Most of the adventure written in this book, really occurred. After slavery was abolished, many Negroes joined up to fight with the Union army to help win the war over slavery. At first, they were not accepted, but later at the loss of many white soldiers, the Negroes were allowed to join the army, but only in a segregated regiment called the colored troops. After the Civil War was won, the colored calvary was born. They were called the 9th and 10th calvary of the United States Army. They fought Indians, chased outlaws, and escorted settlers across the plains. The colored calvary was given tough and dangerous assignments; but they fought magnificently and won every fight they were engaged in; with few or no casualties.

The colored troops were very skillful and courageous; the Indians respected them as brave fearless warriors. They were given the name “Buffalo Soldiers,” because the buffalo is sacred and highly respected in the Indian Nation. Also, the Indians thought the Negroes’ hair was similar to the kinky, curly hair of the buffalo. The Seminole Negro Indians were the best scouts and trackers in the country, and many were drafted into the Army. It is recorded that many Negro soldiers were decorated highly for bravery, and received the Congressional Medal of Honor.

In 1847, Jacob Washington was born a slave and was freed during the Emancipation Proclamation in 1863. At the age of sixteen, Jacob left the plantation and traveled west to Texas, where he fulfilled his dream as a cowboy. Jacob got a job on the Circle (G) Ranch, working for Bill Goodman as a wrangler. Jacob changed his name to Jake, and received lots of experience. He helped push cattle northward up the Chisholm Trail into Oklahoma (Indian Territory) and on into Abilene and Dodge City, Kansas.

Most of the adventure written in this book, really occurred. After slavery was abolished, many Negroes joined up to fight with the Union army to help win the war over slavery. At first, they were not accepted, but later at the loss of many white soldiers, the Negroes were allowed to join the army, but only in a segregated regiment called the colored troops. After the Civil War was won, the colored calvary was born. They were called the 9th and 10th calvary of the United States Army. They fought Indians, chased outlaws, and escorted settlers across the plains. The colored calvary was given tough and dangerous assignments; but they fought magnificently and won every fight they were engaged in; with few or no casualties.

The colored troops were very skillful and courageous; the Indians respected them as brave fearless warriors. They were given the name “Buffalo Soldiers,” because the buffalo is sacred and highly respected in the Indian Nation. Also, the Indians thought the Negroes’ hair was similar to the kinky, curly hair of the buffalo. The Seminole Negro Indians were the best scouts and trackers in the country, and many were drafted into the Army. It is recorded that many Negro soldiers were decorated highly for bravery, and received the Congressional Medal of Honor.

In 1847, Jacob Washington was born a slave and was freed during the Emancipation Proclamation in 1863. At the age of sixteen, Jacob left the plantation and traveled west to Texas, where he fulfilled his dream as a cowboy. Jacob got a job on the Circle (G) Ranch, working for Bill Goodman as a wrangler. Jacob changed his name to Jake, and received lots of experience. He helped push cattle northward up the Chisholm Trail into Oklahoma (Indian Territory) and on into Abilene and Dodge City, Kansas.

Most of the adventure written in this book, really occurred. After slavery was abolished, many Negroes joined up to fight with the Union army to help win the war over slavery. At first, they were not accepted, but later at the loss of many white soldiers, the Negroes were allowed to join the army, but only in a segregated regiment called the colored troops. After the Civil War was won, the colored calvary was born. They were called the 9th and 10th calvary of the United States Army. They fought Indians, chased outlaws, and escorted settlers across the plains. The colored calvary was given tough and dangerous assignments; but they fought magnificently and won every fight they were engaged in; with few or no casualties.

The colored troops were very skillful and courageous; the Indians respected them as brave fearless warriors. They were given the name “Buffalo Soldiers,” because the buffalo is sacred and highly respected in the Indian Nation. Also, the Indians thought the Negroes’ hair was similar to the kinky, curly hair of the buffalo. The Seminole Negro Indians were the best scouts and trackers in the country, and many were drafted into the Army. It is recorded that many Negro soldiers were decorated highly for bravery, and received the Congressional Medal of Honor.

In 1847, Jacob Washington was born a slave and was freed during the Emancipation Proclamation in 1863. At the age of sixteen, Jacob left the plantation and traveled west to Texas, where he fulfilled his dream as a cowboy. Jacob got a job on the Circle (G) Ranch, working for Bill Goodman as a wrangler. Jacob changed his name to Jake, and received lots of experience. He helped push cattle northward up the Chisholm Trail into Oklahoma (Indian Territory) and on into Abilene and Dodge City, Kansas.

