Laura Mvula takes inspiration from Adelaide Hall's biography 'Underneath a Harlem Moon ... the Harlem to Paris Years of Adelaide Hall' by Iain Cameron Williams for her chart topping debut album 'Sing to the Moon'. http://lnk.ms/f3PRP http://lnk.ms/fCMwy
There are many artists that tap into vintage 60's soul in their songs, but Laura Mvula really stands out.
Adelaide Hall - DESERT ISLAND DISCS Adelaide Hall Roy Plomley's castaway is jazz singer and actress Adelaide Hall FIRST BROADCAST: 02 Dec 1972http://lnk.ms/dLGBC
This is a clip from Roy Plomley's castaway interview with jazz singer Adelaide Hall.
Who was Duke Ellington's Sophisticated Lady? http://lnk.ms/f3d7h
Who Was Duke's Sophisticated Lady? jazz article by Dr. Milton Pravitz, published on May 31, 2006 at All About Jazz. Find more Big Jazz Nerd articles…
Rare, 1951, British Pathe movie short shot at Olivelli's Theatre Restaurant in London, that includes footage of Adelaide Hall singing and socialising. This is an extremely rare film. http://lnk.ms/f1XvJ
Excellent footage of variety stars enjoying night-out at Olivelli's restaurant in London.
Oh! ADELAIDE http://lnk.ms/f1ByJ
A collaboration with the artist Sonia Boyce.
- Jan 30, 2013 7:25 AM Adelaide Hall and Fats Waller performing in Glasgow, Scotland, 1938.
- Jan 8, 2012 10:33 AM 1946 ENSA broadcast featuring Adelaide Hall located in the Imperial War Museum archive
- Jan 8, 2012 10:27 AM 'I Can't Give You Anything But Love, Baby' believed to be the first song to popularise 'Baby'
- Jan 8, 2012 10:22 AM Like Venus Fading - 1998 novel by Marsha Hunt - inspired by Adelaide Hall,.......
- Nov 11, 2011 6:49 AM Adelaide Hall 1932 Westchester Race Row - Afro American newspaper report 17/09/1932
About me:The official home of Adelaide Hall on Myspace
ADELAIDE LOUISE HALL, was born in Brooklyn, New York on October 20, 1901. Her family moved across the East river to live in Harlem, which is where Adelaide spent her childhood. It was here, amongst the rich and fertile Renaissance of black culture that she nurtured her dreams of becoming a star.
In 1921, Adelaide secured her first role (in the chorus line) of the Broadway musical Shuffle Along. This revue legitimized the African-American musical, proving to producers and managers that audiences would pay to see black talent on Broadway. The show ran for 504 performances, then toured the American black theatre circuit. In 1923, Adelaide was featured in the Broadway musical Runnin Wild. Variety wrote in their review ... "Picked from the chorus, is Adelaide Hall, who can be termed a real find. She jazzes a number as Paul Whiteman would have it done, and her singing of 'Old Fashinoed Love' is a knockout". In 1925, Adelaide's first leading role, in Chocolate Kiddies, took her to Europe where she introduced the Charleston dance, which she performed to Duke Ellington's song, 'Jig Walk'. The show toured Germany and Scandinavia. Upon her return to New York, she starred in the revue Desires of 1927. At the end of the year she recorded 'Creole Love Call' with Duke Ellington and his Orchestra. The recording was a worldwide hit and catapulted both Adelaide's and Ellington's careers into the mainstream.
