00:00:10.940 - 00:00:59.960

the Buffalo Rue err aereo Whoa, Canyon LeBeau Larry Fucking batty Wasow a bore, everybody Whoa, Yeah. Whoa! LaRue e or me lately. Oh, hello. My name is Maya Angelo. In this program, we're going to discuss art and literature, black art and black literature. This piece is

00:01:00.340 - 00:01:26.870

very interesting. It's a piece of macron sculpture from East Africa, from Tanzania and from, uh, Mozambique. The Macron are people who live in East Africa. This looks very modern. It is modern art, its modern not only, uh, figuratively. It's modern, literally no piece of macaroni. Sculpture

00:01:26.880 - 00:01:47.750

is over 20 years old. So what we see here in the in the in the surging popularity of macaroni sculpture is a revival of a culture as opposed to a survival of a culture. Now, I don't know how well this is coming across. You see this?

00:01:48.060 - 00:02:17.590

This left hand here it extends down to the base of the of the statue. It implies that the hand of man is such an important tool that it can really it does extend to the foot. You can see the suggestion of fingers there. The macron I

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have lived in in, uh, East Africa in Mozambique and have moved into Tanzania. And even in fact, I'm told in Kenya their work. However, although they were known as good sculptors and, uh, they did an imitative kind of work imitating the West African sculpture. But about

00:02:42.140 - 00:02:59.760

20 years ago, they began letting their creative juices flow, and they've come up with some beautiful, beautiful work. We have some as a result of it. I have a gift alone from a Mr Trevor Hoy in the East Bay. Let's look at some of the work.

00:03:07.640 - 00:03:48.250

Mhm. Mhm. Mhm. Mm hmm. That piece we're seeing now is, uh is a piece of sculpture indicating representing a spirit. Okay. At the base of the peace, there is a figure. Mhm. Ah, upside down. It is sad that the macron represent the dead ancestors by showing

00:03:48.250 - 00:04:10.280

figures that are upside down. The peace flows so well, though the head flows so well into the the chin of that mouth that it's hard to tell where one starts and the other stops the grace of the head. When you look at the piece once removed

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from it, it looks like a a diver. The body of a diver. Mhm. Mhm. Mm. There are very strong family ties among the Macron Day. And in fact, they have kept their their culture so intact that even with the influence of Christianity, as we see in

00:04:43.420 - 00:05:10.910

this piece the kind of mother and child, uh, European Judeo Christian, um, concept, uh, there is still the African influence. I mean, it really controls the work. The Macron sculptor's work in Ebony. This is a revival, too, because for quite a few years, hundreds of years,

00:05:10.910 - 00:05:31.930

they worked in softer woods. Not really, because it was easier to work in them, but because the pieces of work had only 22 last, uh, for a ceremony or for a number of ceremonies. But now they're selling the work. And tourists, especially Westerners, want things to

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last and last and last. We have very few names of these sculptors, although most of them are alive. They are unknown, and they remind me of the the great poets in black American history who wrote such beautiful poetry that was later put into spirituals. There's a

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poem by James Weldon Johnson Mhm oh, black and unknown bards of long ago. How came your lips to touch the sacred fire How in your darkness did you come to know the power and beauty of the minstrels liar who first from Midst his Bonds lifted his

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eyes? Who first from out the still watch loan and loan, feeling the ancient faith of profits rise within his debt, Dark kept soul burst into song heart of what Slave poured out such melody as Steal Away Steal away on its strains. His spirit must have nightly

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floated free, though still about his hands. He felt his chains, who heard first great Jordan role. Who's Starwood? I. So chariot swing low and he Who was he that breathed that comforting melodic sai. Nobody knows the trouble. I see not that great German master in his

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dream of harmonies that thundered amongst the stars, not he ever heard a theme nobler than Go down Moses Markets bars how, like a mighty trumpet call, they stir the blood. Such are the notes that men have sung going to Valorous deeds. Such tones there were that

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helped make history when time was young. There is a wide wide wonder in it all that from degraded rest and servile toil, the fiery spirit of the seer should call these Children of the sun and soil Old black slave singers Gone forgot unf aimed you You