The author of All the King’s Horses and All the King’s Men: Love, Alienation, and "Reconciliation” in a Big, BIG Mormon Family (Xlibris, 2000) and the controversial Equal Rites: The Book of Mormon, Masonry, Gender, and American Culture (Columbia University Press, 2004) is at it again. American historian by day and Canadian jazz musician and playwright by night, Clyde R. Forsberg Jr. has also written five original “jazz-musicals.” A word of explanation is required. These five plays, four of which have been tested on stage and not found wanting, do not obey many of the rules of so-called dramaturgy. The playwright has no real right or claim to the office or title of playwright. Having the good fortune to be able to call upon the help of a wide array of extremely talented musicians and actors, he brought forth a relatively new type of theatrical expression and experience—a jazz and theatre synthesis that had an important historical, social justice, intellectual/musical, autobiographical, and monologue angles. Originally, the idea was for a history professor who played jazz to use the stage to convey a message of some historical importance, augmented by music, as an experiment to see whether the theatre was not a better medium than the classroom. There is no doubting the important fact that the public cast their vote . . . and quite decidedly in the affirmative, despite it all. And so, some record and testament to all the hard work that went into each and every one of these plays seems justified. A memoir of another sort, Playing It By Ear: The Jazz-Theatre of Clyde R. Forsberg Jr. explores such public events and social issues as the Canadian ice storm of 1998 and the urban-rural divide in Canadian society that it revealed, Louis Armstrong’s arrangement and interpretation of “Black and Blue” and the relationship between racism and domestic abuse hidden between the lines, the end of the nuclear family and death-rattle of patriarchal authority evident at family holiday gatherings, the degree to which the penis as well as the vagina are taboo, and finally, what Forsberg’s seven-year trek along the Silk Road (2003–2010) in search of self understanding and personal renewal would cost him—but also reward him for venturing outside of the box.

The author of All the King’s Horses and All the King’s Men: Love, Alienation, and "Reconciliation” in a Big, BIG Mormon Family (Xlibris, 2000) and the controversial Equal Rites: The Book of Mormon, Masonry, Gender, and American Culture (Columbia University Press, 2004) is at it again. American historian by day and Canadian jazz musician and playwright by night, Clyde R. Forsberg Jr. has also written five original “jazz-musicals.” A word of explanation is required. These five plays, four of which have been tested on stage and not found wanting, do not obey many of the rules of so-called dramaturgy. The playwright has no real right or claim to the office or title of playwright. Having the good fortune to be able to call upon the help of a wide array of extremely talented musicians and actors, he brought forth a relatively new type of theatrical expression and experience—a jazz and theatre synthesis that had an important historical, social justice, intellectual/musical, autobiographical, and monologue angles. Originally, the idea was for a history professor who played jazz to use the stage to convey a message of some historical importance, augmented by music, as an experiment to see whether the theatre was not a better medium than the classroom. There is no doubting the important fact that the public cast their vote . . . and quite decidedly in the affirmative, despite it all. And so, some record and testament to all the hard work that went into each and every one of these plays seems justified. A memoir of another sort, Playing It By Ear: The Jazz-Theatre of Clyde R. Forsberg Jr. explores such public events and social issues as the Canadian ice storm of 1998 and the urban-rural divide in Canadian society that it revealed, Louis Armstrong’s arrangement and interpretation of “Black and Blue” and the relationship between racism and domestic abuse hidden between the lines, the end of the nuclear family and death-rattle of patriarchal authority evident at family holiday gatherings, the degree to which the penis as well as the vagina are taboo, and finally, what Forsberg’s seven-year trek along the Silk Road (2003–2010) in search of self understanding and personal renewal would cost him—but also reward him for venturing outside of the box.