In 1928, Adelaide starred on Broadway in the musical revue Blackbirds of 1928 with Bill 'Bojangles' Robinson. The show became the longest running all-black revue ever to appear on Broadway and procured a string of hit songs for Adelaide, including, 'I Can't Give You Anything but Love', 'Baby', 'Diga Diga Do' and 'I Must Have That Man'. Adelaide and Bojangles' dance duets had the press label them the black equivalent to Fred & Adele Astaire. International fame followed. The show transferred to Paris, France, where it appeared for three months at the Moulin Rouge. In bold headline's, the New Amsterdam News reported on its front page, "Adelaide Hall takes Paris by storm". The French surrealist magazine, Documents, claimed that Blackbirds performance at the Moulin Rouge was the only place, “where the spirit of the music is currently saved in Paris.” ... In 1930, Adelaide returned to Broadway to star with Bojangles in the musical, Brown Buddies.
A change of direction in 1931 saw Adelaide commence a world tour that lasted almost two years. It took her to two continents and played to over 1 million people. The financial rewards made her into one of America's wealthiest black women. It was during this tour that Adelaide discovered the blind pianist Art Tatum, who she empolyed as one of her stage pianists. During 1934, Adelaide starred in an eight-month residency at Harlem's Cotton Club. On stage, she introduced the timeless classic 'Ill Wind', which Harold Arlen wrote especially for her.
In 1936, Adelaide's restless spirit encouraged her to move to Paris to live, and for the next 3 years she toured extensively across Europe. Her husband and manager, Bert Hicks, opened a nightclub for her in Montmartre called La Grosse Pomme. It became a mecca for the rich and famous bohemians. Django Reinhardt and Stephane Grappelli, with their Quintette du Hot Club de France, were the resident band and Adelaide would perform nightly at the club. Maurice Chevalier, Marlene Dietrich and the Duke and Duchess of Windsor were regular patrons.
In 1938, Adelaide was offered a starring role in The Sun Never Sets at London's Theatre Royal Drury Lane alongside Tod Duncan. The show had music written by Cole Porter. In 1939 she made her home permanently in Britain. During WW2 Adelaide joined ENSA and entertained the troops both at home and across the war-torn battlefields of Europe and was one of the first entertainers to enter Germany at the end of the war. For the next 20 years she was one of Britain's most successful and highest earning entertainers. She had numerous shows on BBC Television including: Harlem In Mayfair, 1939, Dark Sophistication, 1939, Starlight, 1947, Variety in Sepia, 1947, Rooftop Rendevous, 1949, Black Magic, 1949 and Old Songs for New, 1949. She also made over 50 recordings for the DECCA Record label. In 1951, she co-starred in Cole Porter's musical Kiss Me Kate at London's Coliseum Theatre. The show ran for one year, then toured Britain. In 1952, she co-starred in a lengthy run of Love from Judy at London's Saville Theatre. In 1957, Adelaide returned to Broadway and was featured in the musical Jamaica, which starred her friend Lena Horne.
On October 12, 1988, Adelaide returned to New York to headline at Carnegie Hall. In 1989, Sophisticated Lady, Adelaide's film documentary was premiered at the london Film Festival. The film was shown on national TV the following year. In 1990, Adelaide released 3 albums, 'I Touched A Star', 'Hall of Memories' and 'Live at the Riverside'. In 1991, A Tribute to Adelaide Hall concert was staged at The Queen Elizabeth Hall in London to commemerate her 90th birthday. On March 4, 1992, Adelaide returned to New York to headline at Carnegie Hall for two nights. They were her last performances in America.
CREOLE LOVE CALL
Hall and Ellington
'Creole Love Call' was originally released in 1927 on Victor, VI 39379-1. ............ The song is currently available on the CD: Adelaide Hall … A Centenary Celebration AVID AMSC720
When 'Creole Love Call' first wailed across the ubiquitous voice of the radio in the fall of 1927, the initial reaction it received from the American public created quite a buzz on the streets of Harlem. Some folk thought admiringly that the song was on a par with, say, some of George Gerswhin's more serious works, whilst others were so outraged by Adelaide Hall's vocal sexual innuendoes that they openly saw fit to vilify both her and the recording.
