These are just anecdotes, but it's building up into something more coherent.

I think it'd be interesting to really try to unravel what his ties.

There's this sort of country city divide for their own convenient, and it's not clear where it goes next.

From One World Trade Center in Manhattan, this is the New Yorker Radio Hour, a co-production

of WNYC Studios and The New Yorker.

Welcome to The New Yorker Radio Hour. I'm David Remnick.

Since the inauguration in January of Donald Trump, there's been a kind of protest renaissance in the country,

with people on the left and some in the center of American politics, dusting off the tactics, the chants, and the songs,

that became symbols of resistance during the civil rights and Vietnam eras.

But a lot of the people doing the protesting today weren't around in the 60s, not by a long shot.

And it's by and large a young person's game.

And social media has changed what it even means to protest, whether all the singing and chanting is even necessary anymore.

The New Yorkers Vincent Cunningham talked to two young people who were involved in a concert performance

put on by the theater company called The Team that tried to get at that generational divide.

I mean, I sometimes wonder about people who are teenagers now because in some ways they might

be better suited to deal with the particular chaos of the moment than any of the rest of us.

But the only view that we get really of people, at this point, significantly younger than myself,

are young people on college campuses reacting to whoever the latest campus speaker is.

And that, I think, is a very unfair reduction of what the real energy there is.

It certainly can't just be that.

Primer for a failed superpower is really sort of a simple idea.

It's a group of people singing protest songs.

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