title: Abd al-Rahman al-Mahdi

texts: investors in Egypt.Egyptian army units in Sudan, bound by their oath to the Egyptian king, refused to obey the orders of their British officers and mutinied. The British violently suppressed the mutiny, removed the Egyptian army from Sudan and purged the administration of Egyptian officials. The "condominium" remained legally in force, as it would until Sudan gained independence, but in practice Egypt now had no say in the administration of Sudan. In the aftermath of the upheaval the British saw educated Sudanese as potential propagators of "dangerous" nationalist ideas imported from Egypt. Although <mask>-Rahman had backed the government and condemned local supporters of the Egyptians, he was also viewed with suspicion as a potential enemy of the colonial power. However, at the start of 1926, <mask>-Rahman was awarded the KBE (Knight Commander of the Order of the British Empire). Sir Geoffrey Archer was appointed Governor-General of Sudan in 1925 in place of Sir Lee Stack.One of his early decisions was to initiate the formation of the Sudan Defence Force, with a command completely separate from the Egyptian army. He dropped the Egyptian title "Sirdar" for the supreme commander, and did not wear the Egyptian tarboush. He made it very clear that he was commander in chief of a purely Sudanese army, while reassuring Sudanese officers who had served in the Egyptian army that they would be retained if they had not taken part in the mutiny. The British authorities, who had again became hostile to Mahdism, banned enlistment of Ansar into the Sudanese Defence Force. The Sudan Political Service advised Archer to keep <mask>-Rahman


title: Abd al-Rahman al-Mahdi

type: original

texts:
 at arm's length. In March 1926 Archer ignored this advice and made an official visit to <mask>-Rahman on Aba Island accompanied by a full escort of troops and officials. When Archer arrived on 14 February, he was formally welcomed by Sayyid <mask>-Rahman with 1,500 Ansar supporters.Escorted by horsemen, the dignitaries went on by car to a reception at <mask>-Rahman's house. Replying to a speech by <mask>-Rahman, Archer said his visit marked "an important stage forward in the relations" between <mask>-Rahman and his followers and the government. Archer said he had come to cement the ties of friendship and understanding. Archer's visit precipitated a crisis in the colonial administration. It was felt he had been far too friendly to <mask>-Rahman, who was viewed with suspicion by many administrators. Archer was forced to resign, replaced by Sir John Maffey. <mask>-Rahman was placed under restriction on travel outside Omdurman and Khartoum and was told to instruct his supporters to halt their political and religious activities.Growing influence and British hostility

Sayyid <mask>-Rahman invited the Yemenite scholar <mask>-Rahman ibn Hurayn al-Jabri to come to Omdurman and make a study of Mahdism. Al-Jabri wrote a book covering the history of the movement and its justification in the hadith, essentially designed to glorify the Mahdi and his son. <mask>-Rahman tried to publish the book in 1925–26, but the British confiscated the manuscript, which they considered to be highly seditious. To avoid publicity, they did not prosecute al-Jabri but quietly deported him. <mask>-Rahman made overtures to the "effendiyya", the growing

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texts: elite of educated people in Sudan, patronizing their social and educational institutions. He became the acknowledged leader of a group of intelligentsia who were opposed to indirect rule or unification with Egypt, and were building a Sudanese national movement. In 1931 the colonial government lowered the starting rates of pay for Sudanese officials.After protests and demonstrations were ignored, a general strike was declared on 24 November 1931. With no other leader taking the initiative, it was left to Sayyid <mask>-Rahman to act as mediator and successfully bring the strike to an end. This helped consolidate his position as a leader in the eyes of intelligentsia. In 1935 Sayyid <mask>-Rahman founded al-Nil (The Nile), an organ of the Ansar and the first daily newspaper in Sudan in the Arabic language. The newspaper helped him gain influence with the educated elite in Sudan, including politically oriented government officials, many of whom joined the Ansar and became lifetime adherents of <mask>-Rahman. By the mid-1930s, the British realized that <mask>-Rahman expected to be recognized as royalty, had firm control over a thriving Mahdist movement, and was actively seeking new adherents. British officials became increasingly suspicious of his motives, and their correspondence showed a mixture of hostility and fear of his growing influence.In 1933, and more forcefully in 1934, during the prophet's birthday celebrations <mask>-Rahman displayed signs with "various expressions advertising the Mahdi's prophetic standing". Sir Stewart Symes, Governor-General of Sudan from 1934 to 1940, sternly warned him to remove the signs or

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 face consequences. A British view of <mask>-Rahman at this time was given by Sir Stewart Symes, writing in April 1935, "He has the defects of a Sudanese of his type, the liking of intrigue, vanity, irrelevance and opportunism. On the other hand, he has quick perceptions, panache and subtle tenacity of purpose... He has used [or misued] the opportunities ... of laying the foundations of his Mahdist organization in the provinces... His favorite role is that of the loyal supporter of Government who is maliciously misunderstood". Symes refused to take action to suppress neo-Mahdism, preferring to follow a policy of ensuring that <mask>-Rahman conformed to agreed guidelines of behavior, with the implied threat of punishment if he broke these rules. He allowed some restrictions to be lifted, while retaining others.Political activity under British rule

The British had ceded some power in Egypt with the Anglo-Egyptian Treaty of 1922 and more in the Anglo-Egyptian Treaty of 1936. The 1936 treaty was designed to counter Benito Mussolini's ambition to link Libya to Ethiopia via Sudan in a new Italian empire. The treaty recognized Egyptian claims of sovereignty in Sudan in return for British rights in the Nile valley and the Suez Canal. It allowed for unrestricted immigration of Egyptians to Sudan and for the return of Egyptian troops. The Sudanese were not consulted. In 1937, <mask>-Rahman visited England and Egypt, where he met with high-ranking officials and with King Farouk. His purpose was to present Sudanese criticism of the Anglo-Egyptian treaty in person.He was openly critical of the Egyptian plans for unity of the Nile

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texts: valley, which he considered unrealistic. In May 1937, his eldest son al-Siddiq al-Mahdi visited Egypt and was given a royal reception. These moves concerned the British, who saw them as potentially the start of a Mahdist alliance with Egypt, despite <mask>-Rahman's avowed Sudanese nationalism. In the period before the Second World War (1939–1945) the British wanted to reduce growth of Egyptian influence in Sudan, which had become more likely as a result of the 1936 treaty, while also suppressing the ultra-nationalist neo-Mahdist movement. They gave their support to Sayyid Ali al-Mirghani of the Khatmiyyah sect as a counterpoise to Sayyid <mask>-Rahman. Sayyid <mask>-Rahman responded by telling the British that Sayyid Ali al-Mirghani was pro-Italian due to his family commitments in Eritrea, but this was not accepted by the British. The government had promulgated the Powers of Nomad Shiekhs Ordinance in 1922, and had recognized and reinforced the judicial powers of over 300 tribal leaders by 1923.They had ignored the aspirations of educated Sudanese in government employment to take a greater role in administration. The principle of indirect rule had also given the Sayyids, including <mask>-Rahman, more power to prevent changes demanded by the secular opposition. In a shift of policy, the Graduates' General Congress was launched in 1938 as a forum for the intelligentsia of Sudan to express their opinions and as an alternative voice to that of the tribal leaders, who had become discredited. In August and September 1940, the Congress became split between Ansar and Khatmiyya supporters. At first the Ansar were dominant, but

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 they lost this position by the end of 1942. Many of <mask>-Rahman's supporters saw him as a source of financial backing and admired his advocacy of an independent Sudan, but did not follow him as a religious leader and were not members of the Ansar movement. By the end of 1942, the government had decided the Congress had no political value.The Mahdists had split into rival camps, other factions had emerged, and the attendees at the annual meeting of the Congress included artisans, merchants and illiterates. In May 1944, the government created a central Advisory Council, with the full backing of Sayyid <mask>-Rahman. The majority of the Council members were Ansar or tribal leaders. Many educated Sudanese were suspicious of the Council and drifted towards the Khatmiyya side in the 1944 elections, not for religious reasons but because they were hostile to the government, wanted to retain links with Egypt as a counterpoise to British influence and did not want a monarchy under Sayyid <mask>-Rahman. Lead-up to independence

In August 1944, Sayyid <mask>-Rahman met with senior Congress members and tribal leaders to discuss formation of a pro-independence political party that was not associated with Mahdism. The first step taken was to launch a new daily newspaper, al-Umma (The Community). In February 1945, the Umma party had been organized and the party's first secretary, <mask>, applied for a government license.The constitution of the party made no mention of Sayyid <mask>-Rahman or of the Ansar; the only visible link to <mask>-Rahman was the party's reliance on him for funding. However, there were rumors that the Umma party

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texts: had been created by the colonial government and aimed to place Sayyid <mask>-Rahman on the throne. These rumors persisted until June 1945, when the government publicly said it would not support a Mahdist monarchy. <mask>-Rahman at this time was a flamboyant figure with broad popular support. His stature served to diminish that of the politicians, who were seen as his followers rather than as leaders. <mask>-Rahman could not afford a sudden British withdrawal, since that would open the door for an Egyptian take-over and the loss of his power. The British also were against an Egyptian take-over, but for different reasons.Yet <mask>-Rahman could not be seen as supporting an indefinite colonial status, and continued to promote independence. <mask>-Rahman and the British were engaged in delicate and unstable arrangements characterized by mutual distrust. When, in 1946, Isma'il al-Azhari of the Sudanese al-Ashiqqa party began seeking support for unification of the Nile Valley, <mask>-Rahman was strongly opposed to any hint that the king of Egypt might have authority of any kind in Sudan. He and his followers set up an "Independence Front" and organized huge demonstrations throughout Sudan against the draft Anglo-Egyptian agreement on Sudan. In November 1946, <mask>-Rahman left with a delegation for London via Cairo. Completely ignored by the Egyptian government in Cairo, he talked with British Prime Minister Clement Attlee for two hours in London. When Attlee asked why the Sudanese had not spoken up while Egypt pressed its claims over Sudan for the last seventy years, <mask>-Rahman said that was because the British had excluded