That Hall's sultry undulating vocal, should unsuspectingly provoke a certain element of American white society into believing that the world had tripped upon its axle and spun off into outer space, worked, curiously, to the records advantage. Reassuringly, for all those involved in its release, during the next few months sales of both the sheet music and the disc, rocketed. After listening to the recording repeatedly, respected New York Times columnist, Edmund Wilson, wrote in his diary of the subliminal effect it had upon him, "I'll never believe in God again, never believe in anything again."
Why a wordless 'scat' vocal should provoke such an outcry of hostility and tension seems unfathomable today, but it did … with far-reaching consequences. Perhaps the reasoning behind Wilson's profound response is indicative of the era in which the recording was released. In the southern States, lynch law was still constitutional, and across the length and breadth of America, theatres banned black entertainers from publicly embracing on stage in front of an audience. In a country where many restaurants and nightclubs defiantly refused Negroes entrance, the thought of freely promoting black lust across the airwaves in the face of staunch white bible-bashers was deemed to be reverently abhorrent. If the song's content was thought to be too sexually suggestive, it certainly did what no other song had done before in the history of recorded music; it melted the wax in the listener's ears.
'Creole Love Call' was born on stage (probably at Harlem's Lafayette Theatre) between two impulsive talents (Hall and Ellington) - both destined for independent stardom and international acclaim. From an historical point of view, Adelaide's account of how the song was originally conceived is an interesting story to relate and gives an insight as to how Ellington conducted his songwriting during this early period in his career.
By chance, Hall and Ellington were appearing on the same concert bill - Adelaide was starring in the first half of the show and Ellington's band was performing in the second. After her set, Adelaide returned to her backstage dressing room to change out of her stage outfit. During her performance, Ellington's band had accompanied her from the orchestra pit. For his own program, Duke had the band's instruments repositioned on the stage. Just before the second act commenced, Adelaide made a dash from her dressing room to catch Duke's set. Standing in the wings, obscured from the band by a wing drop, Adelaide got the best view in the house.
As the music hotted up, so did Adelaide, and the sound of her impromptu scat vocals carried effortlessly across the stage. Glancing around in bewilderment, Duke became more and more intrigued as to where the mystery voice was emanating from. When the band began playing 'Creole Love Call', Adelaide's vocal accompaniment knocked Duke off his piano stool. The counter-melody she improvised was the melody he'd been searching for to complete the song. Unable to contain his curiosity any longer, Duke rushed off stage into the wings and to his astonishment found Adelaide singing her heart out. He grabbed hold of her arm and immediately led her back on stage, insisting she repeat what she had been singing in the wings in front of the audience.
The songs structure focuses around a chord sequence taken from the song 'Camp Meeting Blues', which Ellington had borrowed from its writer, the bandleader and cornet player King Oliver. Adelaide's first impression of the tune in its raw state was that it lacked any memorable hook and this was why she instinctively began to sing her wordless vocal in response. Ellington was so impressed with Adelaide's counter-melody that at the end of her live unscripted performance he told her to remember what she had just sung as they would record it in the next couple of days ... and so, 'Creole Love Call' was born.
As well as regularly incorporating a scat vocal in her stage rendition of songs for many years prior to her recording of 'Creole Love Call' Adelaide had used the practise during show rehearsals, as a way of learning the melody to a new song if she hadn't memorised the lyrics. By coincidence, earlier in 1927, during her six-month residency starring at Chicago's Sunset Café, Adelaide had befriended and worked on stage with Louis Armstrong, who was the leader of the Sunset Café's resident band, Armstrong's Sunset Café Stompers. Armstrong was another aficionado of the scat art form and Adelaide is said to have expanded her scat vocal technique under his guidance.
