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The pandemic has taken a strange turn. Civil unrest has hit the United States, and Judson has gone back on the road, leaving Clemson once again. He's passed through Georgia and stops in Pensacola en route to New Orleans. He stops at a protest at Graffiti Bridge, a popular spot next to a marsh where the train tracks pass over a bridge that has ever-changing graffiti art. He speaks with Elaine, an art teacher from Detroit who has a house in Pensacola. She seems like a seasoned activist and explains her case for systemic racism in the USA, and how it leads to violence. He then speaks with Taz and Riley, a black guy and a white guy who are sitting near the railroad track. Riley, as a white man, doesn't feel like he should vocalize escalating what have been largely peaceful protests in Pensacola. Taz, as a black man, assures him that color doesn't matter, and that he can stand up against "what's wrong." Taz wishes they were creating more of a ruckus, as he believes that just standing around will not produce the needed social change. Judson also speaks with Nathaniel, a photographer who is eager to speak about Pensacola and the historic punk/anarchist scene and political music, although he explains that not many songs are written about politics anymore, that politics and music are now usually separate. Nathaniel says that as a writer you could write a song about a political figure, and then we fade into a sample of Judson's upcoming single, the original song "Denmark Vesey." According to Wikipedia, Denmark Vesey (also Telemaque) (c.1767 — July 2, 1822) was a literate, skilled carpenter and leader of African Americans in Charleston, South Carolina. In June 1822 he was accused and convicted of being the leader of "the rising,"[1] a potentially major slave revolt which was scheduled to take place in the city on July 14. He was executed on July 2.