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texts: them from any talks.He went on to say the Sudanese would fight with all their power for independence. <mask>-Rahman supported the work of the Legislative Assembly which began in December 1948. He saw it as the first time that Sudan's political and religious groups had been able to meet each other in a venue where the British could not stir up disputes between the different factions. He said that Isma'il al-Azhari opposed the Assembly purely because it would bring Sudan away from Egypt and nearer to full independence. In December 1950 a member of the Umma tabled a resolution asking the Governor-General to demand that Egypt and Britain grant Sudan independence at once. The British strongly opposed the measure, saying the Assembly was not truly representative since the Khatmiyya had chosen not to participate. The resolution was passed by one vote.<mask>-Rahman and al-Azhari both claimed victory: <mask>-Rahman since the vote had been passed, and the al-Azhari since the British had said the Assembly was not representative. Sayyid <mask>-Rahman said that from then on the British did everything they could to break up the Umma party and to thwart him personally. They tried without success to get tribal chiefs and village leaders to leave the Umma. He claimed that it was the Umma that forced the British to establish a committee to start drafting a constitution for an independent Sudan in 1951, a constitution that was endorsed in April 1952. However, broader considerations were anyway leading the British towards support for an independent Sudan despite attempts by the United States to persuade them to give Egypt a role. Elections


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 and independence

Egypt gained full independence with the Egyptian Revolution of 23 July 1952 in which King Farouk was overthrown by a group of officers that included Gamal <mask> Nasser, later to emerge as the sole ruler in 1954. Sayyid <mask>-Rahman visited London and met the British Foreign Secretary Sir Anthony Eden on 11 November 1952.On 10 January 1953 the Egyptian government ratified an agreement with the Umma representatives and other pro-independence Sudanese parties that gave the Sudanese the right of self-determination. During a transition period no longer than three years parliamentary elections would be held and a Sudanese government formed. British and Egyptian troops and officials would leave the country and would be replaced by Sudanese. In 1953, <mask>-Rahman made a major proclamation in which he supported a republican system, "since the democratic republican system is a system deeply rooted in Islam, our pure, tolerant, and democratic religion". The first parliamentary elections were held that year. The National Unionist Party (NUP), the successor to the al-Ashiqqa party, gained a solid majority in parliament and Isma'il al-Azhari became Prime Minister. The NUP victory, greatest in northern and central Sudan, may have partly been due to support from the Khatmiyya.Another factor may have been fear that the Umma party would try to re-establish a Mahdist state with <mask>-Rahman as king. In August 1954, Sayyid <mask>-Rahman sponsored a tour of the south by Buth Diu of the Southern Liberal Party. In his speeches, Buth Diu quoted NUP campaign promises supporting a Federal system in which the southern

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title: Abd al-Rahman al-Mahdi

texts: provinces would have considerable autonomy. Prime minister Azhari described this as seditious talk and threatened to use force to prevent secession from Sudan by the south. In May 1955, Isma'il al-Azhari announced that Sudan would seek complete independence, a reversal of the earlier NUP position in favor of union with Egypt. As Isma'il al-Azhari began to assert his power, both Sayyid Ali al-Mirghani and Sayyid <mask>-Rahman became concerned that they would lose their political influence. From October 1955 Sayyid Ali began to seek ways to oust Isma'il al-Azhari from power.A key issue was whether a plebiscite should be held to determine if Sudan was to be independent of Egypt, which Sayyid Ali supported and Isma'il al-Azhari opposed. To strengthen his position in parliament, Isma'il al-Azhari started making overtures to associates of Sayyid <mask>-Rahman to explore the idea of an NUP-Umma coalition. Sudan formally became independent on 1 January 1956. On 2 February 1956 Isma'il al-Azhari announced a new cabinet that included representatives of all political parties and factions. The first parliamentary elections after independence were held on 27 February and 8 March 1958. The result was a victory for <mask>-Rahman's Umma Party, which won 63 of the 173 seats. The Southern Sudan Federal Party competed in the election, and won 40 of the 46 seats allocated to the southern provinces.The Federal party platform represented a serious challenge to the authorities. However, when it became clear that the party's demands for a federal structure would be ignored by the Constituent Assembly, on 16 June 1958 the southern MPs left


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 parliament. In November 1958, the army staged a coup led by General Ibrahim Abboud. Two days later <mask>-Rahman proclaimed his strong support for the army's action, saying "It grieves me greatly to say that the politicians who have led the political parties have all failed... This now is a day of release. The men of the Sudanese army have sprung up and taken matters into their own hands... They will not permit hesitation, anarchy or corruption to play havoc in this land ... God has placed at our disposal ... someone who will take up the reins of government with truth and decisiveness ... Rejoice at this blessed revolution and go to your work calmly and contentedly, to support the men of the Sudanese revolution".It is possible that <mask>-Rahman expected to be appointed President for Life. If so, he was disappointed. Legacy

Sayyid <mask>-Rahman died on 24 March 1959, aged 73. Throughout a long and turbulent career he had always been a strong and consistent leader of the neo-Mahdist movement. By the end of the condominium in 1956, Sayyid <mask>-Rahman was reported to be the wealthiest of all Sudanese. The British would have preferred the Ansar movement to be purely religious in nature, but Sayyid <mask>-Rahman al-Mahdi was also to become a competent political leader of Sudan. Explanations for the resurgence of neo-Mahdism in Sudan have included the British need for a figurehead, <mask>-Rahman's financial influence as his cotton growing business expanded, or a resurgence of religious and nationalist feeling in the Ansar sect.<mask>-Rahman's son Sayyid al-Siddiq al-Mahdi was Imam of the Ansar for the next two years. After

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title: Dean Edell

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<mask> (born March 26, 1941) is an American physician and broadcaster who hosted the Dr. <mask> radio program, a syndicated radio talk show which aired live from 1979 until December 10, 2010. He was also nationally syndicated in television as a medical news reporter and host of his own television shows including NBC's Dr. <mask>. Life and education
Born in Newark, New Jersey on March 26, 1941, <mask>'s father was a vitamin manufacturer in the 1940s and 50s. <mask> studied zoology at Cornell University and earned his M.D. from Cornell University Medical School in 1967. <mask> later opened a private ophthalmology practice in San Diego, California and acted as an instructor of Anatomy and a clinical instructor at the University of California, San Diego. <mask> soon quit medical practice altogether in 1973.He later said that he "... didn't like medicine originally...I kind of found the thing I love the most, which is really the information and communicating the information". He spent the next several years experimenting with lifestyles that included buying and selling antiques, acting as a silversmith and goldsmith, organic farming, painting, living in a 1950s-vintage bus and engaging in a self-described hand-to-mouth existence that included scavenging for food thrown out by grocery stores. During this period he describes himself as a hippie. In the late 1970s, <mask> worked for an antique auction gallery and also had a jewelry and antique shop of his own in Sacramento, California. To supplement his income he served as medical director of the County Alcohol and Drug Rehabilitation Center in Sacramento, California. A co-worker introduced <mask> to the owner of country music station KRAK and suggested <mask> try doing a talk

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 show. He did 6 call in-shows for that station in 1978.His radio career began. He moved to the San Francisco Bay Area in 1980, and currently lives in rural Mendocino County. <mask> maintains collections of Chinese art, Chinese snuff bottles, and rare books on anatomy. On October 5, 2007, Christie's held an auction of <mask>'s anatomy art collection. <mask>'s sister is a Hollywood costume designer. The Dr. <mask> radio program
In 1979, <mask> began broadcasting regularly on KGO radio in San Francisco. At that time talk radio had never been successfully syndicated.In 1986 Ed McLaughlin, then president of ABC Radio's failed attempt to syndicate talk radio, quit his job and teamed up with <mask>. The show soon reached 350-400 markets with 8.5 million weekly listeners. They also launched Medical Minutes, 60 second medical news segments into 400 markets. McLaughlin proved radio talk shows could be successfully syndicated. He then turned his attention to a then unknown radio personality from Sacramento named Rush Limbaugh, who by summer of 1989 surpassed <mask> in ratings and went on to become the most successful talk radio host in America. For most of the 90's <mask> was the second most listened to radio talk show in America. By 2005, the Dr. <mask> radio program was syndicated to over 200 markets by Premiere Radio Networks, and aired weekday afternoons on America's Talk on XM Radio.The program was estimated to have 1.5 million unique listeners a week. The program's format was unique. <mask> answered personal medical questions from callers and
included commentary on articles that appeared in medical journals as well as opinions about controversial medical issues. From the beginning of his career, <mask> was a strong advocate

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 for the scientific method and often criticized the media for unnecessarily publicizing unsupported health scares without proper scientific investigation. He was very concerned about the decline in scientific literacy in America. He railed against pseudoscience and magical thinking and was very critical of unproven alternative healing methods, the vitamin and herbal supplement industry, fad diets and diet pills, and many anti-science groups opposing vaccines, or fluoride or other scientifically accepted practices. He also questioned many mainstream medical practices like new born circumcision, cesarean sections, hysterectomies, and the over diagnosis of fad health maladies.He was an early supporter of medical marijuana and research into the therapeutic use of psychedelic drugs. He generally opposed the war on drugs. On December 1, 2010, <mask> announced his retirement from radio. In 2010 <mask> was named by Talkers Magazine to be among the 100 most important radio talk show hosts of all time. Other radio and television broadcasts