00:08:27.880 - 00:09:05.240

alone of all the long, long line of those who have sought sung unthought unknown unnamed have stretched out upwards seeking the divine mhm, mhm, mhm, mhm, mhm! The importance of the mother The matri focal fact carries throughout the whole African continent. Mhm. The sculpture is done

00:09:05.240 - 00:09:32.430

by men only. It's very much as in West Africa the women are not allowed to play the drums there are in in Ghana, particularly, especially the religious drums. Well, the sculpture is done by men, but they recognize the importance of the mother Mhm. And they hold

00:09:32.430 - 00:09:58.050

her in in respect and love, not making her out of not taking her out of context and making her the most important person in the in the family structure. Mhm, mhm. But I love and functioning mhm member of the family. This piece we see again the

00:09:58.050 - 00:10:31.880

importance of the family. Mhm. The sculpture sculptor has hewn out of this ivory. I mean, out of this, uh, ebony piece of wood leaving enough of the of the rob would untouched would to let us see the solidity of the family. Mm hmm. Mhm. Mhm. Africans

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say the family is the is the backbone of the nation, the very structure itself. And I think that Macron, this particular particular sculptor, has really caught the spirit of the family. Mhm. Mhm, Mhm. Mhm. Yeah, yeah. Mhm. Yeah. Mhm. Mhm. Mhm. There

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is a close connection between those who have died, those who are alive and those who are yet to come in African myth, tradition in the very life. So that we see that that figure we're looking at now is a dead ancestor. But there is a connection

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between that figure and those living ones. As you see, the hand turns the right hand turns into the leg of the living figure. Mhm. Mhm. Mhm. Mm, Yeah. Mhm. Mhm. Mhm. Mhm, Yeah. Mhm. Yeah. Mhm. Mhm. Yeah. Mhm. Mhm. Mhm. Mhm. Mhm, Mhm. Mhm.

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Life is one unbroken line. Mhm. We all touch each other at some point. Mhm, Yeah. Mhm. Yeah. Mhm. Things grow out of and into. Mhm. Mhm. Yeah. Mhm. Mhm. Mhm. Mhm. Mm hmm. Mhm. Mhm.

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Mhm. Beautiful work. There are black American sculptors. Not as many as I hope Will will show up on the world stage in the next few years at the sculpture and the paintings in the Black American world have not really gotten the kind of support from the

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community that I have personally would like to see. There's an art gallery in in San Francisco, the black man's art gallery, and, ah, they have a a statement. I suppose it's a statement of being that I found very exciting. They said they are they exist and

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in that very simple statement that I can't I can't I don't have it totally here. But in their statement, they suggest in their very being as a haven for black arts and black artists work. They include all life. It's a beautiful statement, and it's in San

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Francisco. We, uh, went to see, went to to Hayward. We went to talk with him Mr James Bircher, who is a black American painter and who held an exhibit down there. Thank you, Maya. Today we're going to look at some of the paintings and art exhibit

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that we've selected. And we also have present three of our artists that are exhibiting here. Mr. Ben Hazard, Mr. Claude Clark and myself. Now we're going to talk about the work, so I'm going to begin with Mr Clark Scar. Thank you, Brother Bircher. The painting you

00:15:53.900 - 00:16:13.150

see here of the fishermen is one of the earlier paintings that I did more than 20 years ago. To be exact, about 1946. What we have here is a sponge fishermen, the type of man that would go out from the Gulf and dive into the Gulf

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Stream to collect sponges, natural sponges and the suggestion you have on the back of the boat. There would be the sponges. Now, this was done quite a few years, maybe five or six years before I did the one over here of the man in the tropics

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running in out of the rain. I saw this happening one afternoon during a downpour and actually what I did, I scribbled down a sketch. I made a sketch immediately, and as these people ran past the house getting out of the rain, I noticed one of the

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black men in the group looking out, smiling. And I knew that he knew that this was the first time I'd seen this. And I thought at the time that maybe this was just happening. Single happening. But after the rain stopped, I went into town and I

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noticed outside of every door a large banana leave. So I realized that rather than by a banana by an umbrella, the person would just take what nature gave and coming out of the rain. That way, all my life, I've concerned myself with the black image, and

