Mrs. Johnson
SYNTAX AND DICTION
Do some characters ramble on? String together phrases? Speak in fragments? Form their thoughts carefully?
Mrs. Johnson is described as speaking as “a woman who decided long ago to be enthusiastic about everything in life [and is] inclided to wave her wrist
vigorously at the height of her exclamatory comments.” Mrs. Johnson speaks in a certain way, (“H’you this evening Ruth?”) and is extremely cordial and over-friendly to the Youngers at the beginning of her appearance in the scene. The italicized text shows her looking around at the moving preparations, and she says in a somewhat fake way, “Yessir! Lookathere! I’m a telling you the Youngers is really getting ready to ‘move on up a little higher!’--Bless God!” The way her speech is presented seems that she is speaking quickly and loudly with an enthusiasm that makes her seem insincere and almost sarcastic. “I’m just sooooooo happy for y’all” is yet another example of her phony way of speaking.
Are the sentences simple, compound, complex, compound/complex? Loose, periodic, inverted? Stichomythia? What’s common, what’s rare?
Mrs. Johnson’s sentences are mostly complex, as if she is speaking quickly and rambling on. Her sentences are usually loose/cumulative, but she often speaks in long sentences or repeats her words a lot. “He’s good, ain’t He?” and “He works, don’t he?” are both quotes from Mrs. Johnson that follow the same structure. She is often depicted as elongating her words, (“I’m just soooo happy for y’all,” “I can’t close my eyes right lessen I done had that laaaast cup of coffee,” “And sooooo ambitious!” “Chicago peckerwoods is some baaaad peckerwoods.”)contributing to her offputting enthusiasm. When she uses the word “crackers” to describe white people and the word “nigger” to describe African Americans, she realizes that she has offended Mama. She asks if Mama does not allow those words in her home, and immediately says, “Me neither” and continues on as if she was never at fault. There is stichomythia in the Mrs. Johnson’s scene, as she often says something and Mama immediately repeats it in a tired, almost mocking way. “Johnson: Ain’t you starting to poke out none yet! Oh, ain’t we getting ready round here, though! Yessir! Lookathere! I’m telling you the Youngers is really getting ready to “move on up a little higher!” ---Bless God! Mama: Bless God. Johnson: He’s good, ain’t He? Mama: Oh yes, He’s good. Johnson: I mean sometimes He works in mysterious ways...but He works, don’t He! Mama: Yes, he does.”
MRS. JOHNSON’S CHARACTERIZATION
For Mrs. Johnson, her character can be described as hypocritical, someone who isn’t largely affected by society and always has something to say about others. In Act II Scene II, as she visited the Younger family, she said, “I know-but sometimes she act like ain’t got time to pass the time of day with nobody ain’t been to college. Oh- I ain’t criticizing her none. It’s just- you know how some of our young people gets when they get a little education.”
If the characters are flat, what are their dominant traits? What is their function in the plot? How do they help establish the conflicts in the plot?
Othella Johnson is a completely flat character. She offers absolutely nothing to the story besides comic relief and insight into the possible views of other African Americans during that time period. She is a believable, but not very complex antagonist. Mrs. Johnson’s most dominant trait is her brashness and the ease with which she says things that are clearly offensive. Her function in the plot is to foil Mama and Ruth and the values of the entire Younger family because she believes that African Americans should not aim for something higher in life. She speaks out against Beneatha’s college education and says that Walter should be happy with his job as a chauffeur. About Beneatha, Mrs. Johnson says, “I know--but sometimes she act like ain’t got time to pass the time of day with nobody ain’t been to college. Oh--I ain’t criticizing her none,” as if it is a harmless comment, when in reality she has insulted Mama’s daughter. She helps to establish the conflicts in the plot by introducing the fact that the family might not be accepted into Clybourne Park without a fight. She presents the ideas that challenge the Younger family’s dreams and never wavers in her position, maintaining that the Younger family is bold, proud and most likely to get bombed or attacked because of the “peckerwoods.”
If they are static, do their traits intensify or become clearer as the play moves on? How does the devices, (dress, names, gestures) help establish these traits?