From 1979, when <mask> was the only physician in America employed full-time by a local television news station, until March 2007, <mask> did nightly health reports for KGO-TV news, the local ABC station in the San Francisco Bay Area. These television news reports were syndicated nationally to over 100 local television news stations. He also did nightly live segments on KGO-TV news called "House Calls" during which he spontaneously answered live viewer call-in questions.He used his art background to draw explanations while he answered questions. This segment was also done live by satellite for KABC-TV in Los Angeles. He has now retired from these regular television reports. In 1986, KGO-TV

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title: Dean Edell

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 produced Dr. <mask>'s Medical Journal, a weekly live audience health magazine show, the first of its genre. The show was syndicated and also carried by Discovery Channel as well as PBS. It won the IRIS award at the National Association of Television Programming Executives (NATPE) in 1986 and was accepted into the permanent collection of the Museum of Broadcasting on April 11, 1988. Variety's review reported that "<mask> is clearly charming, glib and informed."In June 1992, NBC television network launched <mask>, a half-hour daily television show, the first time an M.D. hosted his own daily network television show. The Hollywood Reporter described him a "Likeable, informed man with something to say." He hosted other television shows, Hey Dr. <mask>, Calling Dr. <mask>, and By Appointment with Dr. <mask> all with varied success. He also hosted a quarterly series of TV specials called "Medical Breakthroughs Presented by HealthCentral", which are syndicated to local stations via the HealthCentral Company. Publications

Periodicals
<mask> was the author of the "Edell Health Letter", published from 1982 until 1994. Five years later the editorial staff of Healthcentral.com wrote articles based on his radio show topics on  HealthCentral.com from 1999 until 2001 when the site went bankrupt and was sold to new owners.Books
 The Brush & The Stone, Art Media Resources, 1999
 Eat, Drink, & Be Merry, Harper, 2000
 Life, Liberty, and the Pursuit of Healthiness, Harper, 2005

Websites
In 1999, <mask> launched the aforementioned HealthCentral, a website featuring both personally authored content and general health-related information with the mission of "becoming your favorite consumer health information service." <mask> lost his

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 ownership position in this company when it filed for bankruptcy in 2001. The site is now owned and operated by Washington, D.C.-based The HealthCentral Network. The site no longer publishes new content by <mask>, though his advice column and articles that predate the bankruptcy are featured prominently. Awards
<mask> has won media awards for his work, including the C. Everett Koop Media Award, the Edward R. Murrow Award, a national Emmy, the American Cancer Society Recognition Award, and the American Heart Association Award. In August 2011 Dr. <mask> was honored by The Independent Investigations Group with an 'Iggie' award for promoting science and critical thinking in mainstream media. In 1996 the Committee for Skeptical Inquiry (CSICOP) presented <mask> with the Public Education in Science Award.References

 Antonucci, Mike (January 5, 2004). "The Dr. <mask> You Don't Know". San Jose Mercury News

External links

 "About Dr. <mask>". Retrieved December 23, 2005
 uncredited (October 10, 2001) "HealthCentral Files Chapter 11"East Bay Business Times
abc7news.com <mask>'s TV bio
HEALTHCENTRAL.COM
<mask>ell Retirement Video From KGO-TV
<mask> interview on the Skeptics Guide to the Universe (Episode 154, Segment 3, July 2, 2008)
<mask> interview on the Skeptics Guide to the Universe (Episode 250, Segment 4, April 28, 2010)
<mask> interview on the Skeptics Guide to the Universe (Episode 538, Segment 6, October 31, 2015

1941 births
Living people
American health and wellness writers
American medical writers
American male non-fiction writers
American ophthalmologists
American talk radio hosts
20th-century American Jews
Television anchors from San Francisco
American skeptics
Weill Cornell Medical College alumni
21st-century

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title: George Young (surgeon)

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<mask> (1692–1757) was an Edinburgh surgeon, physician, philosopher and empiric. As a young man he was a member of the Rankenian Club, a group of intellectuals who were to go on to become some of the most influential figures of the Scottish Enlightenment. <mask>'s lecture notes (1730–31) give a clear account of contemporary medical and surgical practice and are characterised by the empirical approach to the advancement of medical knowledge, especially in the evolving understanding of nerve and muscle function. His Treatise on Opium (1753) was a practical guide for physicians in the use of the drug which emphasises its complications. It was the longest, most balanced and most comprehensive English language account yet written. <mask>'s legacy is also apparent in the work of his pupil Robert Whytt (1714–1766) and his surgical apprentice James Hill (1703–1776). <mask> had taught both the value of repeated observation and a sceptical approach to prevailing dogma.Whytt was to advance knowledge of nerve and muscle function  while Hill went on to make important contributions to the understanding and management of head injury. Early life

<mask> was born in Edinburgh in 1692. On 14 March 1711 he was apprenticed to the Edinburgh surgeon-apothecary Alexander Simpson. In July 1719 he passed the entrance examination for the Incorporation of Surgeons of Edinburgh, becoming a freeman or fellow. Around this time he joined the Rankenian Club, and was the only surgeon known to have done so. The Rankenian was regarded as one of the most important of the many learned clubs and societies which were a defining feature of the Scottish Enlightenment. The Scots Magazine in May 1771 reckoned that "the Rankenians

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 were highly instrumental in disseminating throughout Scotland freedom of thought, boldness of disquisition, liberality of sentiment, accuracy of reasoning, correctness of taste and accuracy of composition."Its members were to become major figures of the Scottish Enlightenment. Medical career

<mask> worked as surgeon-apothecary in Edinburgh from about 1720, and between then and 1754 trained twelve surgical apprentices. Yet he was attracted to a career as a physician and to qualify as such he applied for, and on 21 June 1736 was awarded, the degree of MD (St Andrews) in absentia. The next year he successfully applied to become a licentiate of the Royal College of Physicians of Edinburgh (RCPE). <mask>'s lectures

In 1730–31 <mask> delivered lectures in Edinburgh on medicine and surgery, a copy of which is in the RCPE library. His surgical background and the influence of his Rankenian friends are apparent throughout his lectures; he repeatedly emphasises the need to rely on observed rather than inferred phenomena before reaching conclusions. His philosophy of medicine based on observation and experience is very much in the tradition of Thomas Sydenham (1624–1689), the English physician who emphasised careful observation and objective characterisation of disease.The lectures provide a comprehensive account of contemporary medical, and some surgical practice but also deal with contemporary theories about nerve and muscle function. <mask> was well versed in the literature of the day and analysed the theories of James Keill (1673–1719), the Edinburgh physician and anatomist, Daniel Bernoulli (1700–1782) the Swiss mathematician and physician, John Mayow (1641–79), who had devised the 'gunpowder

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 theory' of muscle function. He was sceptical about the iatromechanical theories of Herman Boerhaave (1668–1738) and Thomas Willis (1621–75). The lectures were documented by his pupil Robert Whytt (1714–1766) and their influence on his thinking on nerve and muscle function is apparent in Whytt's Essay on the Vital and Other Involuntary Motions of Animals published in 1751. Treatise on opium

The treatise was published as a response to an important paper on opium published in 1742 by <mask>'s Edinburgh contemporary Charles Alston (1683–1760), professor of botany and materia medica. Alston described opium's history and its preparation from poppies he had grown, the first person in Britain to have done so. <mask> took exception to Alston's conclusion that 'opium does more honour to medicine than any other remedy whatever' and counters this by emphasising the risks '...that I may prevent such mischief as I can, I here give it as my sincere opinion... that opium is a poison by which great numbers are daily destroyed.'In 41 chapters he provides a comprehensive account of the indications for the drug including its complications. True to his reputation he is critical about writers whose knowledge of the drug is based on chemical or animal experiments rather than clinical practice. The treatise is a detailed, balanced and valuable guide to prevailing knowledge and practice. <mask>'s apprentice James Hill

James Hill (1703–1776) was apprenticed to <mask> in 1723 and went on to work as a surgeon in Dumfries. In 1772 he published Cases in Surgery which was in effect an account of cases that he had treated over a working lifetime in surgery including head injuries. Hill had been taught by <mask> the

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 value of observation and the need for scepticism. Hills's series of head injuries which he had treated were the best published in the eighteenth century.Hill's ability to clinically diagnose  cerebral compression from bleeding following head injury enabled him to  treat this successfully  by directed trephine and drainage. His writing was  an important addition to the increasing understanding of the basis of the management of head injury and were being quoted 100 years after publication. Legacy

<mask> was recognised by Whytt (and presumably by other contemporaries) as a sceptic and empiric, and, in his discussions with fellow Rankenians may well have influenced the early thoughts on the doctrine of empiricism developed by David Hume and that of scepticism with which he is associated. The similarities between <mask>'s lectures and what became Hume's analysis of causation, probability, and practice are striking. His influence on Hill and Whytt was considerable and his son, <mask> became Professor of Midwifery at Edinburgh  credited with setting up, at his own expense, the first lying-in ward in Scotland in Edinburgh Royal Infirmary. <mask>'s reputation may have been damaged by his actions leading up to the divorce of his son <mask>. His philosophy is summarised in his entry in the Dictionary of eighteenth-century British philosophers.Further reading

References

Scottish medical researchers
People of the Scottish Enlightenment
18th-century Scottish medical doctors
1692 births
1757 deaths
Medical doctors from Edinburgh
Scottish surgeons
Fellows of the Royal College of Surgeons of Edinburgh
Fellows of the Royal College of Physicians of Edinburgh
Scottish medical writers
Philosophers from

