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Studs and Jules Feiffer read several of Feiffer’s political cartoons culminating in a performance of “Feiffer’s America.” The performance is preceded by Feiffer’s explanation of the inspiration behind these works. Feiffer attempts to answer what drives him to create these astute observations of political happenings, which are often used as an outlet for his anger regarding social and political events. Studs plays "On the Good Ship Lollipop" - Shirley Temple (1934).
Friedrich Luft, Chief Drama Critic for Die Welt discusses German theater and Bertolt Brecht as well as new playwrights such as Peter Weiss. Unlike American theaters, Germany has over 200 theaters that are subsidized and each town of 50,000 has a theater. Just like the days of The People's Stage (which still exists) the grocer and cobbler of Germany enjoy the theater. They are as devoted to the theater as going to a museum or church. They are treated to 12 to 16 new or old plays from Sophocles to Sartre or Pinter.
Terkel delves into the life of Frank Norman, a London ex-con who turned his life around and became a novelist and playwright by writing on his experiences. He wrote "Bang to Rights" shortly after his prison release which brought him great fame. He followed that with "The Monkey Pulled it's Hair" that had a U.S. release under the name "Don't Darling Me Darling". Norman opened up to Terkel discussing his illegitimacy, his illiteracy till age 14, his institutionalization in an orphanage which he turned into the novel "Banana Boy".
Jules Feiffer and Studs read several of Feiffer's previous cartoons as they discuss his history as a cartoonist and his retrospective on display at the Walton Street Gallery in Chicago. Feiffer discusses his attempt to move away from political cartoons and instead shift focus to social commentary. Feiffer also discusses his play "Elliot Loves", a love story that captures the complications of love and the “gap” between the sexes.
Jules Feiffer discusses his book “Jules Feiffer’s America: From Eisenhower to Reagan”, a retrospective that chronicles his years as a social and political cartoonist. Studs and Feiffer read through several of Feiffer’s cartoons featured in this book, working their way through the book in “eras” which are categorized based on the U.S. President of that particular time frame. Studs plays “Sh-Boom” - The Crew Cuts (1954), “Big Bad John” - Jimmy Dean (1961). “Yellow Submarine” - The Beatles (1966), and “Happy Days Are Here Again” - Casa Loma Orchestra.
Jules Feiffer discusses and reads from his children's graphic novel, "The Man in the Ceiling." The book has a central theme of overcoming failure and is slightly autobiographical in nature, with a comic book artist as its main character and author. Studs plays "Golliwog's Cakewalk" - Claude Debussy (1906-1908).
In the first part of this program Studs Terkel discusses French theater with critic Jean Vilar. In the second part, Studs and Eugène Ionesco discuss Ionesco’s work and the Theater of the Absurd.
Reverend Will B. Dunn and Mother Teresa are among the many subjects of Doug Marlette's book, "There's No Business Like Soul Business." Marlette explained his cartoons are either political or they deal with the religious right and race relations. The majority of the interview consists of Marlette and Studs Terkel reading lines from the cartoons in the book.