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it doesn't matter what age it might be, what year it might be. It's what is happening at that time, and I prefer to act as, uh, more or less a reporter about the things that are happening among black people around me. This painting I call Soul

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Stirrers and it was done several years after the one you just saw called Rain in the Tropics. And in this painting I'm closer to an expression called Not a Not Objective Expressionism. But if you look very carefully, you will notice that there is a suggestion of

00:18:05.390 - 00:18:20.200

a couple of figures in the painting, so I haven't gotten away from the black image that I have been interested in all my life. After all, even though I've come pretty close to another type of expression in this sense, I feel that I have, in a

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sense, caught up somewhat with the present generation and some of the things they are interested in at the same time. From another point of view, I feel that there is a link between the next generation. Now, speaking of the next generation, here we have graphic art

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done by Claude Lockhart Clark, this is our son who was born at the time that I was taking care of my own work and doing what came naturally. And he did what came naturally as he grew up. This is a painting. This is a work he

00:19:07.130 - 00:19:29.170

calls psych. And in the picture, he has a gypsy going about the art of telling fortunes, the other painting he calls metamorphose. And speaking of blackness here, he seems to be interested in what revolutionary people are doing. And here you have a group of people doing

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what is necessary to get whatever is necessary to achieve. We will have a fellow artists say something to you now, Ben Hazard. Thank you. Thank you, Mr Clark, My concern with the yacht from a black point of view has been directed mainly to what's happening in

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America today. This painting called Equal represent the ambiguity of this society. By that I'm using college represent the background, which is supposed to be a social approach. And the human approach is represented in black and white. And I would like to go now to one of

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my lift those which is called the Struggle, which is self explanatory. But society here is represented by the darkness around it and the force represented by this white space. Now this painting here is called to Children, and it represents their social approach to manhood, which is

00:20:44.290 - 00:21:06.660

represented like a computer system here on the top half, where the boy is surrounded by these different approaches from the computers point of view. And the bottom half of it, which has a girl on it, is represented by the more uniform control put out by the

00:21:06.660 - 00:21:25.870

computer and that represents like, uh, the female is usually going to be a mother and have a family and this approach. But then I have a purple dot on the left hand side, which would show that this does not necessarily make a true statement. Where the

00:21:25.870 - 00:21:41.330

boy again on the top Here he has a choice of being a doctor. Lawyer, Indian chief for the light. Now, as you notice, the boy's hand is in the painting. And this, I feel, is a necessity whenever you're trying to give a statement about a boy

00:21:41.340 - 00:22:10.150

because his hand is just as much of his facial expression as his face itself. Now, over here we have a lithograph again, and this one is called our Window. And this represents, um, to Children being part of the environment and making the best of it. Now,

00:22:10.150 - 00:22:32.810

this little here is called Bird with dead mate. And it was a result, the death of Mount Luther King and in local area, the death of Bobby Hutton and about the same time, or approximately 4 to 5 death within the same area of black youth. And

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to me it had depression, of killing of human beings, as if it was like killing a bird on during open season. And this is my approach to this concept. Now, this painting here is called Medal of Honor. And this is another result from the death of

00:23:01.220 - 00:23:20.450

Dr King and other black people and also representing the social struggle from the riots then this time they were putting new troops in the areas of writing and new troops in Vietnam, and everybody's getting meddled. So I felt like, Well, maybe Blackman needs a medal, too.

00:23:21.340 - 00:23:40.280

And this one here is represented by the repeat of the image of top here and around the edge of the struggle, which you saw it in the earlier with. Oh, and also you have a cutout figure here of a boy throwing Molotov cocktail, which is my

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personal statement of the social conditions in the world today. And now I would like to give the mike back to Jim Berg. Thank you and talking about my paintings. Here we have a painting of a friend of mine, brother Shahidi, which came about sort of like

00:24:03.620 - 00:24:18.520

an inspiration. And we were sitting around the house one evening and I told him, Look, brother, let's go downstairs to my and I'm going to paint your portrait In about two hours time, I came up with a kind of a spontaneous, colorful painting of my friend,

00:24:18.620 - 00:24:37.270

and a lot of good things happen, uh, built up a good color relationship, and I was really satisfied with this type of thing, and I find that the ones that you kind of like spontaneously do are sometimes the best paintings now within the painting. I've try