At the beginning of the scene Mrs. Johnson seems only to be a very enthusiastic, (and possibly nosy) neighbor of the Younger family. However, as the scene moves on, it becomes clearer that she is a brash, offensive woman. She on several occasions overstays her welcome at the Younger’s house, accepts their food too willingly and makes insulting comments about their dreams and ways of living, maintaining a false sense of superiority. When Mrs. Johnson is talking about the racism that African American faces in the society, she says it “with a tremendous and rather insincere sense of melodrama”, mocking the seriousness of the reality. The gestures that Mrs. Johnson make, such as clasping her hand over her mouth while she is talking, bring out the characteristics of her dramatic and enthusiastic traits. Every time something is being offered to her, she always gladly accepts it easily, which shows that Mrs. Johnson gets comfortable easily around others and that she feels no restriction in what she is doing and saying.
What “masks” are the characters wearing? Who is hiding what from whom? When are the masks removed? What causes their removal, and what are the results?
The italicized text denotes that it is a lie when Mrs. Johnson says “’Course I think it’s wonderful how our folks keeps on pushing out. You hear some of these
Negroes round here talking ‘bout how they don’t go where they ain’t wanted and all that—but not me, honey!” For most of the entire visit, Mrs. Johnson is
speaking about the bombing of an African American family who moved into a white neighborhood, and she advises that the Younger’s don’t move to Clybourne Park lest they end up in the newspaper as bombed. She continually contradicts herself, demanding that “Wilhemenia Othella Johnson goes anywhere, any time she feels like it,” but this is attitudinally ironic because everyone knows that this is not true. At the end, it is Mrs. Johnson who decides to leave the house, but it is only because she finally realizes that Mama and her have different belief, saying that “You know, me and you ain’t never agreed about some things, Lena Young. I guess I better be going-”
Explain the character’s motivations for what they do. What does the character want and does the character effectively get what they want?
When Mrs. Johnson talks to Mama, she emphasizes the danger that the Youngers would probably face after moving into the white community. She has pessimistic visions about the futures of the Youngers even though they did not even move into the house yet, telling Mama that “I bet this time next month y’all’s names will have been in the papers plenty--NEGROES INVADE CLYBOURNE PARK---BOMBED!” Johnson pessimistic view is influenced by the racist society of the time since violence happens everywhere all the time due to racism. She first insults the family’s dream and make pessimistic comments about the family’s future before she brushes it off like it was a harmless comment by saying that she doesn’t mean it that way and that she “ain’t criticizing her none”.
Describe the miscalculations a character makes and the effect they have.
(the character did not really miscalculate anything because she serves as a comic relief while also bringing a sense of cruel reality of racism)
How does the character change and intensify through each major unit of the play?
(the character does not change/intensify since she only appears in one scene)
EXCERPT:
Mama: Oh--hello there, Johnson
Johnson: Hello there, yourself! H’you this evening, Ruth?
Ruth: Fine, Mis’Johnson, h’you?
Johnson: Ain’t you starting to poke out none yet! Oh, ain’t we getting ready round here, though! Yessir! Lookathere! I’m telling you the Youngers is really getting ready to “move on up a little higher!” ---Bless God!
Mama: Bless God.
Johnson: He’s good, ain’t He?
Mama: Oh yes, He’s good.
Johnson: I mean sometimes He works in mysterious ways...but He works, don’t He!
Mama: Yes, he does.
Johnson: I’m just soooo happy for y’all. And this here child---looks like she could just pop open with happiness, don’t she. Where’s all the rest of the family?
Mama: Bennie’s gone to bed---
Johnson: Ain’t no...sickness done hit you---I hope...?
Mama: No--she just tired. She was out this evening.
Johnson: Aww--ain’t that lovely. She still going out with the little Murchison boy?
Mama: Ummmm huh.
Johnson: That’s lovely. You sure got lovely children, Younger. Me and Isaiah talks all the time ‘bout what fine children you was blessed with. We sure do.
Mama: Ruth, give Mis’Johnson a piece of sweet potato pie and some milk.
Johnson: Oh honey, I can’t stay hardly a minute--I just dropped in to see if there was anything I could do. I guess y’all seen the news what’s all over the colored people this week..
Mama: No--didn’t get mine yet this week.