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Young
Young
Thomas Young
Young
George


title: Adelaide Hall

texts:
<mask> (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. <mask> entered the Guinness Book of World Records in 2003 as the world's most enduring recording artist, having released material over eight consecutive decades. She performed with major artists such as Art Tatum, Ethel Waters, Josephine Baker, Louis Armstrong, Lena Horne, Cab Calloway, Fela Sowande, Rudy Vallee 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) and with Fats Waller. Early life and marriage
<mask> was born in Brooklyn, New York, United States, to Elizabeth and <mask> in 1901. <mask> and her sister Evelyn attended the Pratt Institute, where <mask> taught piano; Evelyn died of influenza in 1918, by which time her father had also died, leaving <mask> to support herself and her mother. In 1924, <mask> married the British sailor Bertram Errol Hicks, who was born in Trinidad and Tobago.Soon after their marriage he opened a short-lived club in Harlem, New York, called "The Big Apple" and became her official business manager. American career 1921–1935
<mask> began her stage career in 1921 on Broadway in the chorus line of Noble Sissle's and Eubie Blake's musical Shuffle Along. Shuffle Along became a huge hit and propelled <mask>'s career. She went on to appear in a number of similar black musical shows, including Runnin' Wild on Broadway in 1923, in which she sang James P. Johnson's hit song

masks:
Adelaide Louise Hall
Hall
Adelaide Hall
Arthur William Hall
Adelaide
William Hall
Adelaide
Hall
Hall
Hall


title: Adelaide Hall

texts:
 "Old-Fashioned Love." Chocolate Kiddies European tour, 1925

In 1925, <mask> toured Europe with the Chocolate Kiddies revue. The show included songs written by Duke Ellington. <mask> 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. The revue was designed to give Europeans a sampling of black entertainment from New York. 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. During <mask>'s visit to Germany she also sang at Berlin's renowned transvestite club, the Eldorado Café. The venue is immortalised in Christopher Isherwood's 1939 novel Goodbye to Berlin, as well as in the 1972 film Cabaret and the musical of the same name. In 1926, <mask> appeared in the short-lived Broadway musical My Magnolia, which had a score written by Luckey Roberts and Alex C. Rogers, after which she appeared in Tan Town Topics with songs written by Fats Waller.<mask> then starred in Desires of 1927 (with a score written by Andy Razaf and J. C. Johnson), which toured America from October 1926 through to September 1927. Tan Town Topics, Small's Paradise and Desires of 1927
In 1926, upon <mask>'s return to New York after touring Europe with the Chocolate Kiddies, she was featured in Tan

masks: Hall Hall Hall Hall Hall Hall


title: Adelaide Hall

texts: Town Topics, a revue containing songs written by Fats Waller and Spencer Williams. The cast included Fats Waller, Eddie Rector and Ralph Cooper, <mask>, 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. During July 1926, <mask> appeared in residency with Lottie Gee and the Southern Syncopated Orchestra at Small's Paradise, New York. On Tuesday, 5 October, <mask> 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, <mask>, Lottie Gee, Maude White and Chic Collins provided a selection of jazz and blues numbers.From October 1926, <mask> 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: "<mask> 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 <mask>, J. Homer Tutt, Henry "Gang" Jones, the Harmony Trio, Charles Hawkins, Arthur Porter, "Billy" McKelvey and Clarence Nance." Billed as the star "soubrette" of the show, <mask>'s performance included several songs (most notably "Sweet Virginia Bliss"), flat-foot

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 dancing and accompanying herself on the ukulele while singing. Recordings with Duke Ellington
In New York in October 1927, <mask> recorded her wordless vocals on "Creole Love Call" and "The Blues I Love To Sing" with Duke Ellington and his Orchestra, and on November 3, 1927, <mask> recorded “Chicago Stomp Down” with Duke Ellington and The Chicago Footwarmers for OKeh Records. "Creole Love Call" became a worldwide hit and catapulted both <mask>'s and Ellington's careers into the mainstream. For historical reasons the story behind "Creole Love Call"'s conception is interesting to recount: In 1927, <mask> and Duke Ellington were touring in the same show, Dance Mania.The show played several large cities before reaching New York City. In mid-November, <mask> travelled from Chicago (where she had been performing at the Sunset Café) to New York City in her Packard automobile with her husband Bert. When they arrived in New York, <mask> was approached in 7th Avenue by a reporter who enquired about her career plans. <mask>, however, declined to enlighten the reporter. Nevertheless, Miss <mask>'s reappearance in New York City garnered much speculation, as she was featured on the front pages of several newspapers, encouraging rumours she would soon be starring in a big Broadway show. In the meantime, <mask> and Ellington appeared together in Dance Mania at the Lafayette Theatre, Harlem from 14 November for one week before heading off with the show to play in Philadelphia, Pennsylvania at the Standard Theatre. In Dance Mania, <mask> closed the first half of the bill and Duke and his orchestra performed in the second half.Duke had a

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texts:
 new number "Creole Love Call", which he included in his set. When <mask> first heard the number back in October, she 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. When Duke was recounting the incident to a reporter he explained, "We had to do something to employ <mask>," 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." On 4 December 1927, Ellington and his Orchestra commenced their residency at Harlem's Cotton Club in a revue called Rhythmania. The show featured <mask> singing "Creole Love Call". In 1928, "Creole Love Call" entered the Billboard song charts at No. 29 (USA).On 7 January 1933, <mask> and Duke Ellington and his Famous Orchestra recorded "I Must Have That Man" and "Baby". Blackbirds of 1928

In 1928, <mask> starred on Broadway with Bill "Bojangles" Robinson, Tim Moore and Aida Ward in Blackbirds of 1928. The show became the most successful all-black show ever staged on Broadway at that time and made <mask> and Bojangles into household names. Blackbirds of 1928 was the idea of impresario Lew Leslie, who planned to build the show around Florence Mills in New York

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texts: after her success in the hit London show Blackbirds but Mills died of pneumonia in 1927 before rehearsals commenced. <mask> 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, where it ran for 518 performances. After a slow start, the show became the hit of the season.<mask>'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 <mask>'s performance and banned her from appearing in any future performances. The ban only remained for one performance, and <mask> returned triumphantly to her role the following day. 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 <mask>'s performance that he took out a hefty insurance policy to cover the cast; the most heavily insured were the principals, <mask> and "Bojangles" Robinson. It was this musical that not only secured <mask>'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. When <mask> 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. The French artist Paul Colin illustrated

masks: Hall Hall Hall Hall Hall Hall Hall Adelaide


title: Adelaide Hall

texts: several posters to advertise Blackbirds run at the Moulin Rouge including one entitled "Le Tumulte Noir – Dancer in Magenta" that captures <mask>'s performance beautifully, as she is dancing and waving her arms about.An original vintage poster of <mask> by Paul Colin advertising Blackbirds at the Moulin Rouge sold on 2 October 2003 at Swann Auction Galleries in New York for $167,500. In Europe, <mask> rivalled Josephine Baker for popularity on the European stage. With Blackbirds′ music score written by Jimmy McHugh and lyrics by Dorothy Fields, <mask>'s performances of the songs "I Can't Give You Anything but Love, Baby", "Diga Diga Do", "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, along with the cast, invited several cultural figures 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 <mask> is seated in the centre surrounded by guests including actress and music hall star Mistinguett, recently surfaced and was sold at Swann Auction Galleries, New York for $2,640. 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

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title: Adelaide Hall

texts:
 Adelphi Theatre, Chicago, on the evening of 26 November. It was in Chicago during December that <mask> unexpectedly quit the production and hastened home to New York.1930: Brown Buddies

Speculation that <mask> and Bill "Bojangles" Robinson would be paired up on stage again after <mask> quit Blackbirds at the end of 1929 had been rife amongst theatrical circles and in newspaper gossip columns. True to the speculation, in 1930, <mask> and Bill "Bojangles" Robinson starred together twice at New York's Palace Theatre on Broadway (in February and in August). Both appearances were for a weeks engagement. During her February appearance, which was <mask>'s first ever appearance at the Palace Theatre, she received a roaring welcome in front of a capacity house, and took six bows at the end of her performance. It was also noted in several newspapers that Lew Leslie had tried everything in his capacity bar from erecting a 'Rock of Gibraltar' to prevent <mask> from appearing at any venue without his consent since she quit Blackbirds. Having failed, Leslie did however manage to put a temporary restraint on her using any of the songs from Blackbirds in her show. So successful was <mask>'s collaboration with Bojangles that in October 1930, the pair were teamed up together again, this time by Marty Forkins (Bojangles' manager) to star in the Broadway musical Brown Buddies.The musical opened on Broadway at the Liberty Theatre where it ran for four months before commencing a road tour of the States. Dubbed by the press as "a musical comedy in sepia", the core of the music was composed by Millard Thomas but also featured songs by Shelton

masks: Hall Hall Hall Hall Hall Hall Hall


title: Adelaide Hall

texts:
 Brooks, Ned Reed, Porter Grainger, J. C. Johnson, J. Rosamund Johnson, George A. Little, Arthur Sizemore and Edward G. Nelson. After an out-of-town try-out, the musical opened on 7 October at the Liberty Theatre, New York, where it ran a fairly solid run of 111 performances until 10 January 1931. 1931–1932: World concert tour

In 1931, <mask> 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.She was accompanied on stage by two pianists who played white grand pianos. It was during this tour that <mask> discovered and employed the blind pianist Art Tatum, whom she brought back to New York with her at the end of the tour. In August 1932, <mask> 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. A review from 25 January 1932 of her show at the Riverside Theatre, Milwaukee in The Milwaukee Sentinel wrote of <mask>'s performance:

<mask>, attractive young colored singer, dominates a vaudeville of staggering proportions. <mask> has the sort of "blues" voice that gets you and she has a fine dramatic sense. Her interpretation of "River Stay Away From My Door," is strikingly good. And her gowns are lovely.1932–1933: Larchmont, Westchester County, racist incident

