At 96, the author of The Women’s Revolution: How We Changed Your Life, declares, “After thousands of years when women were in servitude to men, we changed it. I hope we’re going to have a woman president. I take some credit for that.” Rightly so. I’m writing her a thank-you note.  So should you.

This Kenyan gay rights activist is adept at working with her adversaries. “You have to keep pushing, and getting friend and allies.” But she’s no softy, adding: “and sue some people.” I generally go right to that last tactic. I’m an American.

When this graphic designer worked at Sony Music, the handwriting was already on the wall, the tiny, tiny wall: “It was no longer LPs; it was CDs. The canvas kept shrinking.” And now with digital music, there’s no canvas at all. “It’s not the end of the world; it’s a different paradigm.” Disconcerting optimism, great design. Produced with the Center for Architecture. Music: Solange Prat.

Does use determine design, or does design shape behavior? This architect asserts the latter: “A certain object does make you behave a certain way or do certain things.” For example, a simple lime-squeezer lured her and her family into more lime squeezing than anyone—or any lime—anticipated. Produced with the National Academy of Design. Music: Tomas Rodriguez

Among his many productions, he directed A View from the Bridge and West Side Story on Broadway and collaborated with David Bowie on the musical Lazarus. “It turned out to be—I didn’t know, of course, when we started—the last work that he ever made.” And a surprisingly happy experience.

This singer-songwriter has been admired for fifty years, and yet: “I always wanted a Collings guitar, but it was too expensive, and I just didn’t feel worthy.” If she’s not worthy of the tools of her trade, then what hope is there for us mortals? (Happily, she now has a Collings.) Presented with Richard Barone.

Composers not only create something non-corporeal but also enjoy bringing an actual object into the world. “One of my great great moments was when I finally had a recording of my own in a bin at Tower Records.” (Older people can explain to younger people what record stores were.) The delights of the irrefutably physical. Presented with BMI and the Ellis Island Honors Society.

He is the producing artistic director of the Classical Theatre of Harlem, focusing on work from Sophocles to Shakespeare—the big S playwrights—to explore fundamental ideas. “These are living arguments, these classic plays.” Produced with CTH. Music: Kaden Jones, cello; Roen Jones, violin; Emery Jones, piano. This is our last new episode of the season. We’re in reruns through August. Remember: they’re all new if you haven’t heard them.

He served in Iraq as a Marine and is now commissioner of New York City’s Department of Emergency Management. “We are always activated. We’re always responding to stuff.” How to prepare for the worst. Music: Stephanie Jenkins (the best). Presented with the Department of Records and Information Services.

Even as a child, this actor loved Shakespeare. “I would listen every night to John Gielgud’s Ages Of Man or Laurence Olivier’s Henry V or Richard III. I was just sort of marinated in it.” He’s since played many of the great villains, from Iago to the Grinch—Shakespeare and Shakespearean. Produced with Red Bull Theater. Music: Lance Horne.