Contents

The Minstrel Show Will Never Die
Jim Crow and Tom Thumb
Irishness of it All
Irving Berlin Titillates
Gershwin´s Racial Profiling
Jews in Blackface
Jolson the Shlemiel
Strutting to R e d e m p t i o n < b r > Endnotes

--------------------------------

How New York City, the Birthplace of Blackface, Defined Humor and Race for 100 Years

(MIB: 12-17) Jim Crow, a blackface stage character, lends his name to the pernicious practice of racial segregation. Native New Yorker Tom Rice performed "Jim Crow" at the Bowery Theatre in 1832.

(MIB: 22-24) Edwin P. Christy established the first permanent minstrel hall at 472 Broadway in New York City in 1847. Christy created the stylized format which endured for 10 decades.

Why Irish Americans Wore Blackface

(MIB: 18-19) Dan Emmet´s "Dixie", written as a minstrel tune, became the Confederate anthem. In an earlier minstrel song, Emmett romanticized slavery: "I´ll dance all night an´ work all day."

(MIB: 46-48) Ned Harrigan, the grandfather of the Broadway musical, pitted on stage the Irish Mulligan Guard in 1879 against the black (white actors in blackface) Skidmore Guard--"Ten platoons of dandy coons."

The Blackface Burden of Jewishness

(MIB: 73-78) Irving Berlin, son of a cantor, penned his first "coon song" in 1909, and added eight more to his "coon song" cycle. Berlin staged blackface minstrel shows for the Army in both World War I and World War II. His 1942 film, "Holiday Inn", introduced "White Christmas" and Bing Crosby in blackface.

(MIB: 101-138) Al Jolson in blackface made the first talking motion picture in 1927. In each of his eight Hollywood films over two decades, Jolson weaved the theme of Jewishness into the blackface minstrel show. He is the worldwide icon of blackface.

Contents

The Minstrel Show Will Never Die
Jim Crow and Tom Thumb
Irishness of it All
Irving Berlin Titillates
Gershwin´s Racial Profiling
Jews in Blackface
Jolson the Shlemiel
Strutting to R e d e m p t i o n < b r > Endnotes

--------------------------------

How New York City, the Birthplace of Blackface, Defined Humor and Race for 100 Years

(MIB: 12-17) Jim Crow, a blackface stage character, lends his name to the pernicious practice of racial segregation. Native New Yorker Tom Rice performed "Jim Crow" at the Bowery Theatre in 1832.

(MIB: 22-24) Edwin P. Christy established the first permanent minstrel hall at 472 Broadway in New York City in 1847. Christy created the stylized format which endured for 10 decades.

Why Irish Americans Wore Blackface

(MIB: 18-19) Dan Emmet´s "Dixie", written as a minstrel tune, became the Confederate anthem. In an earlier minstrel song, Emmett romanticized slavery: "I´ll dance all night an´ work all day."

(MIB: 46-48) Ned Harrigan, the grandfather of the Broadway musical, pitted on stage the Irish Mulligan Guard in 1879 against the black (white actors in blackface) Skidmore Guard--"Ten platoons of dandy coons."

The Blackface Burden of Jewishness

(MIB: 73-78) Irving Berlin, son of a cantor, penned his first "coon song" in 1909, and added eight more to his "coon song" cycle. Berlin staged blackface minstrel shows for the Army in both World War I and World War II. His 1942 film, "Holiday Inn", introduced "White Christmas" and Bing Crosby in blackface.

(MIB: 101-138) Al Jolson in blackface made the first talking motion picture in 1927. In each of his eight Hollywood films over two decades, Jolson weaved the theme of Jewishness into the blackface minstrel show. He is the worldwide icon of blackface.

Contents

The Minstrel Show Will Never Die
Jim Crow and Tom Thumb
Irishness of it All
Irving Berlin Titillates
Gershwin´s Racial Profiling
Jews in Blackface
Jolson the Shlemiel
Strutting to R e d e m p t i o n < b r > Endnotes

--------------------------------

How New York City, the Birthplace of Blackface, Defined Humor and Race for 100 Years

(MIB: 12-17) Jim Crow, a blackface stage character, lends his name to the pernicious practice of racial segregation. Native New Yorker Tom Rice performed "Jim Crow" at the Bowery Theatre in 1832.

(MIB: 22-24) Edwin P. Christy established the first permanent minstrel hall at 472 Broadway in New York City in 1847. Christy created the stylized format which endured for 10 decades.