In the fall of 1932, upon her return to New York, <mask> and her husband purchased the lease on an exclusive freehold residential estate in the Village of Larchmont in the New

masks:
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Hall
Hall
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Adelaide Hall
Miss Hall
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title: Adelaide Hall

texts:
 York suburb of Westchester County. As news of her arrival in Larchmont leaked into the local media she began to encounter racial opposition from her white upper-middle-class neighbors, who threatened court action to have <mask> evicted. After her home was broken into and an attempt was made to set it alight, news of the attack hit national newspaper headlines: ‘What’s Your Grandfather’s Name? <mask> Asks White Neighbors.’ Receiving hundreds of letters of support from the American public imploring her to stick it out, <mask> 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 and as such she had every right to reside where she wished. 1933: Harlem Opera House, New York
For one week commencing Saturday 14 January 1933, <mask> returned to New York 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 <mask>'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 <mask> performed.He did however apologise for this mishap. He also mentioned that <mask> was accompanied on stage by a guitar "troubadour" and a blind pianist (referring to Art Tatum) who, he declared, "can really play". 1933: American concert tour
 <mask>'s itinerary included all the principal cities and lasted 30 weeks

World Fair City, Chicago, 1933

Miss <mask>, the darling girl with the guitar and the

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Adelaide Hall
Hall
Hall
Hall
Hall
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Adelaide Hall


title: Adelaide Hall

texts:
 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 reigned supreme.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.Stormy Weather Revue, 1933
In a Pittsburgh Courier review of the Stormy Weather Revue, starring <mask> in New York, dated 29 November 1933, it said that, "Although crippled from a fall into a manhole while appearing in Boston the week previous to her New York engagement, <mask>, 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. In October 1933, for the first time in

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title: Adelaide Hall

texts:
 history, the entire floor revue from Harlem's Cotton Club went on tour, playing theatres in principal cities across the U.S. Irving Mills organised the tour and <mask> headlined the cast. Other performers on the bill included the Mills Blue Rhythm Band and George Dewey Washington. The revue was originally called The Cotton Club Parade of 1933, but for the road tour it was changed to the Stormy Weather Revue. As the name implies, the show contained the hit song "Stormy Weather", written by Harold Arlen and Ted Koehler, which had been introduced by Ethel Waters earlier that year at the Cotton Club in the Cotton Club Parade of 1933. 1934: Apollo Theater, Harlem, Chocolate Soldiers revue
Chocolate Soldiers opened at the new Apollo Theater, Harlem, starring <mask> in Harlem, New York, 14 February 1934. The show was produced by Clarence Robinson and garnered great attention and acclaim, helping to establish the recently opened Apollo as Harlem's premier theatre.The Cotton Club Parade, 1934
On 23 March 1934, <mask> opened at Harlem's Cotton Club in The Cotton Club Parade 24th Edition. It was the largest grossing show ever staged there. The show ran for six months at the Cotton Club. In the show <mask> introduced the songs "Ill Wind" and "Primitive Prima Donna", which Harold Arlen and Ted Koehler wrote especially for her. It was during <mask>'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. So successful was the show, the entire production went on a roadtour playing in theatre's across America.1935:


title: Adelaide Hall

texts:
 North and South American concert tour
During 1935, <mask> 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 <mask> gives a rare insight into her life and her home in the Village of Larchmont, disclosing how dramatically her circumstances had changed since her humble upbringing in Harlem. Tyler 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 <mask>. "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". Tyler continues by asking about her forthcoming American and Canadian concert tour, which will take her deep into the South: "What do you think of such a tour, under the conditions that exist in the South?" <mask> 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. In the summer of 1935, Miss <mask> had a regular slot on the New York radio station WNCA performing every Monday and Wednesday evening at 9 PM (New


title: Adelaide Hall

texts:
 York time). European career, 1935–1938
<mask> arrived in Paris, France in the fall of 1935 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. "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 <mask> during an interview. The Quintette du Hot Club de France were one of the house bands <mask>'s husband Bert hired at the club. At the beginning of 1936, <mask> starred in the Black and White Revue.The show of 50 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. The orchestra that travelled with the production was under the direction of Henry Crowder. During the August 1936 Summer Olympics held in Berlin, Germany, <mask> appeared at Berlin's Rex Theatre singing jazz. Her performance is notable for her contravening Adolf Hitler's ban on jazz music being played. In 1937, <mask> 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. <mask> is also credited with


title: Adelaide Hall

texts:
 introducing the Truckin' dance craze to the Parisians.During her residence in Europe, <mask> sang with several orchestras, including those of Willie Lewis and Ray Ventura; in 1937 (while on a trip to Copenhagen), she recorded four songs with Kai Ewans and his Orchestra for the Tono record label. 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 <mask> and Mistinguett, who were accompanied by two orchestras. Move to London, 1938

British career, 1938–1993
After many years performing in the US and Europe, <mask> went to the United Kingdom in 1938 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. She was so successful and became so popular with British audiences that she stayed and made her home there, becoming one of the most popular singers and entertainers of the time. <mask> lived in London from 1938 until her death. On 28 August 1938, <mask> recorded "I Can't Give You Anything But Love" and "That Old Feeling" at London's Abbey Road Studios, with Fats Waller accompanying her on the organ.The recordings were released on HMV Records. On 10 September 1938, she appeared in Broadcast To America with Waller at London's St George's Hall in a live transatlantic radio broadcast. On 25 February 1939, BBC TV broadcast Harlem in Mayfair from <mask>'s London nightclub, the Old Florida Club. The cabaret show starred <mask>; also on the bill were Esther and Louise, Eddie Lewis,


title: Adelaide Hall

texts: and Fela Sowande with his Negro Choir and Orchestra. On 20 May 1939, BBC TV broadcast the cabaret show Dark Sophistication, starring <mask> performing at the Old Florida Club. On 26 August 1939, <mask> took part in the BBC TV production Kentucky Minstrels, which was transmitted live from the 2500-seat RadiOlympia Theatre in London. On Friday, 1 September 1939, <mask> was scheduled to appear at 9:00 pm in a live BBC TV broadcast titled Variety recorded direct from the RadiOlympia Theatre.Other performers on the bill included Nosmo King, The Gordon RadiOlympia Girls, Hubert Murray and Mooney, and Bobby Howell and his Band. However, with war looming, the BBC were instructed by the government to shut down broadcasting, and at 12:35 the service went off the air for seven years. It appears that the show Variety never took place at RadiOlympia; The Times newspaper for the following day (2 September) noted in their section 'News in Brief' that "RadiOlympia closed at 12:30 yesterday", presumably another result of the country being placed on a war footing. Unexpectedly, the show Variety became one of the first British theatrical casualties of World War II and part of the mystery surrounding "what really happened at the BBC on 1 September 1939?" That year, <mask> became a featured vocalist with Joe Loss & His Band and from 1939 to 1941, <mask> headlined the popular BBC Radio variety show Piccadixie. She also toured the UK extensively during these years, headlining the Piccadixie British Tour, supported by comedian Oliver Wakefield and pianist George Elrick. During the war, <mask> entertained the troops in Europe for the USO (United


title: Adelaide Hall

texts: Service Organizations Inc.) and the British equivalent ENSA (Entertainments National Service Association) in which she served as a captain.Her uniform was made by Madam Adele of Grosvenor Street in Mayfair, London. The First World Radio Broadcast, 17 October 1939. On 17 October 1939 <mask> starred in one of the most sensational live radio broadcasts ever attempted by the BBC to hit the airwaves. It took place at the RAF Hendon base in North London, in front of a specially invited audience of RAF personnel, and was the first large-scale variety concert organised by ENSA. The whole show was relayed worldwide across the airwaves, the first time a live show had ever been broadcast by the BBC around the globe. On the bill was  <mask>, her accompanist Fela Sowande, Mantovani and His Orchestra, The Western Brothers, and Harry Roy and his Band. <mask> later recalled in vivid detail the challenges she faced during WWII while entertaining the troops across Europe and in the UK, some of whom were wounded: "Sometimes I had to sing without music, but it was a challenge, and so rewarding to get all the people to sing with me."At one London performance <mask> gave at Lewisham Hippodrome theatre during the week of 20 August 1940, the Luftwaffe attacked overhead, dropping bombs and, "even though we could hear bombs exploding outside the theatre, we carried on ... I had sung 54 songs until the all-clear sounded at 3:45 a.m. in the morning!" <mask>'s 54 encores are believed to be a world record for the amount of encores sung by one artist on stage. <mask> also claimed to be one of the first entertainers to enter Germany before the war had

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title: Adelaide Hall

texts: officially ended. She travelled with the troops as they advanced towards Berlin, dismissing the dangers such bravery entailed. <mask>'s career was almost an uninterrupted success. She made more than 70 records for Decca, had her own BBC Radio series, Wrapped in Velvet (making her the first black artist to have a long-term contract with the BBC), and appeared on the stage, in films, and in nightclubs (of which she owned her own in New York, London and Paris).In the 1940s, and especially during World War II, she was hugely popular with civilian and Entertainments National Service Association (ENSA) audiences and became one of Britain's highest paid entertainers. Her London nightclub The Old Florida Club owned by <mask> and her husband was destroyed by a landmine during an air raid in 1939. Her husband Bert was in the club's cellar when the landmine exploded but he survived the attack. <mask> has a cameo appearance as a singer in the 1940 Oscar-winning movie The Thief of Bagdad (directed by Michael Powell (and others) and produced by Alexander Korda) in which she sings Lullaby of the Princess written by Miklós Rózsa. In 1943, <mask> featured in an ENSA radio show broadcast by the BBC entitled Spotlight on the Stars during which she was accompanied by the BBC Variety Orchestra. During the show she mentions how she had just returned home from a tour. On 20 May 1940, <mask>'s recording of 'Careless' debuted in the British charts at number 30, where it remained for two consecutive weeks.In the August 1940 issue of British Vogue magazine, a photograph of <mask> appears on the 'Spotlight' page compiled by the features editor


title: Adelaide Hall

texts: Lesley Blanch under the caption: "<mask> and her husband run the Florida. His show, her songs, our fun." On 6 June 1945, <mask>'s recording of "There Goes That Song Again" entered the BBC British charts at number 15. <mask> appears in the earliest post-war BBC telerecording: 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 BBC TV show titled Variety in Sepia. <mask> sings "Chi-Baba, Chi-Baba (My Bambino Go to Sleep)" and "I Can't Give You Anything But Love" 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 Winifred Atwell, Evelyn Dove, Cyril Blake and his Calypso Band, Edric Connor and Mable Lee and was produced by Eric Fawcett.The six-minute footage of <mask> is all that survives of the show. In 1948, <mask> appeared in a British movie called A World is Turning. 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 <mask> rehearsing songs such as "Swing Low, Sweet Chariot" and "The Gospel Train" (a traditional African-American spiritual first published in 1872 as one of the songs of the Fisk Jubilee Singers). In 1949, <mask> appeared on the BBC TV shows Rooftop Rendezvous and Caribbean Carnival. That year, <mask> recorded five spirituals accompanied by the pianist Kenneth Cantril. The five

