“Take someone from 70 years ago, drop them on a city street today. Would their style fit in seamlessly with those surrounding them on the sidewalk? Styles change. The best dressed style icons of almost any era—no matter how respected—wouldn’t fit in to our particular moment without raising eyebrows. However, a small few manage to weather the twists and turns of style history, crafting a personal style that manages to remain relevant across time. For someone like Jack Kerouac, his scrappy mid-’50s style manages to resonate all the way into 2018. Esquire has called Kerouac’s fashion ‘casually elegant.’ GQreferred to the man as the ‘originator of blue collar cool’ and claimed he was one of the first ‘rejecting the notion that class was synonymous with value.’ The Beats presaged the ‘urban rustic’ moment that would happen early in the 21st century that resulted in the resurgence of numerous American…

Nat Hentoff with the clarinetist Edmond Hall in 1948 at the Savoy, a club in Boston.

“Nat Hentoff, an author, journalist, jazz critic and civil libertarian who called himself a troublemaker and proved it with a shelf of books and a mountain of essays on free speech, wayward politics, elegant riffs and the sweet harmonies of the Constitution, died on Saturday at his home in Manhattan. He was 91. His son Nicholas said he was surrounded by family members and listening to Billie Holiday when he died. Mr. Hentoff wrote for The Village Voice for 50 years and also contributed to The New Yorker, The Washington Post, Down Beat magazine and dozens of other publications. He wrote more than 35 books — novels, volumes for young adults and nonfiction works on civil liberties, education and other subjects. The Hentoff bibliotheca reads almost like an anthology: works by a jazz aficionado…

Samizdat copies

“Censorship existed even be fore literature, say the Russians. And, we may add, censorship being older, literature has to be craftier. Hence, the new and remarkably viable underground press in the Soviet Union called samizdat. The word is a play on Gosizdat, which is a telescoping of Gosudarstvennoye Izdatelstvo, the name of the monopoly‐wielding State Publishing House. The sampart of the new word means ‘self.’ The whole samizdat—translates as: ‘We publish ourselves’—that is, not the state, but we, the people. Unlike the underground of Czarist times, today’s samizdat has no print ing presses (with rare exceptions): The K.G.B., the secret police, is too efficient. It is the typewriter, each page produced with four to eight carbon copies, that does the job. By the thousands and tens of thousands of frail, smudged onionskin sheets, samizdat spreads across the land a mass of protests and petitions, secret court minutes, Alexander…

“Gandalf is one of many protagonist in J. R. R. Tolkien‘s novels The Hobbit and The Lord of the Rings. He is a wizard, one of the Istari order, and the leader of the Fellowship of the Ring. Tolkien took the name ‘Gandalf’ from the Old Norse‘Catalogue of Dwarves’ (Dvergatal) in the Völuspá. As a wizard and the bearer of one of the Three Rings, Gandalf has great power, but works mostly by encouraging and persuading. He sets out as Gandalf the Grey, possessing great knowledge and travelling continually. Gandalf is focused on the mission to counter the Dark Lord Sauron by destroying the One Ring. He is associated with fire; his ring of power is Narya, the Ring of Fire. As such, he delights in fireworks to entertain the hobbits of the Shire, while in great…

The Guggenheim Museum, designed by Frank Lloyd Wright (1867 – 1969), who developed the concept of ‘organic architecture’, that a building should develop out of its surroundings. The Guggenheim’s concrete rings allow light into the building to display the exhibits to their full potential.

“The Solomon R. Guggenheim Museum, often referred to as The Guggenheim, is an art museum at 1071 Fifth Avenue on the corner of East 89th Street on the Upper East Side of Manhattan in New York City. It is the permanent home of a continuously expanding collection of Impressionist, Post-Impressionist, early Modern, and contemporary art and also features special exhibitions throughout the year. The museum was established by the Solomon R. Guggenheim Foundation in 1939 as the Museum of Non-Objective Painting, under the guidance of its first director, Hilla von Rebay. The museum adopted its current name in 1952, three…

“The song ‘I Fought the Law’ was written in 1959 by singer-songwriter Sonny Curtis, who was with The Crickets. (Curtis played the guitar with The Crickets after Buddy Holly’s death). The song was on their 1960 album In Style with the Crickets and was released as a single, but it did not chart successfully. Others covered it, but the version by the Sixties rock music band Bobby Fuller Four was released in December of 1965 and in 1966 it went to #9 on the U.S. Billboard Hot 100 and #11 in Canada. They also released it on their 1966 album titled I Fought the Law. There have numerous covers of the song, including versions by The Clash, Hank Williams, Jr., Dead Kennedy’s, Sam Neely, Nitty Gritty Dirt Band, Dave Courtney, Mike Ness, John Cougar Mellencamp, Johnny Cash, Bruce Springsteen, Roy Orbison, Tom Petty, Green Day, Alvin and the Chipmunks…

Reverse freedom riders on their way to New England boarded a bus in New Orleans in 1962.

“When two planeloads of asylum seekers were flown to Martha’s Vineyard last month, Peola Denham Jr. recognized an echo of his own experience from six decades ago — one nearly forgotten in the long history of Black Americans’ struggle for civil rights. ‘What really took me back,’ recalled Mr. Denham, 73, ‘is that when the people got to their destinations, they didn’t get what they were promised.’ The migrants on Martha’s Vineyard, who were primarily from Venezuela, found themselves repeating history, pawns in a political fight. The promise — as dozens of them would later recount to lawyers and journalists — was of jobs and resettlement help. Instead, they arrived with no warning to the community, which nevertheless scrambled to find them food and shelter. For Mr. Denham, in the spring of 1962…

“John Ashbery wrote his first poem when he was 8. It rhymed and made sense (‘The tall haystacks are great sugar mounds/ These are the fairies’ camping grounds’) and the young writer—who had that touch of laziness that sometimes goes along with precocity—came to a realization: ‘I couldn’t go on from this pinnacle.’ He went on, instead, to write poems that mostly didn’t rhyme, and didn’t make sense, either. His aim, as he later put it, was ‘to produce a poem that the critic cannot even talk about.’ It worked. Early on, a frustrated detractor called him ‘the Doris Day of Modernism.’ Even today a critic like Helen Vendler confesses that she’s often ‘mistaken’ about what Ashbery is up to. You can see why: It simply may not be possible to render a sophisticated explication de texte of a poem that concludes ‘It was domestic thunder,/ The color of spinach…