title: Adelaide Hall

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<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 "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 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 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 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 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 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 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 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 York suburb of Westchester County. As news of her arrival in Larchmont leaked into the local media she began to encounter racial

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title: Adelaide Hall

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 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 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 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: 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 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 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, 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 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 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 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

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 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 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 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, 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 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 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 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 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 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 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,

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title: Adelaide Hall

texts:
 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, 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 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 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 (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 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 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 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 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
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20th-century African-American women singers
American emigrants to England
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Burials at the Cemetery of the Evergreens
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20th-century

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title: Fland Feblae mac Scandláin

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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. Berchán was a poet who composed the poem beginning "Ind ráth hi Comair in dairfheda" and possibly the poem "Celebrad én ar m’airi". This fosterage under a poet probably explains why <mask> Feblae was later referred to as a "súi epscop" (A scholar bishop). Bishop of Armagh

On the death of Saint Ségéne, the Bishop of Armagh, on 24 May 688, <mask> Feblae was appointed as the 18th coarb in succession to Saint Patrick. <mask> Feblae reigned as Bishop for 27 years. When he was two years into his reign Armagh was burned in 690.The Annals of Ulster for 690 state- "The burning of Ard Macha". Sletty diocese

Before Bishop Ségéne died, Bishop Aed of Sletty, County Laois, placed his Leinster diocese of Sletty under the protection of Armagh using a procedure of surrender and regrant. This was an important event as it emphasized the primacy of Armagh over Kildare. Bishop Conchad, who was Aed's successor in Sletty, subsequently went to Armagh when <mask> Feblae was made Bishop in order to renew the vows of obedience to him. The Additamenta to the Book of Armagh record those events as follows- "Aed was bishop in Slebte. He went to Armagh. He brought his inheritance [i.e.The diocese of Sletty] to Ségéne in Armagh. Ségéne returned the inheritance to Aed, and Aed offered his inheritance and his kin and his church to Patrick for ever. Aed left his inheritance in the possession of Conchad (i.e. Conchad succeeded Aed as bishop of Sletty). Conchad went to Armagh, and Fland Feblae gave him his church (i.e. Sletty), and Conchad himself took the abbacy." Bishop Aed probably did this for two reasons.Firstly to avoid being taken over by the neighbouring diocese of Kildare, as it would be easier to avoid complying with the demands of faraway Armagh. Secondly to encourage Armagh to observe Easter in the Roman custom, which was then the custom in Sletty. The Manor of Tara

In the old text "Suidigud Tellaig Temra" (The Settling of the Manor of Tara), the nobles of Ireland were attempting to partition the High King's demesne of Tara and they send for Fland Feblae as follows- "The nobles of Ireland were then summoned to the feast to the house of Tara by Diarmait son of Cerball. And they said that they would not partake of the feast of Tara until the settling of the manor of Tara was determined, how it was before their day and how it would be after them for all time, and they delivered that answer to Diarmait. And Diarmait replied that it was not right to ask him to partition the manor of Tara without taking counsel of Flann Febla son of Scannlan son of Fingen, that is, the head of Ireland and the successor of Patrick, or of Fiachra son of the embroideress. Messengers were accordingly dispatched to Fiachra son of Colman son of Eogan, and he was brought unto them to help them, for few were their learned men, and many were their unlearned, and numerous their contentions and their problems." This tale is replicated in the Prose Tales in the Rennes Dindshenchas (ed.Whitley Stokes) as follows-

"This is the story of the notable steads of Ireland, which Amorgein <mask>, the poet to the Dési of Tara, composed. He was Diarmait son of Cerball’s poet. Tis he that made demand of Finntan son of Lamech at Tara, when there was a convention of the men of Erin round the king of Tara, Diarmait son of Cerball, and round Fland Febla son of Scandlán a successor of (Saint) Patrick, and round a sage of the men of Ireland, Cenn-foelad son of Ailill, son of Eogan, son of Niall and round Finntan son of Lamech the chief elder of Ireland. And Amorgein fasted on Finntan for three days and three nights, in the presence of the men of Erin and boys and girls at Tara, so that Finntan might declare to him the stories of the noteworthy steads of the island of Erin, because Finntan had dismissed from it every person and every generation from the time of Cessair daughter of Bith — ’tis he who first occupied Ireland — till the reign of Diarmait son of Cerball.”