00:24:37.270 - 00:24:53.700

to emphasize a few things. For instance, the fact that he has his sunglasses on, which is, you know, sort of what sort of like a symbol to black people. And I've tried to make them very pronounced along with the fact that he has a very pronounced

00:24:53.700 - 00:25:09.060

natural, and it kind of like fits in. Even though the natural is a flat, just a flat black shape, it fits into the modeling of the face and the other colors in the painting, because we feel like nationals is the way things have always should have

00:25:09.060 - 00:25:24.600

been. Um, I was very happy with this painting we have here, one that I did as an early student at Cal State about a year and a half ago, and I was inspired by a photograph which was basically similar to this. But I wanted to really

00:25:24.600 - 00:25:38.330

bring out the colors, so I totally changed the background of the painting and out of this kind of well, some people tell me that it's fiery. Some people say that it's subtle. Well, I just prefer to think of it as being colorful. And then we have

00:25:38.340 - 00:26:02.810

many nuances and different relationships with greens and red and just kind of like primary color relationships happening in the painting and together it just kind of works as a pleasing composition, plus the fact that he's a very happy warrior. Here we have the work of a

00:26:02.810 - 00:26:24.460

Panamanian black artist who is currently painting and working in the Bay Area. Barrington McLean. Now what Barry has done here, he's He's taken the basis of a canvas, added relief to it and come up with a very pleasing composition. It's It's a relationship of the shapes

00:26:24.460 - 00:26:43.180

that he's built into this campus, and he's added or painted onto this, shapes that directly relate to the relief. I think this is a very unique approach, and it's been done in sculpture and in painting, but you rarely find them combined as he's done it here.

00:26:48.040 - 00:27:11.040

Yeah, we have here another one of Berries, uh, campuses, and I'm not being facetious, facetious, and that's a $10 word for you. I'm not being facetious when I use the term canvas because it's kind of hard to describe this work as strictly a painting or strictly

00:27:11.050 - 00:27:27.840

strictly a sculpture. Now I think you find that with this piece of work, Uh, you're as interested as what's going on in the work as you are with the shape, and it just kind of like, captivates you and makes you hang in until you've kind of,

00:27:27.840 - 00:27:45.700

like, found all the things happening from there. I'd like to go over to one of the few paintings done by sculptor Charles Smith, who understand, is beginning to paint again. And he calls this work once they live for brothers. And I like to read the proverb

00:27:45.700 - 00:28:04.260

at this time. Once they were once they lived four brothers, one could see only, and he had much knowledge and information but could never speak his mind. One could smell only, and there was nothing he could say. One could feel only and to him. Everything was

00:28:04.260 - 00:28:23.670

wonderful and was filled with ecstasy, and one could hear and also speak. And he talked incessantly but never knew what he talked about or even even cared, who hurt him. We call this exhibit two weeks in blackness, and it's kind of like a cross section of

00:28:23.680 - 00:28:46.500

art from Bay Area artists that was compiled in conjunction with the Black Student Union of Cal State and the Art Department. We have here something like 40 pieces that are on various levels, various styles and various approaches. And, uh, through the cooperation of Mr Clark, been

00:28:46.500 - 00:29:06.820

Hazard and the other Bay Area artists that contributed their work. We were able to come up with this collection that we have here that will be here until the 14th of August. Thank you, Mike. And thank you, James Bircher. The Art of a People represents their

00:29:06.820 - 00:29:36.340

soul among black Americans. We have a few fairly well known painters. We have Charles White, Ernie Critchlow, Romy Beard and these are men whose works are included in Oh, Book, certainly about black American artists and a few very, very few books on American artists. But they

00:29:36.340 - 00:30:09.420

are great artists. Ah, we'll talk about literature when we discuss literature when black Americans discuss it. Of course, we must include the spirituals, the work songs, those are really poems, poems of great worth, great beauty, great importance. There's a spiritual that says I am a poor

00:30:09.420 - 00:30:53.800

pilgrim of sorrow. I'm lost in this wide world alone. No hole, have I. For tomorrow I've started to make him my home. My mother. She's found her sweet glory. Now that's literature. That's beautiful literature. The lyrics are and the music is great music. Unfortunately, we don't