Johnson: You mean you ain’t read ‘bout them colored people that was bombed out their place out there? Ain’t it something how bad these here white folks is getting here in Chicago! Lord, getting so you think you right down in Mississippi! ‘Course I think it’s wonderful how our folks keeps on pushing out. You hear some of these Negroes round here talking ‘bout how they don’t go where they ain’t wanted and all that--but not me, honey! Wilhemenia Othella Johnson goes anywhere, any time she feels like it! Yes I do! Why if we left it up to these here crackers, the poor niggers wouldn’t have nothing--Oh, I always forgets you don’t ‘low that word in your house.
Mama: No--I don’t ‘low it.
Johnson: Me neither! I was just telling Isaiah yesterday when he come using it in front of me--I said “Isaiah, it’s just like Mis’Younger says all the time--”
Mama: Don’t you want some more pie?
Johnson: No--no thank you; this was lovely. I got to get on over home and have my midnight coffee. I hear some people say it don’t let them sleep but I finds I can’t close my eyes right lessen I done had that laaaast cup of coffee...My Goodnight coffee, I calls it!
Mama: Ruth, why don’t you give Mis’Johnson some coffee.
Johnson: Where’s Brother tonight?
Mama: He’s lying down.
Johnson: Mmmmmm, he sure gets his beauty rest, don’t he? Good-looking man. Sure is a good-looking man! I guess that’s how come we keep on having babies around here. One thing ‘bout Brother, he always know how to have a good time. And soooo ambitious! I bet it was his idea y’all moving out to Clybourne Park. Lord--I bet this time next month y’all’s names will have been in the papers plenty--NEGROES INVADE CLYBOURNE PARK---BOMBED!”
Mama: We ain’t exactly moving out there to get bombed.
Johnson: Oh, honey--you know I’m praying to God every day that don’t nothing like that happen! But you have to think of life like it is---and these here Chicago peckerwoods is some baaaad peckerwoods.
Mama: We done thought about all that Mis’Johnson.
Johnson: Hello there, Bennie!
Beneatha: Hello, Mrs. Johnson.
Johnson: How is school?
Beneatha: Fine, thank you. (She goes out.)
Johnson: Getting so she don’t have much to say to nobody.
Mama: The child was on her way to the bathroom.
Johnson: I know--but sometimes she act like ain’t got time to pass the time of day with nobody ain’t been to college. Oh--I ain’t criticizing her none. It’s just---you know how some of our young people gets when they get a little education. Yes--well. Well, I guess I better get on home. ‘Course I can understand how she must be proud and everything--being the only one in the family to make something of herself. I know just being a chauffeur ain’t never satisfied Brother none. He shouldn’t feel like that, though. Ain’t nothing wrong with being a chauffeur.
Mama: There’s plenty wrong with it.
Johnson: What?
Mama: Plenty. My husband always said being any kind of servant wasn’t a fit thing for a man to have to be. He always said a man’s hands was made to make things, or to turn the earth with--not to drive nobody’s car for ‘em--or---carry they slop jars. And my boy is just like him--he wasn’t meant to wait on nobody.
Johnson: Mmmmmmm. The Youngers is too much for me! You sure one proud-acting bunch of colored folks. Well--I always thinks like Booker T. Washington said that time---”education has spoiled many a good plow hand”---
Mama: Is that what old Booker T. said?
Johnson: He sure did.
Mama: Well it sounds just like him. The fool.
Johnson: Well--he was one of our great men.
Mama: Who said so?
Johnson: You know, me and you ain’t never agreed about some things, Lena Younger. I guess I better be going---
Ruth: Good night.
Johnson: Good night. Oh--You can keep the paper! ‘Night.
Mama: Good night, Mis’Johnson.
Analysis
This scene with Mrs. Johnson points out three major parts of her character: she is hypocritical, insincere and brash. She says that she can’t stay long and was just coming over to see if she could help, yet makes no move to leave and easily accepts sweet potato pie from the Youngers. She hints about wanting coffee and even makes light of the idea of the Youngers getting bombed once they move to Clybourne Park. She also deliberately insults Beneatha and insists that Walter’sjob as a chauffeur follows Booker T. Washington’s idea that only the talented tenth of African Americans should bother becoming educated. Her diction and syntax in the story conveys her phony tone and the content of the scene makes her character the antithesis of what the Younger’s believe in. The scene also serves to show Mama’s strength as a character in her willingness to stand up for her beliefs. Mrs. Johnson can be seen as a foil character, as she brings out traits in the other characters but has no change herself. At one point Ruth rolls her eyes at Mama’s kindness when she suggests to give Mrs. Johnson coffee.