Synod of Birr

In 697 a Mordail or General Convention was held in Birr, County Offaly in order to draw up laws for all Ireland. About 91 rulers of Church and State attended. Forty churchmen attended and the president of the synod and name at the top of the list of attendees and guarantors was Fland Feblae, which points to Fland being recognized as the head of the Irish church. Armagh then followed the Roman custom of fixing the date of Easter but the community of Iona under Saint Adomnán still followed the Irish tradition of fixing the date.Adomnán also attended the synod and by allowing <mask> Feblae to be president it was seen as an acknowledgement that Armagh held the primacy of Ireland and not Iona. The High-King of Ireland Loingsech mac Óengusso and 50 other chiefs also attended the synod. At the Synod Adomnán proposed the "Law of the Innocents" or Cáin Adomnáin which protected women, children and clergy from attack. Death

Fland Feblae died on either 24 April or 24 July 715. The Annals of Ireland give the following obits-

 Annals of the Four Masters 704- “Flann Feabhla, son of Scanlan, Abbot of Ard-Macha, died”
 Annals of Inisfallen 715- “Flann Febla, abbot of Ard Macha, rested”
 Annals of Ulster 715- “Flann Febla son of Scannlán of the Uí Méith, abbot of Ard Macha, died”
 Chronicon Scotorum 706- “Flann Febla, abbot of Ard Macha, rested”
 Annals of Tigernach 715- “Flann Febla, abbot of Armagh, died”
 Annals of Clonmacnoise 712- “Flann ffeaula, abbot of Ardmach, died”
 Annals of Roscrea 706- “<mask> Feabla, ab Ard Macha, moritur hoc anno”

Feast Day

After his death <mask> Feblae was venerated as a saint. Ware states his feast day was 24 April but Genealogiae Regum et Sanctorum Hiberniae states it was 24 July. The Martyrologies do not mention him.References

640s births
715 deaths
8th-century Irish bishops
Bishops of Armagh

masks:
Fland Feblae
Fland Feb
Fland
Fland
Fland
Fland
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mac Aulay
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Fland


title: Larissa Behrendt

texts:
<mask>   (born 1969) is a legal academic, writer, filmmaker and Indigenous rights advocate. she is a professor of law and director of research and academic programs at the Jumbunna Institute for Indigenous Education and Research at the University of Technology Sydney, and holds the inaugural chair in indigenous research. Early life and education
<mask> was born in Cooma, New South Wales, in 1969, Her mother, who was non-Indigenous, worked in naval intelligence, while her father was an air traffic controller and later an Aboriginal Studies academic. He established the Aboriginal Research and Resource Centre at the University of New South Wales, Sydney in 1988, around the time when Behrendt commenced studying there. After attending Kirrawee High School, Behrendt completed a Bachelor of Jurisprudence and Bachelor of Laws degree at the University of New South Wales in 1992. In the same year, she was admitted by the Supreme Court of New South Wales to practise as a solicitor. After a stint of working in family law and legal aid, she travelled on a scholarship to the United States, where she completed a Master of Laws at Harvard Law School in 1994, and a Doctor of Juridical Science from the same institution in 1998.<mask> was the first indigenous Australian to graduate from Harvard Law School. She also earned a Graduate Diploma in Screenwriting (2012) and Graduate Diploma in Documentary (2013) at the Australian Film, Television and Radio School (AFTRS), and is a graduate of the Australian Institute of Company Directors (2013). Career

Legal and academic
After graduating from Harvard Law School in the mid-1990s, <mask> worked in Canada for a year with a range of First Nations organisations. In 1999, she worked with the Assembly of First Nations in developing a gender equality policy, and she represented the Assembly at the United Nations. The same year, she did a study for the Slavey people comparing native title developments in Australia, Canada and New Zealand. <mask> returned to Australia to become a postdoctoral researcher at the Australian National University, moving to University of Technology, Sydney (UTS) in 2000. In 2000, she was admitted by the Supreme Court of the Australian Capital Territory to practise as a barrister.<mask> is a republican, opposing the institution of monarchy in Australia. Behrendt has been involved in several pro bono test cases involving adverse treatment of Aboriginal peoples in the criminal justice system, including appearing as junior counsel in the NSW Supreme Court case of Campbell v Director of Public Prosecutions [2008]. She worked inside the NSW prison system between 2003 and 2012 in her role as Alternative Chair of the Serious Offenders Review Council. She has also held judicial positions on the Administrative Decisions Tribunal (Equal Opportunity Division) and as a Land Commissioner on the Land and Environment Court. Current positions
 she is a professor of law and director of research and academic programs at the Jumbunna Institute for Indigenous Education and Research at the University of Technology Sydney, and holds the inaugural chair in indigenous research. She is also a fellow of the Academy of the Social Sciences in Australia and a Foundation Fellow of the Australian Academy of Law. Other work