00:30:53.810 - 00:31:16.440

take enough time to listen to our our creations to realize that this is art. Uh, Europeans, white Americans speak of languages in Africa and say, Those are dialects. Oh, yes, What dialect do you speak? Well, those are not dialects. Those are languages and the music that

00:31:16.440 - 00:31:37.390

we've made the blues, that we sing our great art. And we have got to get under that music under those poems under those songs and support them, understanding what we what we have created what has come out of us. Langston Hughes wrote a poem some oh,

00:31:37.400 - 00:32:11.380

30 years ago called The Black Man Speaks of Rivers. I've known River. I've known rivers ancient as the world and older than the flow of blood in human veins. My soul has grown deep, like the rivers I bathed in the Euphrates when dawns were young. I

00:32:11.380 - 00:32:35.150

built my hut near the Congo, and it lulled me to sleep. I looked upon the Nile and raised pyramids above it. I heard the singing of the Mississippi when Abe Lincoln went down to New Orleans And I've seen its muddy bosom grow all golden in the

00:32:35.150 - 00:33:08.460

sunset. I have known rivers, ancient, dusty rivers. My soul has grown deep like the rivers. Mr. Preston Webster is a poet musician and he is going to sing, Say, give us one of his poems. His drummer is, uh, Mr Chuck Hester. And well, now listen to

00:33:08.470 - 00:33:50.230

the era. A modern poem. Yeah. Mhm, Yeah. Mhm. Mhm. Mhm. Mm. Mhm. I curse Not the souls of man that in search of gold did plunder Who? Dr. Ships on distant shores which caused his mind to wonder Yeah, beset one air in Africa Beneath the blazing

00:33:50.230 - 00:34:22.340

sun a native black came quick with fact and natural breath of run Another world is at our door Breathlessly he's worn His skin is white The gods of light could only know where born He carries bladed han and chops with boldness Play efficient in his eyes

00:34:22.340 - 00:34:49.010

he destroys To see his way he screams above the tone The need be suppressed and strikes are kings from off their Thrones and burns our place of red He changed and tortured. Those who stretch has blessed more and grip Still blood has started the soul and

00:34:49.010 - 00:35:24.840

death has closed the door. He speaks so many tongues as one I might recall Friend says he friend white man friend to all grain sounds This double murmurs He smiles from demons mass our gospel in his mercy our Children fill outcome he takes is by the

00:35:24.840 - 00:35:56.860

hundreds and fish with open jaw I tell you quick, my blood I came, I ran. I thought before I die of wounds through pain. I warn you all take this devil from the edge of life will suffer for his deeds. Uh huh. Not in this era,

00:35:57.240 - 00:36:28.560

the one era. Still, when he's at peace through time the arrow of truth shall strike his brain And God shall judge his crime. Waste no time with me for death is honored fast. Ye black social liver from the future is my past. That was my father

00:36:28.560 - 00:37:01.150

in that era who put words in that frame. I have no ready proof of this except the proof of shame. So all you white people and all you Uncle Tom. Blacks who thank you are so free that have your pools and your Cadillacs and my country.

00:37:01.150 - 00:37:36.260

Tis a the I'm going to leave you with this message and baby tried to thank the whole down mess isn't a white man's writing, but he had to use black ink. Dan. Now that's a modern plane that's a modern literature. It includes, I guess, some of

00:37:36.260 - 00:38:14.020

the space music, music feeling and some of the anguish, some of the reality of our history. I have a poem that I wrote for some women in New York who, uh, domestic workers. When I think about myself, I almost laugh myself to death. My life has

00:38:14.020 - 00:38:44.830

been one great big joke. A dance that's Walt, a song that spoke. I laughed so hard I almost choked when I think about myself. 50 odd years in these folks world. The child I worked for calls me girl, I say, Yes, ma'am, for working sake, too

00:38:44.830 - 00:39:10.410

proud to bend and two pole to break. I I laugh until my stomach ache. When I think about myself, my folks can make me split my side. I laughed so hard I nearly died. The tales they tell sound Just like lying They grow the fruit but

