xolnki_217" title="Spike Milligan">Spike Milligan</a> and <a href="/articles/eng/John_Betjeman" id="xolnki_218" title="John Betjeman">John Betjeman</a> in a show devoted to poetry and jazz.<sup id="cite_ref-156" class="reference">[149]</sup> In 1968, Hall appeared in <i>Janie Jones</i>, a new American play written by Robert P. Hillier and directed by <a href="/articles/eng/Peter_Cotes" id="xolnki_219" title="Peter Cotes">Peter Cotes</a>. The cast included American actress <a href="/articles/eng/Marlene_Warfield" id="xolnki_220" title="Marlene Warfield">Marlene Warfield</a>. The play had its world premiere on 8 July at Manchester Opera House, where it ran for one week prior to its London West End opening on 15 July at the New Theatre (now the <a href="/articles/eng/No%C3%ABl_Coward_Theatre" id="xolnki_221" title="Noël Coward Theatre">Noël Coward Theatre</a>).<sup id="cite_ref-NYTobit_144-1" class="reference">[145]</sup> </p> <p> Hall appeared in the 1951 London run of <i><a href="/articles/eng/Kiss_Me,_Kate" id="xolnki_207" title="Kiss Me, Kate">Kiss Me, Kate</a></i> playing the role of Hattie, singing <a href="/articles/eng/Cole_Porter" id="xolnki_208" title="Cole Porter">Cole Porter</a>'s "<a href="/articles/eng/Another_Op%27nin%27,_Another_Show" id="xolnki_209" title="Another Op'nin', Another Show">Another Op'nin', Another Show</a>", and in the 1952 London musical <i>Love From Judy</i><sup id="cite_ref-150" class="reference">[143]</sup> playing the role of Butterfly, singing "A Touch of Voodoo", "Kind to Animals" and "Ain't Gonna Marry".<sup id="cite_ref-151" class="reference">[144]</sup> In 1956, she returned to London's West End in the play <i>Someone to Talk To</i>.<sup id="cite_ref-NYTobit_144-0" class="reference">[145]</sup> In 1957, at the request of <a href="/articles/eng/Lena_Horne" id="xolnki_210" title="Lena Horne">Lena Horne</a>, Hall returned to America to appear with Horne in the musical <i><a href="/articles/eng/Jamaica_(musical)" id="xolnki_211" title="Jamaica (musical)">Jamaica</a></i>. The world premiere of <i>Jamaica</i> took place in Philadelphia in September 1957<sup id="cite_ref-153" class="reference">[146]</sup> and transferred to Broadway on 31 October. In 1958, Hall was cast as one of the lead characters in <a href="/articles/eng/Rodgers_and_Hammerstein" id="xolnki_212" title="Rodgers and Hammerstein">Rodgers and Hammerstein</a>'s new musical <i><a href="/articles/eng/Flower_Drum_Song" id="xolnki_213" title="Flower Drum Song">Flower Drum Song</a></i>,<sup id="cite_ref-154" class="reference">[147]</sup> but she left the cast before the musical opened and returned to the UK. </p> <p> In 1951, Hall appeared as a guest in the music spot on the first ever British comedy series <i>How Do You View</i>, starring <a href="/articles/eng/Terry-Thomas" id="xolnki_199" title="Terry-Thomas">Terry-Thomas</a> and written by Sid Colin and Talbot Rothwell.<sup id="cite_ref-144" class="reference">[137]</sup> On 29 October 1951, Hall appeared on the bill of the <a href="/articles/eng/Royal_Variety_Performance" id="xolnki_200" title="Royal Variety Performance">Royal Variety Performance</a> at the <a href="/articles/eng/Victoria_Palace_Theatre" id="xolnki_201" title="Victoria Palace Theatre">Victoria Palace Theatre</a> in the presence of <a href="/articles/eng/Elizabeth_II_of_the_United_Kingdom" id="xolnki_202" title="Elizabeth II of the United Kingdom">Princess Elizabeth</a> and <a href="/articles/eng/Princess_Margaret" id="xolnki_203" title="Princess Margaret">Princess Margaret</a>.<sup id="cite_ref-145" class="reference">[138]</sup> Alongside Trinidad-born US dancer Pearl Primus and the female members of her company, who also performed that year, Hall was the first black female artiste to ever take part in the Royal Variety Performance.