In education and community
<mask> has been active in issues around Indigenous education including literacy.In 2002, she was the co-recipient of the inaugural Neville Bonner National Teaching Award. She has served on the board of Tranby Aboriginal College in Glebe, Sydney and has been ambassador for the Gawura Campus (an Indigenous primary school) of St Andrew's Cathedral School since at least 2012. She was a founder of the Sydney Story Factory in 2012, which established a literacy program in Redfern. In April 2011, <mask> was appointed to chair the Review of Higher Education Access and Outcomes for Aboriginal and Torres Strait Islander People for the federal government. The Review, tasked with providing a roadmap for Indigenous university education, delivered its report in September 2012 and received a widely positive response for its emphasis on achievable parity targets and the re-allocation of existing resources to support meaningful outcomes such as "fostering a 'professional class' of Indigenous graduates". In releasing the report on 14 September 2012, Senator Chris Evans, Minister for Tertiary Education, accepted all of its recommendations. From 2009 to 2012, she co-chaired the City of Sydney's Aboriginal and Torres Strait Islander Advisory Panel.In the arts
<mask> has played an active role in creating and supporting arts organisations and initiatives and is a consistent advocate of increased funding for the arts. She was the inaugural chair of National Indigenous Television (NITV), the first broadcast television network in Australia dedicated to Indigenous programming, from 2006 to 2009. In 2008, she was appointed to the board of the Bangarra Dance Theatre and was chair from 2010 20 2014. She was appointed to the board of Museums and Galleries NSW in 2012, a role which continues . <mask> has served on the board of the Sydney Writers' Festival since 2015, the board of the Museum of Contemporary Art Australia, chairing their Indigenous Advisory Panel (2007–2012). She was a board member of the Australian Major Performing Arts Group (AMPAG) from 2013 to 2014, was a judge of non-fiction on the New South Wales Premier's Literary Awards (2013–2014) and has been a member of the Australia Council Major Performing Arts Panel since 2015. Writing
<mask> has written extensively on legal and Indigenous social justice issues.Her books include Aboriginal Dispute Resolution (1995) and Achieving Social Justice (2003). In 2005 she co-authored the book Treaty. <mask> has also written three works of fiction, including a novel, Home, which won the Queensland Premier's Literary Awards, the David Unaipon Award in 2002, and the Commonwealth Writers Prize for Best First Novel in the south-east Asian/South Pacific region in 2005. Her second novel, Legacy, won the Victorian Premier's Literary Award for Prize for Indigenous Writing (2010). Her third novel, After Story, was published in 2021. In 2012, Behrendt published Indigenous Australia For Dummies. Film
Behrendt has written, directed, and/or produced a number of documentary films since 2013, including Innocence Betrayed (2013, writer) In My Blood It Runs (2019, producer) and Maralinga Tjarutja (2020, writer), the latter about the British nuclear tests at Maralinga in South Australia.She was Indigenous consultant for the TV documentary miniseries Australia: The Story of Us in 2015, Who do you think you are? (2018–2019) and other projects. In 2016 <mask> (as director) Michaela Perske (producer) and were awarded the Indigenous Feature Documentary Initiative funding by the Adelaide Film Festival in conjunction with Screen Australia and KOJO to work on their feature documentary project, After the Apology, and on 9 October 2017, AFF held the world première of the resulting film. The film looks at the increase in Indigenous child removal in the years following Kevin Rudd's Apology to Australia's Indigenous peoples. It won Best Direction of a Documentary Feature Film from the Australian Directors Guild in 2018, and was nominated in three categories in the 2018 AACTA Awards, including Best Direction in Nonfiction Television. Behrendt directed Maralinga Tjarutja, a May 2020 television documentary made by Blackfella Films for ABC Television, which tells the story of the people of Maralinga, South Australia, since the 1950s British nuclear tests at Maralinga. It was deliberately broadcast around the same time that the drama series Operation Buffalo was on, to give voice to the Indigenous people of the area and show how it disrupted their lives.Screenhub gave it 4.5 stars, calling it an "excellent documentary". The film shows the resilience of the Maralinga Tjarutja people, and how they have continued to fight for their rights to look after the contaminated land. Behrendt is working on writing for Season 2 of Total Control (TV series), and as writer/director on a documentary film entitled The Fight Together. Radio
Behrendt presents radio programme Speaking Out, covering "politics, arts and culture from a range of Indigenous perspectives". it broadcasts on ABC Radio National on Fridays at 8pm and on ABC Local Radio, including ABC Radio Sydney, on Sundays at 9pm. Recognition
In 1993, Behrendt was the winner of the Lionel Murphy Foundation Scholarship. In 2002, she was the co-recipient of the inaugural Neville Bonner National Teaching Award.2002 David Unaipon Award in the Queensland Premier's Literary Awards for her fiction work Home. In 2004 she won the award for outstanding achievement in literature in the 2004 Deadlys. 2005 Commonwealth Writers' Prize – Best first novel (Asia/Pacific). In 2009, Behrendt was named National NAIDOC Person of the Year. 2009 Victorian Premier's Literary Award, Prize for Indigenous Writing for Legacy. In 2011, she was named the NSW Australian of the Year. 2012 AFTRS's AW Myer Indigenous Award.2018 Australian Directors Guild award for Best Direction of a Documentary Feature Film for After the Apology. In the 2020 Australia Day Honours, <mask> was made an Officer in the General Division of the Order of Australia (AO), for her "distinguished service to Indigenous education and research, the law and the visual and performing arts". Personal life
Behrendt married US artist Kris Faller in 1997 while at Harvard. They separated amicably in 2001 and were later divorced. She had a long-term relationship with Geoff Scott, a senior Indigenous bureaucrat, former CEO of the Aboriginal and Torres Strait Islander Commission, and current CEO of NSW Aboriginal Land Council. In 2009, Behrendt began a relationship with Michael Lavarch, former Attorney-General of Australia; they married in 2011. Bibliography

