IN: Musial was born in Donora, Pennsylvania, the fifth of the six children (four girls and two boys) of Lukasz and Mary (Lancos) Musial (, MOO-show). His mother was of Carpatho-Rusyn descent and his father was a Polish immigrant who chose the name Stanislaw Franciszek for his first son, though his father always referred to Musial using the Polish nickname Stasiu, pronounced "Stashu". Musial frequently played baseball with his brother Ed and other friends during his childhood, and considered Lefty Grove his favorite ballplayer. Musial also had the benefit of learning about baseball from his neighbor Joe Barbao, a former minor league pitcher.

Musial's rookie year with Williamson in 1938 was a period of adjustment both on and off the field. He began gaining more in-depth knowledge about baseball strategy while posting a 6-6 win-loss record and a 4.66 earned run average (ERA), to go along with a .258 batting average. Off the field, he experienced feelings of homesickness while learning to live comfortably and independently on his $65-per-month salary. Musial finished his high school education before returning to Williamson in spring 1939. That season his numbers improved to a 9-2 record, a 4.30 ERA, and a .352 batting average.  Musial spent the 1940 season with the Cardinals' other Class D team, the Daytona Beach Islanders, where he developed a lifelong friendship with manager Dickie Kerr. His pitching skills improved under the guidance of Kerr, who also recognized his hitting talent, playing him in the outfield between pitching starts. On May 25, 1940, Musial married fellow Donora resident, Lillian "Lil" Labash, in Daytona Beach, and the couple's first child followed in August. During late August, Musial suffered a shoulder injury while playing in the outfield, and later made an early exit as the starting pitcher in a 12-5 playoff game loss. For a while Musial considered leaving baseball entirely, complaining that he could not afford to support himself and his wife on the $16 a week pay. Kerr talked him out of it, and even took the Musials into his own home to relieve the financial burden. To repay the debt Musial bought Kerr a $20,000 home in Houston in 1958. In 113 games in 1940 he hit .311, while compiling an 18-5 pitching record that included 176 strikeouts and 145 walks.  Musial was assigned to the Class AA Columbus Red Birds to begin 1941, though manager, Burt Shotton, and Musial himself quickly realized that the previous year's injury had considerably weakened his arm. He was reassigned to the Class C Springfield Cardinals as a full-time outfielder, and he later credited manager Ollie Vanek for displaying confidence in his hitting ability. During 87 games with Springfield, Musial hit a league-leading .379 before being promoted to the Rochester Red Wings of the International League. He was noted for his unique batting stance, a crouch in which his back was seemingly square to the pitcher. This stance was later described by pitcher Ted Lyons as "a kid peeking around the corner to see if the cops were coming". According to a 1950 description by author Tom Meany, "The bent knees and the crouch give him the appearance of a coiled spring, although most pitchers think of him as a coiled rattlesnake." Musial continued to play well in Rochester--in one three-game stretch, he had 11 hits. He was called up to the Cardinals for the last two weeks of the 1941 season.
QUESTION: whatt team did he play for
IN: 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.
QUESTION:
Was the write up a positive review?