<sup id="cite_ref-146" class="reference">[139]</sup><sup id="cite_ref-147" class="reference">[140]</sup> In the early 1950s, Hall and her husband Bert opened the Calypso Club in <a href="/articles/eng/Regent_Street" id="xolnki_204" title="Regent Street">Regent Street</a>, London, and Royalty flocked there.<sup id="cite_ref-148" class="reference">[141]</sup> It was reported in the press that <a href="/articles/eng/Elizabeth_II_of_the_United_Kingdom" id="xolnki_205" title="Elizabeth II of the United Kingdom">Princess Elizabeth</a> was a frequent visitor and that Hall had taught the princess the <a href="/articles/eng/Charleston_(dance)" id="xolnki_206" title="Charleston (dance)">Charleston</a>.<sup id="cite_ref-149" class="reference">[142]</sup> </p> <p> In 1948, Hall appeared in a British movie called <i>A World is Turning</i>. The movie was intended to highlight the contribution of black men and women to British society at a time when they were struggling for visibility on the 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 "<a href="/articles/eng/Swing_Low,_Sweet_Chariot" id="xolnki_196" title="Swing Low, Sweet Chariot">Swing Low, Sweet Chariot</a>"<sup id="cite_ref-142" class="reference">[135]</sup> and "<a href="/articles/eng/The_Gospel_Train" id="xolnki_197" title="The Gospel Train">The Gospel Train</a>"<sup id="cite_ref-143" class="reference">[136]</sup> (a traditional African-American spiritual first published in 1872 as one of the songs of the <a href="/articles/eng/Fisk_Jubilee_Singers" id="xolnki_198" title="Fisk Jubilee Singers">Fisk Jubilee Singers</a>). In 1949, Hall appeared on the BBC TV shows <i>Rooftop Rendezvous</i> and <i>Caribbean Carnival</i>. </p> <p> Hall appears in the earliest post-war BBC <a href="/articles/eng/Telerecording" id="xolnki_187" title="Telerecording">telerecording</a>: a live recording of her performance at RadiOlympia Theatre on 7 October 1947. The footage was filmed on the 'Cafe Continental' stage set at the theatre for a <a href="/articles/eng/BBC_TV" id="xolnki_188" title="BBC TV">BBC TV</a> show titled <i><a href="/articles/eng/Variety_in_Sepia" id="xolnki_189" title="Variety in Sepia">Variety in Sepia</a></i>.<sup id="cite_ref-140" class="reference">[133]</sup> Hall sings "<a href="/articles/eng/Chi-Baba,_Chi-Baba_(My_Bambino_Go_to_Sleep)" id="xolnki_190" title="Chi-Baba, Chi-Baba (My Bambino Go to Sleep)">Chi-Baba, Chi-Baba (My Bambino Go to Sleep)</a>" and "<a href="/articles/eng/I_Can%27t_Give_You_Anything_But_Love" id="xolnki_191" title="I Can't Give You Anything But Love">I Can't Give You Anything But Love</a>" and accompanies herself on ukulele and dancing. When the show was broadcast on BBC TV it was 60 minutes in length and included performances from <a href="/articles/eng/Winifred_Atwell" id="xolnki_192" title="Winifred Atwell">Winifred Atwell</a>, Evelyn Dove, <a href="/articles/eng/Cyril_Blake" id="xolnki_193" title="Cyril Blake">Cyril Blake</a> and his Calypso Band, <a href="/articles/eng/Edric_Connor" id="xolnki_194" title="Edric Connor">Edric Connor</a> and <a href="/articles/eng/Mable_Lee" id="xolnki_195" title="Mable Lee">Mable Lee</a> and was produced by Eric Fawcett. The six-minute footage of Hall is all that survives of the show.<sup id="cite_ref-141" class="reference">[134]</sup> </p> <p> On 20 May 1940, Hall's recording of "Careless" debuted in the British charts at #30, where it remained for two consecutive weeks. In the August 1940 issue of <i><a href="/articles/eng/Vogue_(British_magazine)" id="xolnki_184" title="Vogue (British magazine)">Vogue</a></i> magazine (British edition), a photograph of Hall appears on the 'Spotlight' page compiled by the features editor <a href="/articles/eng/Lesley_Blanch" id="xolnki_185" title="Lesley Blanch">Lesley Blanch</a> under the caption: "Adelaide Hall and her husband run the Florida. His show, her songs, our fun."