Novels
 Home, University of Queensland Press, St Lucia, QLD, 2004,
 Legacy, University of Queensland Press, St Lucia, QLD, 2009,
After Story, University of Queensland Press, St Lucia, QLD, 2021,

Short Stories
 The Space Between Us, in Behrendt et al., 10 short stories you must read in 2011, the Australia Council for the Arts, Australia, 2011, , Chapter 3: pp.47–67

Children's fiction
 Crossroads, Oxford University Press, South Melbourne, VIC, 2011,

Non-fiction
 Aboriginal Dispute Resolution: A step towards self-determination and community autonomy, Federation Press, Leichhardt, NSW 1995,
 Achieving social justice: indigenous rights and Australia's future, Federation Press, Annandale, NSW, 2003,
 Resolving Indigenous Disputes: Land conflict and beyond, co-authored with Loretta Kelly, Federation Press, Leichhardt, NSW, 2008,
 Indigenous Australia for Dummies, John Wiley & Sons, Milton, QLD, 2012,
 Rabbit-proof Fence, Currency Press, Sydney, NSW, 2012,
 Finding Eliza: Power and colonial storytelling, University of Queensland Press, St Lucia, QLD, 2016,

2011 tweet storm and Eatock v Bolt
Comments made by Behrendt on Twitter that appeared to disparage Northern Territory Member of the Legislative Assembly, Territory Minister, and Aboriginal elder Bess Price caused controversy despite Behrendt's continued insistence that the tweet was taken out of context. She maintains that she was referring not to Price, but to the acrimonious tenor of a debate on the television program Q+A. Behrendt had replied to a Twitter comment that had expressed outrage about Price's support for the Northern Territory intervention, writing "I watched a show where a guy had sex with a horse and I'm sure it was less offensive than Bess Price", referring to TV series Deadwood. Behrendt apologised both publicly and privately to Price, who did not formally accept her apology. Behrendt said that the throwaway comment has made her a target for a campaign of character assassination, with several commentators agreeing, most notably Robert Manne. The Australian published 15 stories on Behrendt within two weeks of the tweet. The disparagement of Behrendt was subsequently characterised as a coordinated response to a court case in which she and eight others were simultaneously involved against News Corp, known as Eatock v Bolt.Herald Sun columnist Andrew Bolt had used <mask>'s name in two articles about "political" Aboriginal people. Bolt asserted that Behrendt and other fair-skinned Aboriginal people claimed Aboriginality to advance their careers. The Federal Court ruled that the articles were inflammatory, offensive and contravened the Racial Discrimination Act. Notes

References

External links

After the Apology
 15-minute video, presented by Stan Grant in the program Matter of Fact with Stan Grant, which includes Behrendt and one of the grandmothers who features in the film. (Online rental of complete film)

1969 births
20th-century Australian novelists
Living people
Australian non-fiction writers
Australian women novelists
Australian republicans
Harvard Law School alumni
Indigenous Australian writers
University of New South Wales Law School alumni
20th-century Australian women writers
University of Technology Sydney faculty
Australian feminist writers
Fellows of the Australian Academy of Law
Fellows of the Academy of the Social Sciences in Australia
Indigenous Australian academics
Indigenous Australian women academics
Officers of the Order of Australia
Australian women academics
Australian feminists

masks:
Larissa Yasmin Behrendt
Behrendt
Behrendt
Behrendt
Behrendt
Behrendt
Behrendt
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title: Robert Prescott Stewart

texts:
Sir <mask> (16 December 1825 – 24 March 1894) was an Irish composer, organist, conductor, and teacher – one of the most influential (classical) musicians in 19th-century Ireland. Biography