Mrs. Johnson is described as speaking as “a woman who decided long ago to be enthusiastic about everything in life [and is] inclided to wave her wrist
vigorously at the height of her exclamatory comments.” Mrs. Johnson speaks in a certain way, (“H’you this evening Ruth?”) and is extremely cordial and over-friendly to the Youngers at the beginning of her appearance in the scene. The italicized text shows her looking around at the moving preparations, and she says in a somewhat fake way, “Yessir! Lookathere! I’m a telling you the Youngers is really getting ready to ‘move on up a little higher!’--Bless God!” The way her speech is presented seems that she is speaking quickly and loudly with an enthusiasm that makes her seem insincere and almost sarcastic. “I’m just sooooooo happy for y’all” is yet another example of her phony way of speaking.
Are the sentences simple, compound, complex, compound/complex? Loose, periodic, inverted? Stichomythia? What’s common, what’s rare?
Mrs. Johnson’s sentences are mostly complex, as if she is speaking quickly and rambling on. Her sentences are usually loose/cumulative, but she often speaks in long sentences or repeats her words a lot. “He’s good, ain’t He?” and “He works, don’t he?” are both quotes from Mrs. Johnson that follow the same structure. She is often depicted as elongating her words, (“I’m just soooo happy for y’all,” “I can’t close my eyes right lessen I done had that laaaast cup of coffee,” “And sooooo ambitious!” “Chicago peckerwoods is some baaaad peckerwoods.”)contributing to her offputting enthusiasm. When she uses the word “crackers” to describe white people and the word “nigger” to describe African Americans, she realizes that she has offended Mama. She asks if Mama does not allow those words in her home, and immediately says, “Me neither” and continues on as if she was never at fault. There is stichomythia in the Mrs. Johnson’s scene, as she often says something and Mama immediately repeats it in a tired, almost mocking way. “Johnson: Ain’t you starting to poke out none yet! Oh, ain’t we getting ready round here, though! Yessir! Lookathere! I’m telling you the Youngers is really getting ready to “move on up a little higher!” ---Bless God! Mama: Bless God. Johnson: He’s good, ain’t He? Mama: Oh yes, He’s good. Johnson: I mean sometimes He works in mysterious ways...but He works, don’t He! Mama: Yes, he does.”
MRS. JOHNSON’S CHARACTERIZATION
For Mrs. Johnson, her character can be described as hypocritical, someone who isn’t largely affected by society and always has something to say about others. In Act II Scene II, as she visited the Younger family, she said, “I know-but sometimes she act like ain’t got time to pass the time of day with nobody ain’t been to college. Oh- I ain’t criticizing her none. It’s just- you know how some of our young people gets when they get a little education.”
If the characters are flat, what are their dominant traits? What is their function in the plot? How do they help establish the conflicts in the plot?
Othella Johnson is a completely flat character. She offers absolutely nothing to the story besides comic relief and insight into the possible views of other African Americans during that time period. She is a believable, but not very complex antagonist. Mrs. Johnson’s most dominant trait is her brashness and the ease with which she says things that are clearly offensive. Her function in the plot is to foil Mama and Ruth and the values of the entire Younger family because she believes that African Americans should not aim for something higher in life. She speaks out against Beneatha’s college education and says that Walter should be happy with his job as a chauffeur. About Beneatha, Mrs. Johnson says, “I know--but sometimes she act like ain’t got time to pass the time of day with nobody ain’t been to college. Oh--I ain’t criticizing her none,” as if it is a harmless comment, when in reality she has insulted Mama’s daughter. She helps to establish the conflicts in the plot by introducing the fact that the family might not be accepted into Clybourne Park without a fight. She presents the ideas that challenge the Younger family’s dreams and never wavers in her position, maintaining that the Younger family is bold, proud and most likely to get bombed or attacked because of the “peckerwoods.”
If they are static, do their traits intensify or become clearer as the play moves on? How does the devices, (dress, names, gestures) help establish these traits?