<sup id="cite_ref-138" class="reference">[131]</sup> On 6 June 1945, Hall's recording of "There Goes That Song Again" entered the <a href="/articles/eng/BBC" id="xolnki_186" title="BBC">BBC</a> British charts at #15.<sup id="cite_ref-139" class="reference">[132]</sup> </p> <p> Hall's career was almost an uninterrupted success. She made more than 70 records for <a href="/articles/eng/Decca_Records" id="xolnki_176" title="Decca Records">Decca</a>,<sup id="cite_ref-126" class="reference">[120]</sup> had her own <a href="/articles/eng/BBC_Radio" id="xolnki_177" title="BBC Radio">BBC Radio</a> series <i>Wrapped in Velvet</i><sup id="cite_ref-127" class="reference">[121]</sup><sup id="cite_ref-128" class="reference">[122]</sup> (making her the first black artist to have a long-term contract with the <a href="/articles/eng/BBC" id="xolnki_178" title="BBC">BBC</a>), and appeared on the stage, in films, and in nightclubs (of which she owned her own in New York, London and Paris). In the 1940s, and especially during World War II, she was hugely popular with civilian and <a href="/articles/eng/Entertainments_National_Service_Association" id="xolnki_179" title="Entertainments National Service Association">Entertainments National Service Association</a> (ENSA) audiences<sup id="cite_ref-129" class="reference">[123]</sup><sup id="cite_ref-130" class="reference">[124]</sup> and became one of Britain's highest paid entertainers. Her London nightclub 'The Old Florida Club' owned by Hall and her husband was destroyed by a land mine during an air raid in 1939. <sup id="cite_ref-131" class="reference">[125]</sup> Her husband Bert was in the club's cellar when the landline exploded but he survived the attack. Hall has a cameo appearance as a singer in the 1940 <a href="/articles/eng/Academy_Award" id="xolnki_180" title="Academy Award">Oscar</a>-winning movie <i><a href="/articles/eng/The_Thief_of_Bagdad_(1940_film)" id="xolnki_181" title="The Thief of Bagdad (1940 film)">The Thief of Bagdad</a></i> directed by <a href="/articles/eng/Alexander_Korda" id="xolnki_182" title="Alexander Korda">Alexander Korda</a> in which she sings <i>Lullaby of the Princess</i> written by <a href="/articles/eng/Mikl%C3%B3s_R%C3%B3zsa" id="xolnki_183" title="Miklós Rózsa">Miklós Rózsa</a>.<sup id="cite_ref-screenonline1_104-1" class="reference">[105]</sup><sup id="cite_ref-133" class="reference">[126]</sup><sup id="cite_ref-134" class="reference">[127]</sup><sup id="cite_ref-135" class="reference">[128]</sup><sup id="cite_ref-136" class="reference">[129]</sup> In 1943, Hall featured in an ENSA radio show broadcast by the BBC entitled <i>Spotlight on the Stars</i> during which she was accompanied by the BBC Variety Orchestra. During the show she mentions how she had just returned home from a tour.<sup id="cite_ref-137" class="reference">[130]</sup> </p> <p> <sup id="cite_ref-125" class="reference">[119]</sup>) in which she served as a Captain. Her uniform was made by Madam Adele of Grosvenor Street in Mayfair, London.<a href="/articles/eng/Entertainments_National_Service_Association" id="xolnki_175" title="Entertainments National Service Association">Entertainments National Service Association</a> and the British equivalent ENSA ([118] During World War II, Hall entertained the troops in Europe for the USO (<p> <p> [117] On 25 February 1939, <p> <p> <sup id="cite_ref-112" class="reference">[107]</sup>[14]<div style='width: 100%; margin-top: 25px;'> <div class='citationalSource' style='text-align: center; float: right;padding-bottom: 10px;'></div> </div> <div class='citationalSource' style='width: 100%; margin-top: 75px;'> <div style='text-align: center; float: right;'> This article was sourced from Creative Commons Attribution-ShareAlike License; additional terms may apply. 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