Word: dialectically
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Dates: during 1990-1999
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What about the profanity? Ice-T sighs in frustration. "You're overhearing black guys on a street corner talking to one another. It's s--- talking, a dialect. But people take it so seriously." What he fails to realize is that people do take words seriously, and understandably so, when they are so offensive and degrading. When Ice-T sang on one of his first albums about a friend who "f---ed the bitch with a flashlight/ Pulled it out, left the batteries in/ So he could get a charge when he begins," he let his own definition of "reality...
Ripley tries to update the tone of the novel--she carefully avoids using dialect for her black characters and evades the topic of race relations after the war entirely. In order to do so, Ripley ships Scarlett off to Ireland to discover her roots. Unfortunately, the South which Scarlett leaves has been incorrectly reconstructed by Ripley. The graceful antebellum South which Ripley depicts, full of honor and traditions and social proprieties, was destroyed by the Civil...
...from the freed slaves and budding Klansmen of the Reconstruction South. Pushing a complex reality under the Old Sod solves the problem of having to create substantial roles for black characters. When hired to write the book, Ripley insisted on a contemporary treatment of race, specifically the avoidance of dialect. Her method is to retain speech patterns while providing elocution lessons...
...accompanies the rest of the show. Craig Hickman performs an animated "Embraceable You"--one of Holiday's most famous numbers--and then introduces Holiday herself, who is played by Ketanji Brown. The transition from student jazz concert to drama is innovative, but awkward. Brown, who affects Holiday's dialect in both her monologue and musical performance, is the only member of the cast/company to represent a historical character...
...minister. Most of the action arises from the show girl's I Love Lucy-esque contrivances to get her man. The side plot, about Prohibition and a nightclub's hidden supply of booze, is even sillier. Again, contemporary audiences may be a little queasy about the condescension to dialect and folkways and the equation of black status with pseudowhite behavior. But there is a nonpareil score by George and Ira Gershwin (Someone to Watch Over Me, Clap Yo' Hands) and a display of solo and ensemble tap dancing, by Gregg Burge and a 16-member chorus under the direction...