Why Irish Americans Wore Blackface

(MIB: 18-19) Dan Emmet´s "Dixie", written as a minstrel tune, became the Confederate anthem. In an earlier minstrel song, Emmett romanticized slavery: "I´ll dance all night an´ work all day."

(MIB: 46-48) Ned Harrigan, the grandfather of the Broadway musical, pitted on stage the Irish Mulligan Guard in 1879 against the black (white actors in blackface) Skidmore Guard--"Ten platoons of dandy coons."

The Blackface Burden of Jewishness

(MIB: 73-78) Irving Berlin, son of a cantor, penned his first "coon song" in 1909, and added eight more to his "coon song" cycle. Berlin staged blackface minstrel shows for the Army in both World War I and World War II. His 1942 film, "Holiday Inn", introduced "White Christmas" and Bing Crosby in blackface.

(MIB: 101-138) Al Jolson in blackface made the first talking motion picture in 1927. In each of his eight Hollywood films over two decades, Jolson weaved the theme of Jewishness into the blackface minstrel show. He is the worldwide icon of blackface.

Drive-In Nights is a look backward to the time when drive-in movie theaters lined almost every highway and filmmakers like Roger Corman and William Castle were grinding out stinkers like Teenage Caveman and The Tingler. J.D. Guilfoyle has put together a collection of pieces that celebrate his bond with the trash cinema and beyond, ranging from critiques of classic howlers like Attack of the Killer Shrews, including an interview with star James Best, to profiles of cinema’s last great Dracula, Christopher Lee.

Funny, nostalgic and informative, Drive-In Nights is a valentine to big cars, B movies and misspent youth.

Drive-In Nights is a look backward to the time when drive-in movie theaters lined almost every highway and filmmakers like Roger Corman and William Castle were grinding out stinkers like Teenage Caveman and The Tingler. J.D. Guilfoyle has put together a collection of pieces that celebrate his bond with the trash cinema and beyond, ranging from critiques of classic howlers like Attack of the Killer Shrews, including an interview with star James Best, to profiles of cinema’s last great Dracula, Christopher Lee.

Funny, nostalgic and informative, Drive-In Nights is a valentine to big cars, B movies and misspent youth.

Striving for Beauty takes place during the Christensen Brothers era of the San Francisco Ballet. The Prologue ends with Willam presenting the first full-length Nutcracker in America in 1944. Sally Bailey, one of the Company’s future ballerinas, enters Harold’s School here, and through her eyes we see the growth of the Company and herself, including; Willam’s departure, Lew’s ascendance, Balanchine’s influence, the State Department tours, trying to get recognition at home, and touring across the U.S. She also gives her perspective on issues—both personal and artistic-that dancers face. A short Epilogue carries San Francisco Ballet history forward to today.

Striving for Beauty takes place during the Christensen Brothers era of the San Francisco Ballet. The Prologue ends with Willam presenting the first full-length Nutcracker in America in 1944. Sally Bailey, one of the Company’s future ballerinas, enters Harold’s School here, and through her eyes we see the growth of the Company and herself, including; Willam’s departure, Lew’s ascendance, Balanchine’s influence, the State Department tours, trying to get recognition at home, and touring across the U.S. She also gives her perspective on issues—both personal and artistic-that dancers face. A short Epilogue carries San Francisco Ballet history forward to today.

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.

CONTEMPORARY SHAKESPEARE: Exploring a Living Theatre for the 21st Century, written by Marcus D. Gregio, explores the life and times of William Shakespeare, Elizabethan Theatre, and the future of theatre. This is a book with scholarly, well-researched, information and a manifesto for a living, necessary theatre that must not be overlooked. Those interested in Shakespeare and his time, should own this book. Those who care about the present and future of theatre, must own this book. Few authors, writing on theatre, have the conviction that is evident in the words of Marcus D. Gregio, a leader in contemporary theatre, a visionary, and a scholar for his time. By utilising the power of Shakespeare and Elizabethan Theatre, this book shows how one can end—what the author refers to as—“the crisis” that twenty-first century theatre is in. Contemporary Shakespeare is an exciting, informative, and important book on theatre written with style and with passion. Peter Thomson, author of Shakespeare’s Theatre, has called the book “a tidal wave of a manifesto”. An engaging, perceptive volume, this notable work has the potential to make a significant difference in the world of theatre—and beyond.