<mask> was born in Dublin, his grandfather had moved to Ireland from the Lowlands of Scotland in 1780. His displayed an early talent in music, fostered by his mother, who had been a pupil of Johann Bernhard Logier. He didn't study music in an academic sense, but received some thorough grounding in church music when he joined the choir school of Christ Church Cathedral, Dublin, in 1833, where he came under the care and tutelage of Rev. John Finlayson and the Master of the Boys, Richard William Beaty. His biographer O.J. Vignoles also mentions Archdeacon Magee and the Dean's vicar, John C. Crosthwaite, as having had influence on <mask>'s musical education.In 1844 he succeeded John Robinson as cathedral organist, a position he held until his death, and also became organist at St. Patrick's Cathedral from 1852 to 1861. In 1846 he succeeded Joseph Robinson as conductor of the University of Dublin Choral Society, another position he held for the rest of his life. He received the degrees of Bachelor of Music (MusB) and Doctor of Music (MusD) from Trinity College, Dublin, simultaneously in April 1851 and became Professor of Music there in 1862 (again until the end of his life). In addition, <mask> was professor of piano, organ, harmony and counterpoint at the Royal Irish Academy of Music from 1869, also teaching chamber music classes there from 1880. He was a founder, in 1865, of the Dublin Glee and Madrigal Union and conducted the Philharmonic Society (Dublin) and the Belfast Philharmonic Society. For his services to music he was knighted at Dublin Castle in 1872. He died in Dublin.Among <mask>'s most prominent pupils were Annie Curwen, W.H.G. Flood, Vincent O'Brien, Margaret O'Hea, Edith Oldham, Annie Patterson, Charles Villiers Stanford, and the writer John Millington Synge. Music
In the light of all these positions, activities, and commitments it is difficult to imagine how <mask> found time for composing music. Yet, he was very prolific in this regard, too. Although he didn't write any symphonies or concertante works for orchestra, he concentrated on vocal music including large-scale cantatas, small-scale glees, songs and a number of organ pieces. His largest works are the cantatas A Winter Night's Wake (1858) and The Eve of St John (1860), the Ode to Shakespeare (1870) for the Birmingham Festival, an Orchestral Fantasia (1872) for the Boston Peace Festival, and the Tercentenary Ode (1892) for the anniversary of Trinity College, Dublin. Many of these works are difficult to assess today, because <mask> was extremely critical of his own output, and destroyed a lot of it, including the Ode to Shakespeare.<mask> also made an international reputation as a performer and extemporiser on the organ. Beginning with an 1851 performance at the Crystal Palace on the occasion of the London Exhibition, he played in England on numerous occasions, including several journeys to the Birmingham Music Festivals, the Manchester Exhibition, and he also travelled to the Beethoven and Schumann festivals in Bonn and the Wagner Festival at Bayreuth. For most of the twentieth century, <mask>'s music was regarded as uninspired and academic, or, as a writer put it in 1989: "[...] generally a model of rectitude, but the absence of that creative spark which, after all, belongs only to a select few in any generation has doomed it to an almost total oblivion from which it is unlikely to emerge." During recent years there has been a revived interest in <mask>'s music, particularly his church music, and he has regained a firm place in the Irish cathedral repertoire today. This newfound esteem is reflected in a number of 1990s CD recordings (see 'Recordings' below). Boydell wrote in 2004: "<mask> is beginning to be acknowledged as a talented composer who made an important contribution not only to music in nineteenth-century Ireland but also within the wider context of nineteenth-century cathedral music." Selected compositions
This list is based on the catalogue by genre in Parker (2009), appendix VIIb, pp.393–401, see Bibliography. Orchestral
The Exhibition Grand March (1853)
March for the Installation of the Earl of Rosse as Chancellor of the University of Dublin (1863)
Orchestral Fantasia (1872)