The author of All the King’s Horses and All the King’s Men: Love, Alienation, and "Reconciliation” in a Big, BIG Mormon Family (Xlibris, 2000) and the controversial Equal Rites: The Book of Mormon, Masonry, Gender, and American Culture (Columbia University Press, 2004) is at it again. American historian by day and Canadian jazz musician and playwright by night, Clyde R. Forsberg Jr. has also written five original “jazz-musicals.” A word of explanation is required. These five plays, four of which have been tested on stage and not found wanting, do not obey many of the rules of so-called dramaturgy. The playwright has no real right or claim to the office or title of playwright. Having the good fortune to be able to call upon the help of a wide array of extremely talented musicians and actors, he brought forth a relatively new type of theatrical expression and experience—a jazz and theatre synthesis that had an important historical, social justice, intellectual/musical, autobiographical, and monologue angles. Originally, the idea was for a history professor who played jazz to use the stage to convey a message of some historical importance, augmented by music, as an experiment to see whether the theatre was not a better medium than the classroom. There is no doubting the important fact that the public cast their vote . . . and quite decidedly in the affirmative, despite it all. And so, some record and testament to all the hard work that went into each and every one of these plays seems justified. A memoir of another sort, Playing It By Ear: The Jazz-Theatre of Clyde R. Forsberg Jr. explores such public events and social issues as the Canadian ice storm of 1998 and the urban-rural divide in Canadian society that it revealed, Louis Armstrong’s arrangement and interpretation of “Black and Blue” and the relationship between racism and domestic abuse hidden between the lines, the end of the nuclear family and death-rattle of patriarchal authority evident at family holiday gatherings, the degree to which the penis as well as the vagina are taboo, and finally, what Forsberg’s seven-year trek along the Silk Road (2003–2010) in search of self understanding and personal renewal would cost him—but also reward him for venturing outside of the box.

Shakespeare Festivals Around the World, edited by recognised Shakespeare scholar Marcus D. Gregio, explores the everlasting nature of William Shakespeare via essays about theatre practice and comprehensive listings of more than one hundred Shakespeare-producing organisations around the world. A unique and invaluable research guide for theatregoers, theatre practitioners, and theatre scholars, its noteworthy essays and significant listings are an essential addition to any Shakespeare-lovers’ library. This engaging publication shares theatre craft by discussing the performance and creation aspects of Shakespeare’s plays, but it is much more than that. Shakespeare Festivals Around the World is an indispensable companion that both helps to explain the phenomenon that is William Shakespeare and that provides ways to continue to improve the playwright’s timeless work in performance.

Shakespeare Festivals Around the World, edited by recognised Shakespeare scholar Marcus D. Gregio, explores the everlasting nature of William Shakespeare via essays about theatre practice and comprehensive listings of more than one hundred Shakespeare-producing organisations around the world. A unique and invaluable research guide for theatregoers, theatre practitioners, and theatre scholars, its noteworthy essays and significant listings are an essential addition to any Shakespeare-lovers’ library. This engaging publication shares theatre craft by discussing the performance and creation aspects of Shakespeare’s plays, but it is much more than that. Shakespeare Festivals Around the World is an indispensable companion that both helps to explain the phenomenon that is William Shakespeare and that provides ways to continue to improve the playwright’s timeless work in performance.

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This set of comedies brings the essence of Molière's humor and satire into the twenty-first century in zesty, fresh, modern English. Among the funniest plays ever written, they focus on the many foibles of humanity: social climbing, greed, deceit, hypocrisy, domestic quarrels, bombast, and artificiality of all kinds. Molière's plays are about people today just as much as they were about people of the seventeenth century; audiences will recognize their acquaintances here, and perhaps themselves as well. Most of the plays in this collection are in verse in English, and, unlike other translations, follow the rollicking rhythms and rhymes of the Molière originals.

This set of comedies brings the essence of Molière's humor and satire into the twenty-first century in zesty, fresh, modern English. Among the funniest plays ever written, they focus on the many foibles of humanity: social climbing, greed, deceit, hypocrisy, domestic quarrels, bombast, and artificiality of all kinds. Molière's plays are about people today just as much as they were about people of the seventeenth century; audiences will recognize their acquaintances here, and perhaps themselves as well. Most of the plays in this collection are in verse in English, and, unlike other translations, follow the rollicking rhythms and rhymes of the Molière originals.

This set of comedies brings the essence of Molière's humor and satire into the twenty-first century in zesty, fresh, modern English. Among the funniest plays ever written, they focus on the many foibles of humanity: social climbing, greed, deceit, hypocrisy, domestic quarrels, bombast, and artificiality of all kinds. Molière's plays are about people today just as much as they were about people of the seventeenth century; audiences will recognize their acquaintances here, and perhaps themselves as well. Most of the plays in this collection are in verse in English, and, unlike other translations, follow the rollicking rhythms and rhymes of the Molière originals.