... HOUSE But we are not in uh boat! SHARK-SEER The Players US-SEER But we iz. Iz iz iz uh huhn. Iz uh huhn. Uh huhn iz. MRS. ARETHA SAXON ANGLOR SAXON SHARK-SEER I wonder: are we...

... the McCarthy Tyson, as Aretha, lay on a tilted hospital bed, clutching period, and the particular weight it bears in the tradition of white Raggedy Ann and Andy dolls against her chest. This African-American theater. Resistant to being pigeonholed as live picture...

... in the fevered mind of its her oppressor’s dignity in her description of protagonist, old Aretha Saxon, who, while being forced to the back of the bus: “Rode in having her last teeth extracted, hallucinates the thuh-rear. More even ride in thuh rear”- history of black women from the humiliations Parks...

... of contradictory rhythmic ideas. For me, the break is the most significant gesture of African American performance, as it contains both the tie to a ubiquitous rhythmic flow and the potential for anarchy and disruption. The break cre- Aretha Franklin ates a liminoid space that allows attentive listeners...

... to the Projectionist whoS running the Then there are voices of people down the hall and in the outer office jilm. (they are taped). Muffled sounds of Aretha Franklin or Isaac Hayes from...

... The Doors Human League Marvin Gaye Prince The Commodores Bauhaus Yellow Joe Jackson Wu Tang Clan Meatloaf Aretha Franklin...

... and thinking of you. So I come on either. (RISA goes over to the jukebox learned all these years. back. and puts in a quarter. Take a Look’’ RISA: West say he gonna lay him out RISA You ain’t got no job. You going bu Aretha Franklin begins to play) in a bronze...