内容摘要：“We’re going to need to use them all just because we have so many patients who need treatment,” she added.

“We’re going to need to use them all just because we have so many patients who need treatment,” she added.

From the 1920s to the 1930s, New York’s Harlem neighborhood became an influential and fertile landscape for Black cultural expression. From Langston Hughes and Zora Neale Hurston to Duke Ellington and Louis Armstrong, its prominent mindsand challenged prejudiced beliefs.

The Harlem Renaissance gave fashion a soul, said Brandice Daniel, founder of Harlem’s Fashion Row, an agency that connects designers of color with retailers and brand opportunities.“It was this birthplace of this visual identity that spoke to what we now call Black excellence,” she said.The renaissance meant living and dressing boldly for Black Americans, pushing past societal confines and making themselves visible. Adding their own twist on mainstream looks, women donned furs and beaded dresses while men experimented with tailored fabrics, pristine fedora hats, two-toned oxfords and billowing silhouettes.

“Many of us have a photo of our grandfather decked out with the suiting, but it’s also the stance and the kind of posture and the assertion of presence,” said Tara Donaldson, co-author of “Black In Fashion: 100 Years Of Style, Influence, and Culture.”who often appeared in a three-piece suit, a frock coat and top hat, understood the power of self-fashioning, said Valerie Steele, director of The Museum at the Fashion Institute of Technology. At the 1900 Paris Exposition, Du Bois mounted a photographic exhibit centered on showcasing Black Americans’ economic, social and cultural contributions to combat stereotypes.

“That kind of self-fashioning is very much a way of reclaiming a sense of self-respect that had been denied by a society that aggressively was saying, ‘No, no you can’t have that,’” Steele said.

One style that arose out of the Harlem Renaissance, directly linked to dandyism, was the zoot suit. The suit, defined by high-waisted draped pants and oversized jackets with exaggerated shoulders and large lapels, was subversive simply by taking up space. Because of fabric rations during World War II, owning a zoot suit, with its excessive use of fabric, was an act of protest, Square said.Among those skipped was Johann Strauss II, whose “Blue Danube” graced Stanley Kubrick’s 1968 sci-fi opus “2001: A Space Odyssey.”

The tourist board in Vienna, where Strauss was born on Oct. 25, 1825, said it aims to correct this “cosmic mistake” by sending the “the most famous of all waltzes” to its destined home among the stars.ESA’s big radio antenna in Spain, part of the space agency’s deep-space network, will do the honors. The dish will be pointed in the direction of Voyager 1 so the “Blue Danube” heads that way.

“Music connects us all through time and space in a very particular way,” ESA’s director general Josef Aschbacher said in a statement. “The European Space Agency is pleased to share the stage with Johann Strauss II and open the imaginations of future space scientists and explorers who may one day journey to the anthem of space.”The Associated Press Health and Science Department receives support from the Howard Hughes Medical Institute’s Science and Educational Media Group and the Robert Wood Johnson Foundation. The AP is solely responsible for all content.