Interestingly, seventy-six years after 'Creole Love Call' was first cut to disc, the song still courts controversy. In the days when the copyright act was wide open to abuse, Ellington's hard-nosed manager, Irving Mills, knew exactly how to take full advantage of the loopholes and subsequently had Adelaide's and King Oliver's names omitted from the writing credits. In contrast to the moral majority's opinion, soon after the record's release in 1927 the song became the vogue of a new generation of white middle-class hedonists. Charged on adrenaline and illicit alcohol, this spirited breed of partygoer perfected and revelled in the art of shocking those who decried their every move. For them, 'Creole Love Call' became an emblem of the Moderne times in which they moved and from that moment onwards, life for Hall and Ellington ceased to be the same.
Riding on the songs outstanding success, Ellington and his eponymous orchestra settled into a lengthy residency at Harlem's Cotton Club and in 1928, Adelaide became the toast of Broadway in the hit all-black musical revue Blackbirds of 1928, rivalling Mae West and Marilyn Miller for box-office receipts. Having previously been dubbed The Black Madonna, the media now saw fit to label her The Crooning Blackbird. Although the press mellowed in their opinion of Adelaide, at one evening's presentation of the show, enraged southern red-necks rioted in the aisles during her performance of 'Diga Diga Do', bringing 42nd Street to a temporary standstill.
Although there has been little documentation over the years about Hall's song writing ability, it wasn't just nourished under Ellington's baton. After the commercial success of 'Creole Love Call' and with encouragement from her husband, Bert Hicks, who was now acting as her personal manager, Adelaide began to take songwriting a little more seriously. It was reported in the press of the day that she co-wrote several songs with her co-star from Blackbirds of 1928, Bill 'Bojangles' Robinson. One of the songs from this collaboration titled 'Lazy Moon', impressed Blackbirds impresario Lew Leslie enough for him to have it immediately inserted into the Broadway production of the show.
Within a short space of time 'Creole Love Call' had become a benchmark recording, which future female jazz vocalists referred to when developing their own vocal style. Even Ella Fitzgerald, who was a mere gym-slip of a girl when Adelaide recorded 'Creole Love Call', acknowledged her 'big sister' Adelaide, as the trailblazer that paved the way for her and others to follow.
Throughout its lengthy history, 'Creole Love Call', in all its various formats, has collectively sold millions and is wholly accepted as being one of the great jazz standards to have emerged from the Roaring Twenties. Even today, the song still holds universal appeal and crops up occasionally in movie soundtracks and television commercials, and new cover versions appear regularly.
The song is used to evoke the mood in Blair Niles's novel Strange Brother, set in 1927, amongst Harlem's nightclub culture. Within its pages, Adelaide is immortalised as the jazz diva of the era. The book was first published in 1931 and gives the reader a kaleidoscopic look into the nocturnal habits of a city that thrives on self-indulgence. To add veracity to the plot, Niles cleverly serves 'Creole Love Call' to the reader as a sort of melodic theme and allows the song to reoccur throughout a large part of the story.
With a musical career spanning a remarkable eight decades, it comes as no surprise to hear that Adelaide Hall has recently been acknowledged by Guinness World Records as the 20th century's most enduring female recording artist for consistently releasing new recordings over eight consecutive decades. Though the longevity of her career saw her working in a variety of genre, encompassing jazz, music-hall, nightclubs, musical revue, dance, theatre, concert tours and film, it seems ironic that Adelaide will always be remembered for her vocal counter-melody on her classic 1927 recording of 'Creole Love Call', a melody that still to this day she is not officially credited for co/writing.
Copyright Iain Cameron Williams 2004........
MUSIC ... ADELAIDE HALL with DUKE ELLINGTON and his ORCHESTRA 'CREOLE LOVE CALL' recorded in 1927<[[[[iframe]]]] width="420" height="315" src="http://www.youtube.com/embed/jPO5VDoDGLM" frameborder="0" allowfullscreen>..