00:39:10.410 - 00:39:47.100

eat the Rhine Yeah, yeah, I laugh until I started crying When I think about myself we have written folk literature we have written and carried maintained the story of Noah and those fabulous 40 days and 40 nights. And Miss Margaret Walker, one of our greatest poets

00:39:47.110 - 00:40:28.750

who is also uh, a novelist wrote a poem about Harriet Tubman, our fearless and fears freedom fighter And the Danny Duncan dances are going to perform that Noah and Harriet Tubman for us right now Swing low, sweet chariot Coming forth to carry me Oh, swing low,

00:40:28.840 - 00:41:23.110

sweet chariot Coming forth to carry me Oh, I looked over yonder And what did I see coming for To carry me A band of angels Coming after me Coming for to carry me all swing low, sweet chariot out Coming for to carry me Oh, swing Oh,

00:41:23.120 - 00:41:56.260

sweet, Very, uh, Coming for to carry me Oh, Amen. Brothers Sisters says here in the beginning the Lord God created the heaven and the Earth. Yes, but it also says here in Genesis six, Chapter six that the Children of Israel was sinning, synonym, synonym What did

00:41:56.260 - 00:42:13.570

I say? That's what I thought I said. And when the Lord saw what they was doing, it hurt him to his heart. It hurt him so bad it made him man. It made him so mad that he got angry and the Lord got angry. The sky

00:42:13.580 - 00:43:00.900

turned down. It was then that he told Noah to build the are built. No, built that off. Geez, Dan, stop. 30 high, about 50 miles. I wanted to stand my frankness. Died August day. I'll make my mom in 100 years. I want that all

00:43:00.910 - 00:46:14.050

I can do with people land on a living thing is gonna stand. Except the thing that I will tell you because I'm gonna need to make the world do thought began to blood that land because

00:46:14.050 - 00:46:59.030

it's gone. Oh, wait. Say Jesus bless. All right. In his great getting up morning. Very well in this great getting up morning in this great getting up morning in this great getting up Morning. I'm gonna tell you about my

00:46:59.040 - 00:47:40.330

Bible. I'm right dark or the eyes of Harriet Doctor still face deep in the dark of the Southern wild, deep in the slave of paint for my pastor, Dr. That I'm blinking Hopeless is that found the child Then in

00:47:40.330 - 00:48:06.530

the field carry Stand alone until I stand before you foresee, a man is enough to kill. This is slavery Heritage Been beneath slash This is melon, Harry. Yet you got about a four white trash. Your reel and heritage. How? Working in the phone? Yes. 1000 with

00:48:06.530 - 00:48:48.410

the whole cause. You're you're just 60. Harriet in the boat. Your mama Dad loved just your dad. You don't know. Not hard enough to kill you with that piece of hard enough just to let you know. Oh, Master, please. My eye. Over here, Old Master. Carry

00:48:48.410 - 00:50:05.660

it. I didn't get a bleeding Harriet and Bea your chariot. You could have been by your hands. Merrill can speak. Wait! I'm about to get to Canada before another week I come through many of mountains, waited in many tree. Now you tell my brother

00:50:05.690 - 00:50:36.620

Honda because I carry it is free by sped. Tell my brother Honda no more auction block for me. Terrible riparian down! Come down to you. Don't you want to cross over the day? The wet river? Don't you want to walk way I scroll back in the

00:50:36.620 - 00:51:20.320

night time I come back in the day I stole back to my place with coming down the road can right girl, My head, My master I guess he heard on day one. I want to get to know my head. You better run me as Harriet. They

00:51:20.330 - 00:53:26.260

got a you better run majority. They got a pussy out to you running through the hours after you got out and good. Wait, I'm marrying people. I'm Harriet and I'm be with That's a wonderful way for Children to learn their

00:53:26.260 - 00:53:49.800

literature. What a beautiful presentation that was. Thank you. Dani Duncan Trio Group. We went to the Martin Luther King School, uh, in San Francisco and found three young men, three boys Ricky Taylor, Timothy Norris and Sam Scott. They recited for us as black Children do, quite

00:53:49.800 - 00:54:13.250

often, the Paul Laurence Dunbar poems. And we asked them to come to the studio. They are here today. What you say there, huh? Child, use enough to drive me wild. Want a story? Just hear that. Well, I get a story. Did not tell you three last

00:54:13.250 - 00:54:32.720

night. Go away, honey. You ain't right I got something else to do besides, just tell them. Tells to you tell you just one. Let me see what Dad wanted gonna be. When you go, your memory failed. She's like, I don't know No tell. Well, sit down

00:54:32.720 - 00:54:52.320

in that chair. Keep still and you want to hear? Take that chin up. Off your hands. Sit up. Nice Now. Goodness Land. Hold yourself a black. Your part that nobody else saw him scrunch y'all like you was then. Hi, Tom. Boys make height on me once.

