Journalist, novelist, and historian George Feifer discusses his book “Tennozan,” focusing on Okinawa Island during World War II and the impact of the atomic bomb. Includes a 20 second test tone. Content Warning: This conversation includes racially and/or culturally derogatory language and/or negative depictions of Black and Indigenous people of color, women, and LGBTQI+ individuals. Rather than remove this content, we present it in the context of twentieth-century social history to acknowledge and learn from its impact and to inspire awareness and discussion.

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).

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.

Discussing the relocation act of 1974 with three Navajo Elders, Theodore Bendoney, Tom Bendoney and Mary Rosa Bendoney. The land they live on now is Mother Earth to them. Ten to 15,000 Navajos must move because the government wants to strip mine the oil, gas, coal and uranium that's underneath the land.

The influence of the WPA on the music of the 1930's. The heroic sounds heard in song, movies, and theater. He provides Bing Crosby's version of Yip Harburg's "Brother Can You Spare a Dime". As well as the Almanac Singers performing "Roll the Union On". Both Moll's Song and the final scene of Blitzstein's, "The Cradle Will Rock" are performed. Terkel provides a host of other songs which highlight the music of the 1930's. Extensive discussion on "The Cradle Will Rock" with its producer John Houseman.

As the guest editor of “Critical Inquiry,” Henry Louis Gates, Jr. covered the importance of Black writers and their contributions. Because there is no color blindness is the western world, explained Gates, pointing out that one is a Black writer or a Black doctor is important to society. Gates also covers the issue of race not being solely about Black and white people but rather it has to do with multi-ethnic and multi-cultural people.

Big Bill Broonzy discusses the blues with Studs. Big Bill talks about getting ready for a European tour, his young life, and his life as a musician. The following performances have been removed for copyright reasons: "Ride Alberta, ride," "Going Down the road feeling bad," "House rent stomp," "The glory of love," "Plow hand," "I feel so good," and "Make my getaway."