At the beginning of the scene Mrs. Johnson seems only to be a very enthusiastic, (and possibly nosy) neighbor of the Younger family. However, as the scene moves on, it becomes clearer that she is a brash, offensive woman. She on several occasions overstays her welcome at the Younger’s house, accepts their food too willingly and makes insulting comments about their dreams and ways of living, maintaining a false sense of superiority. When Mrs. Johnson is talking about the racism that African American faces in the society, she says it “with a tremendous and rather insincere sense of melodrama”, mocking the seriousness of the reality. The gestures that Mrs. Johnson make, such as clasping her hand over her mouth while she is talking, bring out the characteristics of her dramatic and enthusiastic traits. Every time something is being offered to her, she always gladly accepts it easily, which shows that Mrs. Johnson gets comfortable easily around others and that she feels no restriction in what she is doing and saying.
What “masks” are the characters wearing? Who is hiding what from whom? When are the masks removed? What causes their removal, and what are the results?
The italicized text denotes that it is a lie when Mrs. Johnson says “’Course I think it’s wonderful how our folks keeps on pushing out. You hear some of these
Negroes round here talking ‘bout how they don’t go where they ain’t wanted and all that—but not me, honey!” For most of the entire visit, Mrs. Johnson is
speaking about the bombing of an African American family who moved into a white neighborhood, and she advises that the Younger’s don’t move to Clybourne Park lest they end up in the newspaper as bombed. She continually contradicts herself, demanding that “Wilhemenia Othella Johnson goes anywhere, any time she feels like it,” but this is attitudinally ironic because everyone knows that this is not true. At the end, it is Mrs. Johnson who decides to leave the house, but it is only because she finally realizes that Mama and her have different belief, saying that “You know, me and you ain’t never agreed about some things, Lena Young. I guess I better be going-”
Explain the character’s motivations for what they do. What does the character want and does the character effectively get what they want?
When Mrs. Johnson talks to Mama, she emphasizes the danger that the Youngers would probably face after moving into the white community. She has pessimistic visions about the futures of the Youngers even though they did not even move into the house yet, telling Mama that “I bet this time next month y’all’s names will have been in the papers plenty--NEGROES INVADE CLYBOURNE PARK---BOMBED!” Johnson pessimistic view is influenced by the racist society of the time since violence happens everywhere all the time due to racism. She first insults the family’s dream and make pessimistic comments about the family’s future before she brushes it off like it was a harmless comment by saying that she doesn’t mean it that way and that she “ain’t criticizing her none”.
Describe the miscalculations a character makes and the effect they have.
(the character did not really miscalculate anything because she serves as a comic relief while also bringing a sense of cruel reality of racism)
How does the character change and intensify through each major unit of the play?
(the character does not change/intensify since she only appears in one scene)
EXCERPT:
Mama: Oh--hello there, Johnson
Johnson: Hello there, yourself! H’you this evening, Ruth?
Ruth: Fine, Mis’Johnson, h’you?
Johnson: Ain’t you starting to poke out none yet! Oh, ain’t we getting ready round here, though! Yessir! Lookathere! I’m telling you the Youngers is really getting ready to “move on up a little higher!” ---Bless God!
Mama: Bless God.
Johnson: He’s good, ain’t He?
Mama: Oh yes, He’s good.
Johnson: I mean sometimes He works in mysterious ways...but He works, don’t He!
Mama: Yes, he does.
Johnson: I’m just soooo happy for y’all. And this here child---looks like she could just pop open with happiness, don’t she. Where’s all the rest of the family?
Mama: Bennie’s gone to bed---
Johnson: Ain’t no...sickness done hit you---I hope...?
Mama: No--she just tired. She was out this evening.
Johnson: Aww--ain’t that lovely. She still going out with the little Murchison boy?
Mama: Ummmm huh.
Johnson: That’s lovely. You sure got lovely children, Younger. Me and Isaiah talks all the time ‘bout what fine children you was blessed with. We sure do.
Mama: Ruth, give Mis’Johnson a piece of sweet potato pie and some milk.
Johnson: Oh honey, I can’t stay hardly a minute--I just dropped in to see if there was anything I could do. I guess y’all seen the news what’s all over the colored people this week..
Mama: No--didn’t get mine yet this week.
Johnson: You mean you ain’t read ‘bout them colored people that was bombed out their place out there? Ain’t it something how bad these here white folks is getting here in Chicago! Lord, getting so you think you right down in Mississippi! ‘Course I think it’s wonderful how our folks keeps on pushing out. You hear some of these Negroes round here talking ‘bout how they don’t go where they ain’t wanted and all that--but not me, honey! Wilhemenia Othella Johnson goes anywhere, any time she feels like it! Yes I do! Why if we left it up to these here crackers, the poor niggers wouldn’t have nothing--Oh, I always forgets you don’t ‘low that word in your house.