Chorus and orchestra (or piano)
Inauguration Ode (Ode to Industry) (John Francis Waller) for chorus and orch. (1852), vocal score published Cork: J.J. Bradford and Dublin: James McGlashan, 1852
Who shall raise the bell? (The Belfry Cantata) (J.F. Waller) for soloists, chorus and orch. (1854)
The Eve of St John (J.F. Waller) for 9 soloists, chorus and orch.(1860), vocal score published London: Blockley, 1884
Installation Ode (J.F. Waller) for soloists, chorus and orch. (1863)
Ode for the Opening of the 1864 Dublin Exhibition (J.F. Waller) for chorus and orch. (1864)
Ode to Shakespeare (Henry Toole) for soloists, chorus and orch. (1870)
How Shall We Close Our Gates? (J.F.Waller) for male soloists, chorus and orch. (1873)
An Irish Welcome to the American Rifle Team (J.F. Waller) for male chorus and piano (1875), Dublin: Morrison, 1875
Tercentenary Ode (George Francis Savage-Armstrong) for soloists, chorus and orch. (1892), vocal score London: Novello, 1892

Church music
Plead Thou My Cause, verse anthem (1843)
Service in C major (1846)
Morning and Evening Service in E flat major for soloists, chorus and orch. Instrumental music
The Exhibition Grand March for piano (1853), London: Addison, 1854
Four Piano Fantasias (1862), London: Bussell (1862). Contains: When the Rosy Morn, Thou Art Coming with the Sunshine, Dormi pur, My Thoughts Will Wander Far Away. Concert Fantasia for organ (1868), London: Novello, 1887
Introduction and Fugue for organ (1882), London: Broadhouse, 1883
A Little Organ School (1885), ed.A.M. Henderson: London: Bayley and Ferguson, 1946
Arrangement of the Finale from Symphony No. 3 by Mendelssohn, for organ (c.1889), London: Novello, (n.d.)
Suite for 3 violins in G major (1890)

