Memphis, the cafe owner, has all the answers except why his wife left him two months before. They have four children. Risa, who works for Memphis in the cafe, has an idea.
Prophet Samuel is being buried on a Tuesday. Tuesday in Yoruba is Isegun, Day of Victory or Triumph. Aunt Ester sees visitors on Tuesdays. Prophet Samuel reminds us of Father Divine and Daddy Grace.
Hambone and Risa have a natural affinity. We later learn they both are involved in scarification.
“In some African tribes, it was like wearing your identity card on your face. True, some may hate that, but this was a mark of pride, not shame. In most African cultures, it was a major aesthetic and cultural component as can be seen on sculptures in museums around the world. Scarification patterns on sculptures are not only marks of beauty, but marks of one’s lineage as well, and in some cases protection against evil spirits. Lastly, in Africa like in Polynesia, scarification is more visible on darker skinned people than say, tattoos.” https://afrolegends.com/2015/09/16/scarification-an-ancient-african-tattoo-culture/
A man named Zanelli is behind in servicing the Jukebox. He is the “bringer” of music to the cafe, he controls the atmosphere. The jukebox only plays one song when it works, Aretha Franklin’s “Take a Look” (on the playlist). There a several reference to the broken jukebox throughout the play, a sort of sounding board for the general state of things. From Wikipedia:
Jukeboxes were most popular from the 1940s through the mid-1960s, particularly during the 1950s. By the middle of the 1940s, three-quarters of the records produced in America went into jukeboxes. Billboard published a record chart measuring jukebox play during the 1950s, which briefly became a component of the Hot 100; by 1959, the jukebox’s popularity had waned to the point where Billboard ceased publishing the chart and stopped collecting jukebox play data.
Traditional jukeboxes once were an important source of income for record publishers. Jukeboxes received the newest recordings first. Theybecame an important market-testing device for new music, since they tallied the number of plays for each title. They offered a means for the listener to control the music outside of their home, before audio technology became portable. They played music on demand without commercials. They also offered the opportunity for high fidelity listening before home high fidelity equipment became affordable.
The invention of the portable radio in the 1950s and the portable cassette tape deck in the 1960s were key factors in the decline of the jukebox. They enabled people to have their own selection of music with them, wherever they were. Jukeboxes became a dying industry during the 1970s, before being revived somewhat by compact disc jukeboxes during the 1980s and 1990s, followed by digital jukeboxes using the MP3 format. While jukeboxes maintain popularity in bars, they have fallen out of favor with what were once their more lucrative locations—restaurants, diners, military barracks, video arcades, and laundromats.
Holloway is a true believer in Aunt Ester, just as Risa is a true believer in Prophet Samuel. Their beliefs seem to co-exist throughout the play. Only Memphis criticizes Risa, and only West criticizes Holloway.
Aunt Esther here and in her other appearances is a true Stoic, advising her visitors always to change the way they look at a situation or a problem. She requires them to throw money into the river, i.e., to lessen their psychological dependence on money as a solution to their problems.
Memphis reminds one of Seth in Joe Turner’s Come and Gone when it comes to “traditional” beliefs, though Seth is the first one to grab the harmonica when it’s time to Juba. To his credit, Memphis credits his victory in court to Aunt Ester, not to his white lawyer. We later learn that Memphis has reading disabilities.
Memphis has a pipe dream of reclaiming his land in Mississippi just like Hambone has a pipe dream of getting his ham. Both misled by false, unrealizable hopes. Memphis sees that pipe dream in Hambone, but does not see it in himself. Scholars compare this the Hope’sBar in O‘Neill’s The Iceman Cometh.
Title cut: Two Trains Running. Ties to Doaker’s reflections on train motion in The Piano Lesson. Stovall, who Lymon was indentured to in The Piano Lesson, sold Memphis land without water rights in Two Trains Running, then led a bunch of men in chasing Memphis off the land and slaughtering his mule.
Mass incarceration = stacking niggers? Still working that one out.
Holloway mentions a little bit of history of Prophet Samuel, who was known as Reverend Samuel before he visited with Aunt Ester. Holloway makes a passing reference to Prophet Samuel wearing robes, baptizing people in the river, and going barefooted. That final reference reminded me of a personality known as the Barefoot Prophet who had a small following in my hometown in the 20’s and 30’s, along with his successor who was known as Mr. Bobo. Here is a bit of info: https://www.harlemworldmagazine.com/elder-clayhorn-martin-the-barefoot-prophet-in-harlem-1929/
Philmore the customer from Jitney shows up in Two Trains selling a property to West.
Does Memphis” criticism of “Black Is Beautiful” apply to “Black Lives Matter?” At least “Black is beautiful” was an identity and not a tautology.
Sterling mentions being brought up in an orphanage, Toner Institute. That orphanage really existed and operated until 1977, when State and county subsidies could not keep up with rising operational costs. http://www.brooklineconnection.com/history/Schools/TonerInstitute.html
Bubba Boy’s wife overdosed. It is the only drug-related death in the Cycle.
Memphis had a cathartic experience when his mother dies. He cried, things changed, looked differently. He felt he had been “cut loose.”
West visited Aunt Ester and refused to pay by putting money in the river. Memphis visited and complied with good results.