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Hall


title: Adelaide Hall

texts: songs chosen and released by London Records (the US outlet for British Decca) were "Swing Low Sweet Chariot", "Bye and Bye", "Nobody Know De Trouble I've Seen", "Sometimes I Feel Like a Motherless Child", and "Deep River".In 1951, <mask> appeared as a guest in the music spot on the first ever British comedy series How Do You View, starring Terry-Thomas and written by Sid Colin and Talbot Rothwell. On 29 October 1951, <mask> appeared on the bill of the Royal Variety Performance at the Victoria Palace Theatre in the presence of Princess Elizabeth and Princess Margaret. Alongside Trinidad-born US dancer Pearl Primus and the female members of her company, who also performed that year, <mask> was the first black female artiste to ever take part in the Royal Variety Performance. <mask> also entertained at private parties for the Duchess of Kent, the Churchills, and the Duke and Duchess of Windsor. She was one of the many performers at an all-star midnight Anglo-American gala at the London Coliseum on the night of Monday December 11, 1951, before the then Princess Elizabeth and the Duke of Edinburgh.’  Also on the bill was Frank Sinatra, Orson Welles, and Noël Coward. In the early 1950s, <mask> and her husband Bert opened the Calypso Club in Regent Street, London, and Royalty flocked there. It was reported in the press that Princess Elizabeth was a frequent visitor and that <mask> had taught the princess the Charleston.<mask> appeared in the 1951 London run of Kiss Me, Kate playing the role of Hattie, singing Cole Porter's "Another Op'nin', Another Show", and in the 1952 London musical Love From Judy at the Saville Theatre


title: Adelaide Hall

texts: playing the role of Butterfly, singing "A Touch of Voodoo", "Kind to Animals" and "Ain't Gonna Marry". The entire production of Love From Judy was filmed with the original cast and aired on BBC on March 16, 1953. In 1956, she returned to London's West End in the play Someone to Talk To. In 1957, at the request of Lena Horne, <mask> returned to America to appear with Horne in the musical Jamaica. The world premiere of Jamaica took place in Philadelphia in September 1957 and transferred to Broadway on 31 October. In 1958, <mask> was cast as one of the lead characters in Rodgers and Hammerstein's new musical Flower Drum Song. On 1 April 1960, <mask> appeared on the BBC TV music show The Music Goes Round hosted by John Watt.The show was an NBA TV version of the radio show Songs from the Shows. On 3 March 1965, <mask> appeared on BBC2 television in Muses with Milligan with Spike Milligan and John Betjeman in a show devoted to poetry and jazz. In 1968, <mask> appeared in Janie Jones, a new American play written by Robert P. Hillier and directed by Peter Cotes. The cast included American actress Marlene Warfield. 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 Noël Coward Theatre). Between 1969 and 1970, <mask> made two jazz recordings with Humphrey Lyttelton. This was followed by theatre tours and concert appearances; she sang at Duke Ellington's memorial service at St Martin-in-the-Fields in 1974.On 4 January 1974, she appeared on the British TV shows Looks Familiar (as a panelist) and on What Is Jazz,


title: Adelaide Hall

texts: with Humphrey Lyttelton. On 15 June 1976, she appeared on British TV in It Don't Mean a Thing. and in 1981 appeared on the Michael Parkinson BBC TV show Parkinson as a guest. In July 1982, <mask> appeared at a Gala concert held at St Paul's Cathedral in London to celebrate the sacred music of Duke Ellington. A live recording of the concert titled The Sacred Music of Duke Ellington was filmed for a Channel 4 TV documentary. Artists also taking part included Tony Bennett, Phyllis Hyman, Jacques Loussier, Alan Downey, Wayne Sleep, Ronnie Scott, Stan Tracey and the New Swingle Singers. The concert was hosted by Rod Steiger and narrated by Douglas Fairbanks Jr.In April 1980, <mask> returned to the U.S. and from 1 to 24 May, she appeared in the cast of Black Broadway (a retrospective musical revue) at the Town Hall in New York. Among other artists appearing in the show were Elisabeth Welch, Gregory Hines, Bobby Short, Honi Coles, Edith Wilson, Nell Carter and John W. Bubbles of Buck and Bubbles fame. The show originally was staged at the Newport Jazz Festival on 24 June 1979, before it was re-assembled in 1980 and staged at the Town Hall. Following Black Broadway, in June 1980, <mask> took up temporary residence at Michael's Pub in New York and commenced a three-week engagement, performing three shows a night. In June 1980, she performed at the Playboy Jazz Festival held at the Hollywood Bowl in Los Angeles. Other artists on the bill included Dizzy Gillespie, Herbie Hancock, Stéphane Grappelli, Mel Tormé, Zoot Sims, Carmen McRae and Chick Corea. On 2 July 1980, writer Rosetta Reitz organised a tribute to the Women of Jazz at

masks: Hall Hall Hall


title: Adelaide Hall

texts: Avery Fisher Hall as part of the Newport Jazz Festival.Called The Blues is a Woman, the program, narrated by Carmen McRae, featured music by <mask>, Big Mama Thornton, Nell Carter and Koko Taylor. <mask> appeared at the Duke Ellington Tribute Concert at St. Paul’s Cathedral, London, in 1982, where she sang Ellington's 'Come Sunday'. Back in the States, in February 1983, <mask> appeared on the bill of the 100th birthday celebration for composer Eubie Blake held at the Shubert Theater, New York. Unfortunately, Blake was recovering from pneumonia at the time so could not attend the event but with the aid of a special telephone hook-up to his home in Brooklyn he was able to listen to the entire two-hour show. On 5 April 1983, <mask> commenced a month-long engagement at The Cookery in New York. Her accompanists were Ronnie Whyte and Frank Tate. In 1985, <mask> appeared on British TV in the cast of Omnibus: The Cotton Club comes to the Ritz, a 60-minute BBC documentary in which some of the performers from Harlem's Cotton Club were filmed performing at the Ritz Hotel in London, along with contemporary musicians.Also on the bill were Cab Calloway and his Orchestra, Doc Cheatham, Max Roach and the Nicholas Brothers. In 1985, <mask> appeared on British TV on The South Bank Show in a documentary entitled The Real Cotton Club. In July 1986, <mask> performed in concert at the Barbican Centre, London. In October 1988, <mask> presented a one-woman show at Carnegie Hall in New York. She presented the same show in London at the King's Head Theatre (Islington) during December 1988. She is one of the very few performers to have made two

masks: Hall Hall Hall Hall Hall Hall Hall Hall


title: Adelaide Hall

texts:
 guest appearances (2 December 1972 and 13 January 1991) on the BBC Radio 4 programme Desert Island Discs. In 1989, she appeared at London's Royal Festival Hall at the Royal Ellington Tribute Concert that included the world premiere of Ellington's Queen's Suite, which was written for Queen Elizabeth II.Other artists appearing included the Bob Wilber Band, Tony Coe and Alan Cohen. The concert was filmed by Independent Film Production Associates. 1989 also saw <mask> appear in concert at the Studio Theatre, Haymarket in Leicester. The concert was organised by composer/musician Gavin Bryars and sold out almost as soon as it was announced. In 1990, <mask> starred in Sophisticated Lady, a Channel 4 television documentary about her life broadcast on 24 July, which included a performance of her in concert recorded live at the Riverside Studios in London. Her final US concert appearances took place in 1992 at Carnegie Hall, in the Cabaret Comes to Carnegie series. The same year, she was presented with a Gold Badge Award from the British Academy of Songwriters, Composers and Authors.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."Death
<mask> died in the early hours of 7 November 1993, aged 92, at London's Charing Cross Hospital of natural causes (old age). Honouring her wish, her funeral took place in New York at the Cathedral of the Incarnation (Garden City, New York) and she