Who I'd like to meet:
LITTLE BLACK DRESS
ADELAIDE HALL'S LITTLE BLACK DRESS
The exhibition, Little Black Dress, sashayed into the Fashion and Textile Museum in Bermondsey, London on 20 June 2008. It celebrated the contribution of the black dress to women’s lives by charting the history of this iconic garment, from the 1920’s to the present day. Included in the exhibition was Adelaide Hall’s stunning, black, sequinned gown that she wore on stage during her 1931/32 world tour. It was the first time this garment had been seen in public for seventy-five years. Iain Cameron Williams, friend and biographer of Adelaide Hall, recounts the history behind the dress.
Adelaide Hall had the rare quality of making everyone who came in contact with her feel special. On stage, her charisma radiated effortlessly across the footlights and touched every person in the audience. In private, she was no less charming. She would joyfully spend hours regaling stories about her extraordinary life and varied career. I would listen avidly. So detailed and vivid were her accounts, I became a spectator at the event. Subconsciously, I was already scripting her biography. At the drop of a pin she could recall what dress she wore on any given occasion and its shade of colour. Her awareness of fashion manifested from necessity rather than vanity. During her impoverished childhood in Harlem, she would design and sew her own dresses from discarded cast-offs. Before she trod the boards she had toyed with the idea of training as a modiste in a Paris fashion house. Had she not been discovered singing at an end of term school concert by an impresario, perhaps her life would have taken a different thread!
On 21 February, 1931, Adelaide embarked on a ground-breaking world tour. It was the largest and longest tour any black female entertainer had attempted, and lasted almost two years. Crossing two continents, the tour played to over one million people.
With her keen interest in fashion, Adelaide intended to be the best dressed woman in the theatre and undertook several costume changes throughout her performance. On stage, she first appeared between two, white, grand pianos wearing a shimmering, long, black, sequinned gown. It is this costume that is on display at the Little Black Dress exhibition. Her two piano accompanists wore black tuxedos with gold coloured neckties. The effect was striking.
In Chicago, after the American gangster Al Capone saw the show, he sent a large bouquet of flowers to Adelaide’s backstage dressing room with a card attached, requesting she sing for him at a party he was hosting that evening at his nightclub in Cicero. An invitation she felt inclined to accept.
In Toronto, Adelaide made an impromptu appearance on stage during a Duke Ellington concert, surprising him, his eponymous orchestra and a delighted audience. A coup de foudre that generated headline news. Adelaide and Ellington had already recorded together and performed jointly at Harlem’s Cotton Club. The fact that two jazz giants were appearing in the city at the same time created a scurry for tickets.
When she topped the bill at London’s Palladium for two weeks, the British public were mesmerised by her sophistication. They had expected a parure of bananas strapped around her waist and jungle settings as backdrops. The press later concurred that she was way ahead of her time and set a precedent for black female entertainers to follow.
By the time the tour rolled into Toledo, Ohio, in January 1932, intense pressure and physical exhaustion had begun to take its toll. Her pianist Joe Turner quit. A hurriedly arranged audition for a replacement discovered the genius young, blind, pianist Art Tatum. Adelaide immediately employed him for the remainder of the tour then took him (against his doting mother’s wishes) to New York for her homecoming at Harlem’s Lafayette Theatre. “I always knew he was too good to be an accompanist,” she was later quoted as saying. “I gave him his first break. The rest is history."
Although it was a hard slog, the tour achieved precisely what Adelaide intended; to establish her career internationally. In 1938, Adelaide made her home permanently in London.