Mama: No--I don’t ‘low it.
Johnson: Me neither! I was just telling Isaiah yesterday when he come using it in front of me--I said “Isaiah, it’s just like Mis’Younger says all the time--”
Mama: Don’t you want some more pie?
Johnson: No--no thank you; this was lovely. I got to get on over home and have my midnight coffee. I hear some people say it don’t let them sleep but I finds I can’t close my eyes right lessen I done had that laaaast cup of coffee...My Goodnight coffee, I calls it!
Mama: Ruth, why don’t you give Mis’Johnson some coffee.
Johnson: Where’s Brother tonight?
Mama: He’s lying down.
Johnson: Mmmmmm, he sure gets his beauty rest, don’t he? Good-looking man. Sure is a good-looking man! I guess that’s how come we keep on having babies around here. One thing ‘bout Brother, he always know how to have a good time. And soooo ambitious! I bet it was his idea y’all moving out to Clybourne Park. Lord--I bet this time next month y’all’s names will have been in the papers plenty--NEGROES INVADE CLYBOURNE PARK---BOMBED!”
Mama: We ain’t exactly moving out there to get bombed.
Johnson: Oh, honey--you know I’m praying to God every day that don’t nothing like that happen! But you have to think of life like it is---and these here Chicago peckerwoods is some baaaad peckerwoods.
Mama: We done thought about all that Mis’Johnson.
Johnson: Hello there, Bennie!
Beneatha: Hello, Mrs. Johnson.
Johnson: How is school?
Beneatha: Fine, thank you. (She goes out.)
Johnson: Getting so she don’t have much to say to nobody.
Mama: The child was on her way to the bathroom.
Johnson: I know--but sometimes she act like ain’t got time to pass the time of day with nobody ain’t been to college. Oh--I ain’t criticizing her none. It’s just---you know how some of our young people gets when they get a little education. Yes--well. Well, I guess I better get on home. ‘Course I can understand how she must be proud and everything--being the only one in the family to make something of herself. I know just being a chauffeur ain’t never satisfied Brother none. He shouldn’t feel like that, though. Ain’t nothing wrong with being a chauffeur.
Mama: There’s plenty wrong with it.
Johnson: What?
Mama: Plenty. My husband always said being any kind of servant wasn’t a fit thing for a man to have to be. He always said a man’s hands was made to make things, or to turn the earth with--not to drive nobody’s car for ‘em--or---carry they slop jars. And my boy is just like him--he wasn’t meant to wait on nobody.
Johnson: Mmmmmmm. The Youngers is too much for me! You sure one proud-acting bunch of colored folks. Well--I always thinks like Booker T. Washington said that time---”education has spoiled many a good plow hand”---
Mama: Is that what old Booker T. said?
Johnson: He sure did.
Mama: Well it sounds just like him. The fool.
Johnson: Well--he was one of our great men.
Mama: Who said so?
Johnson: You know, me and you ain’t never agreed about some things, Lena Younger. I guess I better be going---
Ruth: Good night.
Johnson: Good night. Oh--You can keep the paper! ‘Night.
Mama: Good night, Mis’Johnson.
Analysis
This scene with Mrs. Johnson points out three major parts of her character: she is hypocritical, insincere and brash. She says that she can’t stay long and was just coming over to see if she could help, yet makes no move to leave and easily accepts sweet potato pie from the Youngers. She hints about wanting coffee and even makes light of the idea of the Youngers getting bombed once they move to Clybourne Park. She also deliberately insults Beneatha and insists that Walter’sjob as a chauffeur follows Booker T. Washington’s idea that only the talented tenth of African Americans should bother becoming educated. Her diction and syntax in the story conveys her phony tone and the content of the scene makes her character the antithesis of what the Younger’s believe in. The scene also serves to show Mama’s strength as a character in her willingness to stand up for her beliefs. Mrs. Johnson can be seen as a foil character, as she brings out traits in the other characters but has no change herself. At one point Ruth rolls her eyes at Mama’s kindness when she suggests to give Mrs. Johnson coffee.