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Transcription: [00:46:32]

{SPEAKER name="Pearl Bowser"}
You still think uh, that uh, um, something we haven't critiqued, or need to critique.
[00:46:42]

{SPEAKER name="Toni Cade Bambara"}
I don't think that we have enough of Micheaux to critique--
[00:46:44]

{SPEAKER name="Louis Massiah"}
Yeah, I, you know, what I wanna, what I wanna go, I want to borrow all your cassettes, go to the museum of modern art. [[ladies laugh]]
I wanna come back and do it again. [[ladies laugh]]
[00:46:53]

{SPEAKER name="Pearl Bowser"}
Look at them all.
[00:46:53]

{SPEAKER name="Louis Massiah"}
Having seen... [inaudible]

[00:46:56]
{SPEAKER name="Toni Cade Bambara"}
What is characteristic is, he never strikes the same note about color.

[00:47:03]
He seems to be exploring something,

{SPEAKER name="Louis Massiah"}
Mm-hmm.

[00:47:06]
{SPEAKER name="Toni Cade Bambara"}
in the, in the, uhm, snatches I've seen.

[00:47:09]
{SPEAKER name="Toni Cade Bambara"}
And when I compare that to "Scar of Shame,"--

[00:47:12]
{SPEAKER name="Toni Cade Bambara"}
Eleven P.M.

[[cross talk]]
{SPEAKER name="Toni Cade Bambara"}
The "Scar of Shame" type--


{SPEAKER name="Pearl Bowser"}
Ah, "Eleven P.M."

[00:47:16]
{SPEAKER name="Toni Cade Bambara"}
[[side conversation]]
Yeah, I don't really mean "Eleven P.M."
[00:47:18]
Oh, yes, I do. Yes, I do.
[00:47:20]

{SPEAKER name="Toni Cade Bambara"}
But I'm particularly thinking of "The Scar of Shame"
[00:47:22]
and those films like that; there's about-- They all melt into my head.
[00:47:28]

{SPEAKER name="Toni Cade Bambara"}
There's always the damsel on the chaise lounge and somebody, the maid, the darker woman, not darker, but usually her hair is a little nappier out in the yard doing the [[cut off]]
[00:46:32]