Copyright Iain Cameron Williams 2007
Other star items included in the exhibition were: • Ben de Lisis’s red carpet dress for Kate Winslet • Julien MacDonald’s flowing creation worn by Victoria Beckham • Anouska Hempel’s dramatic puff ball, modelled by Hilary Swank in Tatler magazine • Favourite outfits of actresses Joanna Lumley and Joan Collins • A John Galliano design donated by Lady Sally Albemarle, a regular on best dressed lists in New York and London
More news about Adelaide Hall...In 2009 the Imperial War Museum in London featured Adelaide Hall in an exhibition commemorating the start of WW2 (3 September 1939). This helped compensate for English Heritage (boo!!!) rejecting a proposal for a Blue Plaque to be named in her honour. Even more news about Adelaide Hall...Jazzonia and the Harlem Diaspora, an exhibition featuring Adelaide Hall, Elisabeth Welch, Honi Coles and Chuck Green opened at the Chelsea Space Gallery in Chelsea, London, on 1 July, 2009. The exhibition contained many unseen before items relating to Adelaide Hall's career spanning from the 1920's to the 1990's and gave the viewer a rare insight into the Harlem Renaissance. Even more news about Adelaide Hall...The London Palladium, Britain's premier theatre inducted Adelaide Hall into their Hall of Fame in June 2009. There will now be a large framed photograph of Adelaide permanently displayed in the Hall of Fame inside the theatre (next to the photograph of Judy Garland).
The LITTLE BLACK DRESS exhibition opened in London on 19 June 2008 at Zandra Rhodes Fashion and Textile Museum in Bermondsey. www.ftmlondon.org
- Status: Married
- Ethnicity: Native American
- Zodiac Sign: Libra
- Occupation: jazz singer, entertainer
In 2005, at Swann's auction house in New York, a 1929 poster by design titan Paul Colin advertising La Revue Blackbirds at the Moulin Rouge in Paris sold for $167,500. It depicts a graphic representation of Adelaide Hall, the most celebrated black female performer in America in the 1920s.
ADELAIDE HALL is the 20th centuries most enduring female recording artist ..(Guinness Book of World Records)... Her recording career spans 8 decades, from 1927 to 1991.
A poster of Adelaide Hall can be purchased from All POSTERS
A Son of Satan, 1924, Dancers in the Dark, 1932, All-colored Vaudeville Show, 1935, Dixieland Jamboree, 1935, The Thief of Bagdad, 1939/1940, A World is Turning, 1948, Night and the City, 1950, Brown Sugar (mini TV series 1986), A Duke named Ellington, 1988, Sophisticated Lady, 1989, ... A Duke named Ellington, DVD, released 15/05/2007
Adelaide appeared in the first live studio recording ever made for British Television. The rare film footage was originally broadcast on 07/10/1947. It was recently rediscovered in London's BBC archives and relayed on national television.
Read about her amazing life and achievements in the acclaimed biography ..Underneath A Harlem Moon ... the Harlem to Paris Years of Adelaide Hall.., by Iain Cameron Williams. ISBN 0826458939 published by Continuum Publishing Company.
Synopsis ... Adelaide Hall is the missing link in Harlem's Renaissance, historically the richest period of American black culture. As its most important and influential female star, she dynamically pushed down the barriers that had previously prevented black entertainers from reaching mass recognition. The astounding media attention she received on both sides of the Atlantic during her two-year starring role in Lew Leslie's Broadway revue Blackbirds of 1928 turned Adelaide into what can only be termed the first modern-day international black female superstar. With fame came controversy. On Broadway, Adelaide's performance incited a riot. After purchasing an exclusive country estate in the predominantly white suburb of Larchmont in Westchester, New York, the segregation and persecution she encountered from her racist neighbours hit national headlines. Williams takes the reader on a roller-coaster ride from Adelaide's birth in Brooklyn through her humble childhood in Harlem, from her triumphs on Broadway to the glamour of Paris's Moulin Rouge. Readers get a glimpse inside the most sophisticated and celebrated nightclubs in the world and follow Adelaide across two continents on a groundbreaking 18-month RKO tour. By the end of 1932, Adelaide had performed to millions and in the process had become one of America's wealthiest black women. Her exile to Paris in 1935 brought with it new challenges and rewards. By 1938, not content with being dubbed the Queen of Montmartre, she set her sights on conquering Britain. ..Underneath a Harlem Moon.. concludes with Adelaide's mysterious disappearance in November 1938, which, until now, has never been publicly explained.