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Hall
Adelaide Hall


title: Adelaide Hall

texts:
 was laid to rest beside her mother at the Cemetery of the Evergreens in Brooklyn. In London, a memorial service was held for her at St Paul's, Covent Garden (known as the "actors' church"), which was attended by many stars including Elaine Paige, Elisabeth Welch, Lon Satton and Elaine Delmar. One of the participants, TV presenter and broadcaster Michael Parkinson, remarked rather fittingly during his eulogy: "<mask> lived to be ninety-two and never grew old." Legacy
In 2018, <mask> was named by the Evening Standard on a list of 14 "Inspirational black British women throughout history", alongside Mary Seacole, Claudia Jones, Margaret Busby, Olive Morris, Joan Armatrading, Tessa Sanderson, Doreen Lawrence, Maggie Aderin-Pocock, Sharon White, Malorie Blackman, Diane Abbott, Zadie Smith and Connie Mark. Chapter 20 (titled La Grosse Pomme) in the 2017 spy novel ‘I Spy the Wolf’ by Stephen Davis is set inside Adelaide Hall’s La Grosse Pomme nightclub in Pigalle, Paris, during March 1939. <mask> was one of the major entertainers of the Harlem Renaissance.Along with Louis Armstrong, she pioneered scat singing and is widely acknowledged as one of the world's first jazz singers, regarded as such by Ella Fitzgerald. <mask> was the first female vocalist to sing and record with Duke Ellington. She holds the accolade of being the 20th century's most enduring female recording artist, her recording career having spanned eight decades. In 1941, <mask> replaced Gracie Fields as Britain's highest paid female entertainer. In the "100 Great Records of the 1920s" <mask> is at number 26 with Duke Ellington's Orchestra, singing "The Blues I Love

masks: Adelaide Hall Hall Hall Hall Hall


title: Adelaide Hall

texts: to Sing" (Duke Ellington/Bubber Miley) Victor 21490, 1927. Influential writer Langston Hughes, in his book Famous Negro Music Makers (published by Dodd, Mead, 1955) lists individual musicians that helped develop jazz, in which he states that "jazz singers too, had not been without influence on the development of this (Jazz) music", and then includes <mask> alongside Louis Armstrong, Cab Calloway, Ray Nance and Joe Carroll, Dizzy Gillespie, Ella Fitzgerald, Billie Holiday, Albert Hunter, Baby Cox and Florence Mills, as all being outstanding jazz vocalists of their time. <mask> is mentioned in the novel Strange Brother (set in New York in the late 1920s, early 1930s) written by Blair Niles and first published in 1931.Published in 1998, Marsha Hunt's novel Like Venus Fading was inspired by the lives of <mask> (known as the lightly-tanned Venus), Josephine Baker and Dorothy Dandridge. The mesmerising effect <mask> had on her audience at the Cotton Club is captured in the fictionalised 2017 novel A Time in Ybor City by Ron Kase. Kase's account captures <mask>'s 11:00 o'clock evening performance in the Cotton Club Parade revue, at which George Gershwin is in the audience. The account is a fictionalised account based on part fact. "When Harry Met Addie" was composed by Gavin Bryars in 1999 (published by Schott Music Ltd., London). Bryars wrote it as a tribute to <mask> and saxophonist Harry Carney. The piece was first performed at the Duke Ellington Memorial Concert at the Queen Elizabeth Hall, London on 1 May 1999, and was commissioned by the baritone saxophonist/bass clarinettist John Surman.The soprano was Cristina Zavalloni


title: Adelaide Hall

texts:
 and the London Sinfonietta Big Band was conducted by Diego Masson. <mask> was loosely portrayed as the nightclub chanteuse in Francis Ford Coppola's 1984 film The Cotton Club. It was <mask>'s husband, Bert Hicks, who suggested to Eric Bartholomew's mother that he should change his stage name to Morecambe, after the place of her son's birth, thereby christening the British comic duo Morecambe and Wise. Underneath a Harlem Moon, 2013–2014
During 2013, British singer Laura Mvula revealed in a Blues and Soul interview with assistant editor Pete Lewis that her song "Sing to the Moon" (from her hit debut album Sing to the Moon, RCA/Sony Music) was inspired by the 2003 biography of <mask> entitled Underneath a Harlem Moon: The Harlem to Paris Years of Adelaide Hall, by Iain Cameron Williams:

Well, the actual song "Sing to the Moon" came from a time when I was reading a book called Underneath a Harlem Moon, which is a biography of a jazz singer called <mask>, 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

masks:
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Hall
Hall
Adelaide Hall


title: Adelaide Hall

texts:
 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. On 11 August 2014, Mvula released her second album, an orchestral version of Sing to the Moon, and on 19 August 2014, Mvula appeared at the Royal Albert Hall as part of The Proms season, performing the entire album Sing to the Moon, accompanied by the Metropole Orkest. In 2014, "Sing to the Moon" was sampled by the American rapper XXXTentacion and incorporated in his song "Vice City", which launched his music career. After Midnight, Broadway musical 2013–2014
A new musical revue After Midnight featuring the classic music of Duke Ellington, Dorothy Fields & Jimmy McHugh, and Harold Arlen, premiered to much praise at the Brooks Atkinson Theatre in New York on 3 November 2013 and was booked through to 31 August 2014. The show is an idealised fantasy of Harlem in its 1920s–1930s heyday and salutes black musicians and performers such as Ethel Waters, <mask>, Cab Calloway, Duke Ellington and the Nicholas Brothers, who became international stars during that era. At least three of the songs that <mask> introduced are performed in the show, including headliner Fantasia Barrino's rendition of "I Can't Give You Anything but Love, Baby" and Carmen Ruby Floyd's performance of Ellington and <mask>'s "Creole Love Call". The song "Diga Diga Do" also appears in the show.A Nite at the Cotton Club,


title: Adelaide Hall

texts:
 2014
In February 2014, a new stage show called A Nite at the Cotton Club, 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 <mask>. The entire run sold out. ASCAP 100 Years, 2014
On 14 February 2014, the American Society of Composers, Authors and Publishers (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. Dorothy Fields and Jimmy McHugh's song "I Can't Give You Anything but Love, Baby", written for the Broadway revue Blackbirds of 1928, was chosen for 1928, and <mask>'s recording of the song was chosen to represent the year. Downton Addy's, 2020
As part of Black History Month in June 2020, Sherman's Showcase – an American musical TV comedy series created by actors Bashir Salahuddin and Diallo Riddle – portrayed <mask> in a Harlem Renaissance meets Downton Abbey musical sketch titled Downton Addy's. The show was aired on 19 June on stations AMC and IFC.Bashir Salahuddin played the part of Paul Robeson, Day'Nah Cooper took the role of Dowager Countess of Basie, Aleksei Archer portrayed <mask> "Addy" <mask>, and Nefetari Spencer brought Zora Neale Hurston to life. Costume designer Ariyela Wald-Cohain looked directly to the Downton Abbey movie for visual references. Critics praised it: Rolling Stone called it "the hidden gem of sketch comedy"; The New York Times said it was "irreverent", and Salon said it was "bright, accessibly silly and uproarious". Collider called it "a hard show to explain

masks:
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Hall
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Adelaide
Hall


title: Adelaide Hall

texts:
 but a very easy one to fall in love with." In June 2020, British Vogue acknowledged <mask> in their list of ‘7 Remarkable Black Women Who Shaped British History.’

Black Plaque awarded to <mask> Hall, 2021
<mask> Hall was honoured in 2021 by the Black Plaque Project, an initiative of the Nubian Jak Community Trust, with a plaque commemorating her outstanding career and achievements in the world of entertainment. The plaque is placed in the world-renowned Abbey Road Recording Studios in St John's Wood, London where <mask> recorded with fellow American jazz artiste and composer Fats Waller. <mask> is #15 in the Black Plaque Project that honours the achievements throughout history of members of the UK’s black community.One Minute Theatre Top 10 People of Colour in Musicals=, 2021
In March 2021, 1 Minute Theatre Reviews acknowledged <mask> Hall in their 10 "people of colour who have made a major contribution to the stage musical". Women Inspire Podcast, 2021
Adelaide Hall - "Sing to the moon Addie and the stars will shine." The remarkable life and career of Adelaide Hall is narrated by the actress  Laura Adams and featured on the Women Inspire podcast that was broadcast on 12 January 2021. The script is titled, "Sing to the moon Addie and the stars will shine" and the 22-minute podcast can be heard on the Women Inspire website. Discography

1927–1938

The Decca years, 1939–1945

Odeon (Argentina) 1943

London Records, Spirituals, 1949
Adelaide Hall and Kenneth Cantril, Spirituals, 78 rpm set

Columbia (EMI) – 1951

Oriole – 1960

UK singles chart entries

Filmography
 A Son of Satan (1924) (USA) (Micheaux Film)
 Dancers in

masks:
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Adelaide
Adelaide
Hall
Hall
Adelaide


title: Adelaide Hall

texts:
 the Dark (1932) (USA) (<mask>'s singing voice is used but she is uncredited)
 On the Air and Off (1933) (USA short, filmed at Biograph Studios, Bronx, New York City) (Universal Pictures)
 Broadway Varieties (1934) (USA short, filmed at Biograph Studios, Bronx, New York City) (Universal Pictures)
 All-Coloured Vaudeville Show (1935) (USA)
 The Kentucky Minstrels (1939 (British TV movie)
 The Thief of Bagdad (1940) (UK)
 Behind The Blackout (1940), British Pathé Newsreel
 Stars In Your Eyes (TV series, UK) 1946-1950. Variety in Sepia (1947) (UK) (BBC TV)
 A World Is Turning (towards the coloured people) (1948) (UK)
 Olivelli's (1951), British Pathé Newsreel
 Love From Judy (1953) TV movie. Night and the City (1959) (UK) (role – singer – the scenes were deleted from the final edit)
 Looks Familiar (9 January 1974) (ITV)
 What Is Jazz?(1974) (TV Documentary)
 It Don't Mean A Thing (15 June 1976)
 Parkinson (TV series): 300th edition (1981) (BBC TV)
 The Sacred Music of Duke Ellington (1982) (MGM) – recorded at St. Paul's Cathedral, London (released 1983)
 The Cotton Club Comes to the Ritz (1985) (A documentary with live performances at the Ritz Hotel, London, featuring former Cotton Club performers)
 Chasing a Rainbow: The Life of Josephine Baker (1986)
 Brown Sugar (1986) (American TV mini-series)
 Sophisticated Lady (1989) (UK) (documentary about Adelaide Hall)
 Royal Ellington (1989) (live concert footage)
 Adelaide Hall – Live at the Riverside (1989) (UK) (Adelaide Hall in concert)

Exhibitions
Exhibitions that feature or have featured content relating to Adelaide Hall:

 Women and War – Imperial War Museum, London


title: Adelaide Hall

texts:
 (2003–04). Little Black Dress – Brighton Museum and Art Gallery, Brighton (2007). Devotional – National Portrait Gallery, London (2007)
 Little Black Dress – London Fashion Museum, London (2008). Keep Smiling Through: Black Londoners on the Home Front 1939–1945 – The Cuming Museum, London (2008). Jazzonia and the Harlem Diaspora – Chelsea Space, London (2009). The Living Archive Exhibition – The London Palladium (opened 2009 – on permanent display). The collection throws a spotlight on 100 years of black performers at the Palladium, such as <mask>, the Harlem Renaissance star who made her London debut at the venue in 1931.Oh! Adelaide – Art installation, Wimbledon Space, Wimbledon College of Art, London (2010). There is no Archive in which Nothing Gets Lost – Oh! Adelaide – Art installation – The Museum of Fine Arts, Glassell School of Art, 5101 Montrose Boulevard, Houston, America – 7 September 2012 – 25 November 2012. Creole Love Call – Exhibition – VIERTELNEUN Gallery, 1090 Vienna, Hahngasse 14, Austria – Exhibition (25 January to 28 February 2013) – Catalogue published with the presentation. The Harlem Renaissance – Kurá Hulanda Museum, Curaçao, Willemstad, Caribbean (2013). Scat: Sound and Collaboration – Iniva (Institute of International Visual Arts), London EC2A 3BA (5 June – 27 July 2013).Untitled – etching by Sonia Boyce. Permanent Collection, Studio Museum in Harlem, NY. In her 2006 etching Untitled, Boyce pays tribute to 14 black female contributors to British music history. Performers featured in the composition include Dame Shirley Bassey, <mask>, Millie Small and Cleo Laine. Black Women in Britain, Black

masks:
Adelaide Hall
Adelaide Hall


title: Adelaide Hall

texts:
 Cultural Archives, 1 Windrush Square, Brixton, London SW2 1EF (24 July – 30 November 2014. Rhythm & Reaction: The Age of Jazz in Britain: Explores the emergence of Jazz in Britain and its continuing influence over the last century. Two pictures of <mask>, one by photographer Angus McBean, and another extremely rare photograph of <mask> taken at her Florida (Mayfair) nightclub were on display at the exhibition, from 27 January 2018 until 22 April 2018, located at William Waldorf Astor's mansion at Two Temple Place, London.Adelaide Hall archives and photo collections
 The Indiana University Adelaide Hall Collection (1928–2003): The collection is housed at the Archives of African American Music and Culture at Indiana University, collection number SC 134: The collection contains photographic materials, articles, programs and ephemera related to <mask>'s performance career: contact: Archives of African American Music and Culture, 2805 E 10th St., Suite 180–181, Bloomington, Ind. 47408-4662. Writer Iain Cameron Williams and Adelaide Hall's former manager Kate Greer own a private Adelaide Hall Collection, from which items have been loaned for public exhibitions. Alamy Photo Archive: Adelaide Hall on set of the 1940 Alexander Korda directed movie The Thief of Bagdad. The British Library in Euston Road, London, holds a considerable archive relating to Adelaide Hall; the collection contains mainly audio, interviews, live concert tapes, and recordings, some of which are quite rare. The British Lion Film Production disc collection (held at the British Library) contains music from the film soundtrack of Night and the City (1950) on

masks:
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title: Adelaide Hall

texts:
 which Adelaide Hall is featured. Detroit Public Library Digital Collection houses a portrait of singer <mask> by photographer Germaine Krull dated 1929, photographed during Blackbirds residency at the Moulin Rouge, Paris.Duke University Libraries – Rosetta Reitz Papers (1929–2008) – Adelaide Hall photograph collection series (Box 17): Rosetta Reitz Papers – Adelaide Hall Reference Materials Series (1946–2005) Box 36. Getty Images (archive) holds several photographs of <mask> Hall including one of her singing "There's Something in the Air" at her Mayfair nightclub (the Florida Club) in London, circa. 1945 and an extremely rare picture of <mask> performing in concert circa.1930, and a portrait photograph of <mask> by John D. Kisch circa. 1934. The Al Hirschfeld Foundation holds two caricatures of Adelaide Hall by the artist Al Hirschfeld, one dated 1928. and the other dated 1929. The Robert Langmuir African American Photograph Collection, Emory University, Atlanta, Georgia: Adelaide Hall
 The David Lund Collection held at the British Library contains live audio recordings of Adelaide Hall in concert with The Alan Clare Trio and John McLeary performing at the University College School Theatre, Hampstead, London. Millersville University Special Collection: Adelaide Hall, File – Box: 4, Folder 21, 1929 photograph of <mask> by Walery (aka Stanisław Julian Ignacy Ostroróg).Museo Alinari Image (AIM), museum, Trieste, Italy, hold two portrait photographs of Adelaide Hall ca. 1925–29. The National Jazz Archive (UK) holds a significant collection of magazines and newspapers containing articles and reports documenting Adelaide Hall's

masks:
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Adelaide
Miss Hall
Miss Hall
Miss Hall


title: Adelaide Hall

texts:
 career dating from the 1930s to 1990s. National Portrait Gallery, London (Archive) holds two Adelaide Hall portraits from the 1940s. NYPR Archive Collections, New York Public Library, hold a live recording of Adelaide Hall captured in concert in New York in the early-1990s. Smithsonian – Adelaide Hall portrait – Le Tumulte Noir / Dancer in Magenta by Paul Colin, 1929, Paris, at the Smithsonian, National Portrait Gallery Collection, Washington D.C. The Victoria and Albert Museum (V&A), South Kensington, London, holds a watercolour caricature of Adelaide Hall by Gilbert Sommerlad, dated 12 May 1954, drawn during <mask>'s starring role in the musical Love from Judy, plus various posters relating to <mask>'s career, and a cotton souvenir headscarf containing a printed portrait of Adelaide Hall ca.1930s–50s.Yale University Archives, Adelaide Hall – Josephine Baker correspondence, etc., (dated 1976-1979) part of the Henry Hurford Janes – Josephine Baker Collection at Yale University Archives, Box: 2, Folder: 77. Yale University Library – Beinecke Rare Book and Manuscript Library: Rare Adelaide Hall photographs by Carl Van Vechten taken of <mask> performing on stage during her 1931/1932 World Tour at the Palace Theatre, Times Square, New York. Yale University Library – Beinecke Rare Book and Manuscript Library: Adelaide Hall publicity photographs collected by writer and photographer Carl Van Vechten. Further reading
 Oral History of Jazz in Britain: In 1988, the journalist and radio host Max Jones conducted a live radio interview with <mask>. Transcripts from the taped recording, which is housed in the British Library, are

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title: Adelaide Hall

texts:
 available to listen to upon request at the British Library. Three excerpts from the interview can be heard in an article (published 17 December 2020) on the British Library blog, including, in "excerpt 1", where <mask> explains how she came up with the counter-melody in the worldwide hit "Creole Love Call", which she recorded in 1927 with Duke Ellington. See also
 Find A Grave adelaide-louise-hall

Sources
 Ian Carr, Digby Fairweather and Brian Priestley.Jazz: The Rough Guide. Iain Cameron Williams, Underneath A Harlem Moon, Continuum, 2002,

References

External links

 Lucy Shacklock, "Adelaide Hall", African Stories in Hull & East Yorkshire. A Cabaret Moment starring <mask>, features a live recording of <mask> in concert in New York in the early 1990s. The program was aired on 13 May 1990 on WNCA Radio, and was presented by Don Smith on his radio show Cabaret Night. WNYC, New York City (retrieved 26 September 2020): <mask> Hall (on WNYC Radio) A Cabaret Moment starring <mask>, hosted by Donald F. Smith. WNYC archives id: 225027. 1901 births
1993 deaths
African-American female dancers
African-American dancers
African-American actresses
20th-century African-American women singers
American emigrants to England
American female dancers
Dancers from New York (state)
American women jazz singers
American jazz singers
American gospel singers
American musical theatre actresses
American people who self-identify as being of Native American descent
American stage actresses
American tap dancers
British women jazz singers
Burials at the Cemetery of the Evergreens
Cabaret singers
Columbia Records artists
Decca Records

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Adelaide
Adelaide Hall


title: Fland Feblae mac Scandláin

texts:
Saint <mask> mac Scandláin (also called Flan Febla, Flann Feabhla, Flann Febhla, Flann ffeaula, Flann of the Foyle, Flann Feapla, Flanno Feaplo, Flann Fewla, Florence Febla) b. c.640 - d. 715, was the Bishop of Armagh, Ireland from 688 to 715. Genealogy and Birth

Fland Feblae was from Monaghan barony in the county of Monaghan. He was the son of Scandlán mac Fíngin, the king of the Uí Méith Macha (alias Uí Méith Tire) clan who ruled that district. Scandlán died in 674/5 (AT, AU, CS [AFM 672]). Fland Feblae was descended from Colla Fo Chrí as follows- "Flann feabhla m Scannlain m Fingin m Aodha m Fiachrach m Fiacha m Eogain m Briuin m Muireadhaig meith m Iomcadha m Colla da crioch"., which is also confirmed in the Naemsenchus Náemh nÉrenn as- "Flann Feabla mac Scandlain cain do síol Colla co ccatgail." Fland's paternal uncle was Saint Maoldoid, Abbot of Muckno, Co. Monaghan, whose feast day is 13 May and who died in 665 (AT). <mask>lae was probably a younger son as his brother Maol Murcair seems to have succeeded to the kingship on Scandlán's death.The family of O’Hanratty or O’Hinnreachtaigh claim descent from  Maol Murcair as follows- "Lornhar m Muirchertaigh m Duiblh dara m Scanlain m Innreachtaigh m Gairbith m Ainfeith m Mail brighde m Duibh innrechtaigh m Taidhg m Innrechtaigh m Muiredaigh m Maoil murcair m Scannlain". Berchán mac Micáin

When he was a young boy <mask> Feblae was sent to be fostered by Berchán, son of Micán.

masks:
Fland Feblae
Fland Feb
Fland