00:54:52.320 - 00:55:12.400

There was an old black bear used to live around here somewhere in a cave. He was so big he could carry off a big like you pick a chicken off or a little bitty pup. And he had two great big eyes. Just about a sauce aside.

00:55:13.140 - 00:55:32.400

What they look like? Balls of fire jumping around upon the Why, when that bear was mad and laws. But you are the scene empire. Did I see him? How you expect? I'm going to recollect this is yeah, and trying to spend. If you keep on putting

00:55:32.400 - 00:55:55.280

in, you can still adopt Creek. Let's have send you off to sleep. This is gonna jumping around even everything he found. No one can have a phone. What that bad doing on? And they couldn't catch the scale. Anyway, one champ that's just gonna make his tracks

00:55:55.740 - 00:56:15.420

do is dirt. And come on back. He was such a smile there. Jax was just, like running here. Now, down there. When Mr Belet there was a reason there. But they weren't friends at all because the weasel was so small and the bell was just Assassin

00:56:15.930 - 00:56:36.360

turn his nose up when he passed. These are small book course, but my Yeah, the animals and slide. So this is your one Says says he I would expect that. You see. So if you start playing and he helps up the farmer man when the pharmacy

00:56:36.360 - 00:56:54.410

him come he missed the looking mighty glum. So he catches up and stay. But the weasel Speak up, quick! Hold on, Mr Farmer Man, I want to explain a little plan. If you wait, I'll tell you where just how to catch that old bell. But I'll

00:56:54.410 - 00:57:14.890

tell you now you must give me one fat chicken fuss. Then the man he scratched his head last. He say I don't make the trade. So the weasel ate his head, smacked his mouth and says, Well, then set your chopping bait tonight I'll catch that bill.

00:57:14.890 - 00:57:35.040

All right, guinea up some goals to see This is the bad bits. We often been bear. We ain't been friends, but the night hard feelings in if you ain't too proud to Still we can get a spending meal because I wouldn't come to you, but it

00:57:35.040 - 00:57:50.660

must be done by two. It's a trap, but we can be all the tricks and get to me because I would You says the bear. Come on Ways will show me where Well, they try So long Until that the meat began to smell and the trap

00:57:51.030 - 00:58:07.240

then no easy to say Now you put your part this way while I hold the spring back. So then you grab the meat and go well, that Barry had to grin as he put his big plan. Then he jokes about cabin we're gonna let go to

00:58:07.240 - 00:58:24.610

spring. They're now says the weasel There. I don't cut you, Mr Bear. All that bear, he's snoring us now tried his best to get out and then we just say goodbye. He's a small, but he's a slide. Then he turned his back to run. So the

00:58:24.620 - 00:58:48.540

farmer, what he's done come down there with the next and killed the bear? Yeah. Now, ain't that story five run along now? Never mind. Wants some more, You rascal You! No, sir. No, sir. That'll do. Reminds me of being eight or nine or 10 or something.

00:58:48.920 - 00:59:09.690

We'll close this with a bit of Margaret Walkers Poem for my people This is for my people Let a second generation full of courage issue forth letter people loving freedom come to growth Let a beauty full of healing and a strength of final clenching Be the

00:59:09.690 - 00:59:42.970

pulsing in our spirits and our blood Let the marshal songs be written Let the dirges disappear Let a race of men now rise and take control I thank you a baffle rue err aereo Whoa canyon LeBeau Larry Fun batty Wasow a bow Ready, buddy Whoa, yeah

00:59:43.030 - 01:00:22.830

whoa yeah Cuello Rue e or me lately Oh, room e or me late Oh, yeah, yeah Oh, they mean ceramic bowl Oh, your me lately me