Listen to a RADIO interview with IAIN CAMERON WILLIAMS on BBC RADIO 2 to promote the book.
Duke Ellington, Art Tatum, Fats Waller, Ella Fitzgerald, Jimmy McHugh and Dorothy Fields, Cole Porter, George and Ira Gershwin, Harold Arlen, Louis Armstrong, Ethel Waters, Aida Ward, Bill 'Bojangles' Robinson, Cab Calloway, Jimmie Lunceford, Lena Horne, Florence Mills, Mabel Mercer, Lottie Gee, Dame Cleo Laine, Dame Shirley Bassey, Miles Davis, Herbie Hancock
Facts of interest
When the all-black jazz revue Chocolate Kiddies opened in Berlin in 1925, amongst the audience were composers Ernst Krenek and Kurt Weill. Krenek had studied in Vienna under Frank Schreker, and was married to Gustav Mahler's daughter, Anna. His compositions include an opera written to a libretto by the expressionist painter Oskar Kokoschka. Chocolate Kiddies inspired Ernst Krenek to write his jazz influenced opera Jonny Spielt Auf (Johnny Strikes Up), which was premiered in Leipzig in 1927. Jonny Spielt Auf achieved major success with audiences across Europe, and was translated into twelve languages.
Adelaide Hall is buried at Evergreens cemetery in Brooklyn. Also buried at Evergreens cemetery is Bill 'Bojangles' Robinson.
The Royal Variety Performance
The Royal Variety Performance is a gala evening held in Britain once each year, usually in a theatre in London’s West End. Entertainers perform before royalty and a television audience. The first performance took place in 1912. In 1951, Adelaide Hall became the first black female artiste to take part.
Gold Badge of Merit ... ... Since 1975 the British Academy of Songwriters, Composers and Authors (BASCA) have celebrated the work of men and women in the music industry with Gold Badge of Merit awards. In 1991, they honoured Shirley Bassey and Elisabeth Welch. In 1992, at the age of 90, Adelaide Hall received a Gold Badge of Merit. After attending the award ceremony, she said, “I was so proud to be acknowledged. I wore a sequin suit – different colours – it glittered. I must have been the oldest one there! I ate everything that came along.”
1933 Chicago World Fair Bud Billiken Parade and Picnic
On August 19, 1933, African-Americans in Chicago came out in droves for the Chicago Defender’s annual Bud Billiken Day held this year at the prestigious 1933 World Fair. The newspaper 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. Cab Calloway and Earl Hines and the Sioux Tribe of Native Americans also appeared at the concert. The first Bud Billiken Parade and Picnic was held August 11, 1929. The parade route ran from 31st and Michigan Boulevard to Washington Park. What began as the wish of Chicago Defender's founder Robert S. Abbott to organize the many youth who sold the newspaper, mushroomed into what is now the largest parade in the United States.
Morecambe and Wise
The comedy due Morecambe and Wise made their first ever appearance together at The Liverpool Empire in 1941 billed as “Bartholomew and Wise”. The London agent Jack Hylton came up from London to see the show. Hylton liked the act and told the show's producer to find them a slot in the show on the next Friday night, which was the 28th August 1941. That was the start of their double act, but it took them time to became an established part of the bill, most of the time they were only allowed to perform when an act had to drop out or was ill etc. The audience reaction was very good for Bartholomew and Wise, but it was around this time that another important change took place, this time in Nottingham. Eric recalled: "My mother Sadie was talking to Adelaide Hall, the coloured American singer who was topping the bill and explaining to her how nobody liked the name Bartholomew and Wise. Adelaide's husband, Bert Hicks, overheard their conversation and said that he had a friend who called himself Rochester because he came from Rochester, Minnesota. Bert asked Sadie where she came from. "Morecambe," she replied. "That's a good name. Call him Morecambe." Everbody liked the name and from then on the boys became known as Morecambe and Wise.