Small-scale vocal music
The Skylark (Go Tuneful Bird), glee (W. Shenstone) (1847), London: Addison and Hollier, 1854O Nightingale, partsong (1848), London: Addison & Hollier (n.d.)The Dream, partsong w/ piano (A.T.) (1851), London: Novello, 1851The Haymaker's Song, partsong w/ piano (Mrs Newton Crosland) (1851), London: Novello, 1851I Do Not Mourn over Vanished Years, song (J.F. Waller), London, 1851The Fairest Flower (The Dawn of Day is Far Away), partsong w/ piano (J.F. Waller) (1854), London: Novello, 1875O Phoebus, glee (Samuel Johnson) (1856), London: Curwen, 1902I Must Love Thee Still, Marion, song (J.F. Waller), London: Cramer, Beale & Chappell, 1860The Song of the Fairies in the Ruins of Heidelberg (from Lytton's novel The Pilgrims of the Rhine), glee (1869), London: Patey & Willis, 1897The Bells of St Michael's Tower, glee w/piano (William Knyvett) (1870), London: Novello, 1880The Cruiskeen Lawn (Thomas Moore), partsong w/ piano (1870), London: Novello & Ewer, 1880Six Two-Part Songs (Wellington Guernsey, Hammond) (1872). Contains: Joy and Sorrow, Sleep, What is Love?, Harp that Wildly Wreathing Sounds, Religion, Night Hurrying on (the last two published London: Stanley Lucas & Weber, 1881).Love Leads Us Captive, terzetto for 2 sopranos, tenor and piano (J.F. Waller) (1858), London: Stanley Lucas & Weber, 1873The Reason Why for mixed choir (J.F.Waller) (1874), Dublin: Pohlmann (n.d.)Achora Machree, song (Joseph Martin Emerson), London: Chappell, 1878How Shall I Think of Thee? (The Question), song (R.W. Cooke-Taylor) (1881), Dublin: Pigot (n.d.)How Should'st Thou Think of Me? (The Answer), song (R.W. Cooke-Taylor) (1881), Dublin: Pigot (n.d.)O Lovely Night for male choir (J.F. Waller), London: Augener, 1886Could I Keep Time from Flying, partsong for male voices (T. Smith) (1889), London: Novello, 1889

RecordingsDeus, repulisti nos (Psalm 60), performed by St Paul's Cathedral Choir, Andrew Lucas (organ), John Scott (cond. ), on: Psalms from St Paul's Vol.5: Psalms 56–68, Hyperion CDP 11005 (CD, 1996).Paratum cor meum (Psalm 108), performed by St Paul's Cathedral Choir, Huw Williams (organ), John Scott (cond. ), on: Psalms from St Paul's Vol. 9: Psalms 105–113, Hyperion CDP 11009 (CD, 1999).If Ye Love Me Keep My Commandments, performed by Christ Church Cathedral Dublin Choir, Andrew Johnstone (organ), Mark Duley (cond. ), on: Great Cathedral Anthems Vol. X, Priory Records PRCD 639 (CD, 1999).Thou O God Art Praised in Zion, performed by Christ Church Cathedral Dublin Choir, David Adams (organ), Mark Duley (cond. ), on: Sing O Ye Heavens. Historic Anthems from Christ Church Cathedral Dublin, Christ Church Cathedral CCCD1 (CD, 1999).Bibliography
Vignoles, Olynthus J.: Memoir of Sir <mask><mask> (London: Simpkin, Marshall, Hamilton, Kent & Co. and Dublin: Hodges, Figgis & Co., 1898; 2nd ed. 1899). Bumpus, John S.: "Irish Church Composers and the Irish Cathedrals", 2 parts, in: Proceedings of the Musical Association 26 (1899–1900), p. 79–93 & 115–59. Culwick, James C.: Sir <mask>: With Reminiscences of his Life and Work (Dublin, 1900). Culwick, James C.: The Works of <mask> (Dublin, 1902). Grindle, William Henry: Irish Cathedral Music (Belfast: Institute of Irish Studies, 1989). Boydell, Barra: A History of Music at Christ Church Cathedral, Dublin (Woodbridge: Boydell Press, 2004).Parker, Lisa: <mask> <mask> (1825–1894): A Victorian Musician in Dublin'' (Ph.D. thesis, NUI Maynooth, 2009), unpublished, downloadable here. References

1825 births
1894 deaths
19th-century classical composers
19th-century conductors (music)
19th-century Irish people
19th-century male conductors (music)
Classical composers of church music
Composers awarded knighthoods
Composers for pipe organ
Glee composers
Irish Anglicans
Irish choral conductors
Irish classical composers
Irish classical organists
Irish conductors (music)
Irish male classical composers
Irish organists
Irish people of Scottish descent
Male organists
Musicians awarded knighthoods
Musicians from Dublin (city)

masks:
Robert Prescott Stewart
Stewart
Stewart
Stewart
Stewart
Stewart
Stewart
Stewart
Stewart
Stewart
Stewart
Robert P
. Stewart
Robert Stewart
Robert Stewart
Robert Prescott
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