Problem: Herb Jeffries (born Umberto Alexander Valentino; September 24, 1913 - May 25, 2014) was an African-American actor of film and television and popular music and jazz singer-songwriter, known of his baritone voice. He was of African descent and Hollywood's first singing black cowboy. In the 1940s and 1950s Jeffries recorded for a number of labels, including RCA Victor, Exclusive, Coral, Decca, Bethlehem, Columbia, Mercury and Trend. His album Jamaica, recorded by RKO, is a concept album of self-composed calypso songs.

Touring the Deep South with Hines, Jeffries was struck by the realities of segregation, as the Orchestra's playing was restricted to tobacco warehouses and black-only movie theatres. Watching young boys fill theatres to watch the latest western, Jeffries resolved to create a cowboy hero geared specifically for such an audience. A self-confessed western buff who had grown up watching the silent escapades of Tom Mix and Jack Holt, in the 1930s Jeffries set out to produce a low-budget western with an all-black cast. Though the silent era had seen a number of films starring only black actors, they had all but disappeared with the economic downturn and the arrival of the talkies, which proved too expensive for many of the "white independents" funding such projects. Jeffries's ambition was to produce sound cinema's "first all-Negro musical western". To fund his project, Jeffries approached a veteran B-movie producer named Jed Buell. Jeffries, having obtained finances, wrote his own songs for the film and hired Spencer Williams to appear with him. When Buell wanted to know of a likely candidate for the lead role, Jeffries nominated himself. Having grown up partly on his grandfather's farm, he had all the requisite horse-riding and roping skills, beside a fine singing voice, but Buell expressed concerns; Jeffries, whose mother was of Irish descent, was "not black enough". Eventually they went ahead, using make-up to darken the leading man's skin tone. Jeffries made his debut as a crooning cowboy with Harlem on the Prairie, which was considered the first black western following the inauguration of the talkies and the first sound Western with an all-black cast. The movie was shot in 1937 over five days at N.B. Murray's Dude Ranch in Apple Valley, California, with Jeffries performing all his own stunts. Though critical reception was mixed, the film received a write-up in Time magazine and grossed $50,000 in its first 12 months. Playing a singing cowboy in low-budget films, Jeffries became known as the "Bronze Buckaroo" by his fans. In a time of American racial segregation, such "race movies" played mostly in theaters catering to African-American audiences. The films include Harlem on the Prairie, The Bronze Buckaroo, Harlem Rides the Range and Two-Gun Man from Harlem. Jeffries went on to star in another three musical westerns over the next two years. Jeffries starred as a singing cowboy, in several all-black Western films, in which he sang his own western compositions. In those films, Jeffries starred as cowboy Bob Blake, sang and performed his own stunts. Bob Blake was the good guy, with a thin mustache, who wore a white Stetson and rode a white horse named Stardusk. Jeffries went on to make other films, starring in the title film role of Calypso Joe co-starring Angie Dickinson in Calypso Joe (1957). In 1968, Jeffries appeared in the long-running western TV series The Virginian playing a gunslinger who intimidated the town. In the 1970s he appeared on episodes of I Dream of Jeannie and Hawaii Five-0. He later directed and produced Mundo depravados, a cult film starring his wife, Tempest Storm.

Was the write up a positive review?

Answer with quotes: American racial segregation, such "race movies" played mostly in theaters catering to African-American audiences. The

Problem: Lyman Frank Baum (May 15, 1856 - May 6, 1919), better known as L. Frank Baum, was an American author chiefly famous for his children's books, particularly The Wonderful Wizard of Oz and its sequels. He wrote a total of 14 novels in the Oz series, plus 41 other novels, 83 short stories, over 200 poems, and at least 42 scripts. He made numerous attempts to bring his works to the stage and the nascent medium of film; the 1939 adaptation of the first Oz book would become a landmark of 20th century cinema. His works anticipated such century-later commonplaces as television, augmented reality, laptop computers (The Master Key), wireless telephones (Tik-Tok of Oz), women in high-risk and action-heavy occupations (Mary Louise in the Country), police corruption and false evidence (Phoebe Daring), and the ubiquity of advertising on clothing (Aunt Jane's Nieces at Work).

Two years after Wizard's publication, Baum and Denslow teamed up with composer Paul Tietjens and director Julian Mitchell to produce a musical stage version of the book under Fred R. Hamlin. Baum and Tietjens had worked on a musical of The Wonderful Wizard of Oz in 1901 and based closely upon the book, but it was rejected. This stage version opened in Chicago in 1902 (the first to use the shortened title "The Wizard of Oz"), then ran on Broadway for 293 stage nights from January to October 1903. It returned to Broadway in 1904, where it played from March to May and again from November to December. It successfully toured the United States with much of the same cast, as was done in those days, until 1911, and then became available for amateur use. The stage version starred Anna Laughlin as Dorothy Gale, alongside David C. Montgomery and Fred Stone as the Tin Woodman and Scarecrow respectively, which shot the pair to instant fame. The stage version differed quite a bit from the book, and was aimed primarily at adults. Toto was replaced with Imogene the Cow, and Tryxie Tryfle (a waitress) and Pastoria (a streetcar operator) were added as fellow cyclone victims. The Wicked Witch of the West was eliminated entirely in the script, and the plot became about how the four friends were allied with the usurping Wizard and were hunted as traitors to Pastoria II, the rightful King of Oz. It is unclear how much control or influence Baum had on the script; it appears that many of the changes were written by Baum against his wishes due to contractual requirements with Hamlin. Jokes in the script, mostly written by Glen MacDonough, called for explicit references to President Theodore Roosevelt, Senator Mark Hanna, Rev. Andrew Danquer, and oil magnate John D. Rockefeller. Although use of the script was rather free-form, the line about Hanna was ordered dropped as soon as Hamlin got word of his death in 1904. Beginning with the success of the stage version, most subsequent versions of the story, including newer editions of the novel, have been titled "The Wizard of Oz", rather than using the full, original title. In more recent years, restoring the full title has become increasingly common, particularly to distinguish the novel from the Hollywood film. Baum wrote a new Oz book, The Marvelous Land of Oz, with a view to making it into a stage production, which was titled The Woggle-Bug, but Montgomery and Stone balked at appearing when the original was still running. The Scarecrow and Tin Woodman were then omitted from this adaptation, which was seen as a self-rip-off by critics and proved to be a major flop before it could reach Broadway. He also worked for years on a musical version of Ozma of Oz, which eventually became The Tik-Tok Man Of Oz. This did fairly well in Los Angeles, but not well enough to convince producer Oliver Morosco to mount a production in New York. He also began a stage version of The Patchwork Girl of Oz, but this was ultimately realized as a film.

Did anything else happened with script?

Answer with quotes:
Baum wrote a new Oz book, The Marvelous Land of Oz, with a view to making it into a stage production, which was titled The Woggle-Bug, but