Because how your ability to conceive of yourself as an “I” is just an illusion-cycle of meaningless symbols in your brain that move from one level of abstraction to another but always wind up right back where they started. But it’s also the name of this Liz Phair song that I really love.Īs Usher’s doubts and hopes and insights loop in on themselves – and all that looping really is a pleasure to behold – the musical presents a complex portrait of a singular creation (by a singular new theatrical voice) that resists every effort (including Usher’s own) to categorize.Īnd as amiable as both Usher and this musical are, they can both be ferocious and unsparing. That long explanation of the show’s title is breathlessly delivered to a very promising potential hook-up partner who seems to truly care about Usher’s aspirations (and finds him irresistibly sexy). Then the hook-up, asked where he lives, says this: “I live in your imagination. 6’3”, with soft brown eyes, accidental six-pack abs, light brown scruff and an exquisitely groomed alt-right style haircut.
I have an enormous pink cock, a full bush, and insanely low hanging balls that you will never have the privilege of tasting. And the fact that you would allow yourself even a moment of weakness to fantasize about a dick appointment with a power top like me when you should probably just kill yourself is a testament to the awesome power of the white gaytriarchy.” GAY CUM SWALLOWING DADDIES TUMBLR FULL Jackson is particularly effective in his take-downs of the groups that, in a perfect world, would be Usher’s natural allies: the gay community, where racism is as soul-killing as in any other community (certainly the theater community) Black contemporaries who disdain Usher and the “white girl” pop music he loves a family whose homophobia is deeper than love and even The Ancestors, who, in one stand-out scene are resurrected (and enacted by the Thoughts) to provide absolutely no comfort to their spiritual heir. There’s Harriet Tubman, and an Oscar-toting 12 Years a Slave slave, and Marcus Mosiah Garvey, Jimmy Baldwin, Zora Neale Hurston and, getting one of the musical’s biggest laughs, Whitney Houston, who emerges from an upright neon casket. In fact, the Ancestors are especially harsh in their chastisement of Usher for his rejection of the man everyone from his mother to his agent seems to hold up as the epitome of what Usher hopes to achieve. Here are the chastising Ancestors speaking in unison: “Tyler Perry writes real life.