The provided sources explore the multifaceted concept of "flower power," ranging from its evolutionary and psychological benefits to its historical roots in 1960s counterculture. Scientific research highlights how floral stimuli trigger positive emotions, improve memory, and enhance social behavior, suggesting plants evolved these rewards to encourage human cultivation. Historically, the term originated as a non-violent protest strategy involving the distribution of flowers to neutralize aggression during anti-war rallies. This movement sparked a lasting cultural legacy characterized by psychedelic art, vibrant fashion, and the rise of iconic music venues and artist collectives. Beyond history and science, the text touches on modern industry and therapy, including a prominent Australian garden center chain, fundraising initiatives, and the use of horticulture to support mental health and urban biodiversity. Overall, the collection illustrates how flowers serve as powerful tools for emotional regulation, social change, and ecological stability.

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Langston Hughes (1901-1967) stands as one of the most defining voices of American literature, yet the familiar image of the polite "poet laureate of Harlem" obscures a far more complex and radical figure. Born in Joplin, Missouri, and raised in Kansas by his abolitionist grandmother—who wrapped him in the blood-stained shawl of a veteran of John Brown’s raid—Hughes inherited a legacy of resistance that would shape his work.

Rejecting the expectations of his wealthy, disdainful father, Hughes led a nomadic life. He threw his Columbia University textbooks into the ocean and worked on freighters to Africa and Europe, absorbing the vernacular of ordinary Black people. As a architect of the Harlem Renaissance, he clashed with the "talented tenth" by insisting on writing about the beauty and the ugliness of working-class life. His 1926 manifesto, "The Negro Artist and the Racial Mountain," declared the right of Black artists to express their "dark-skinned selves without fear or shame."

Beyond the poetry, Hughes was a radical leftist whose travels to the Soviet Union and incendiary early poems like "Goodbye Christ" drew the ire of Joseph McCarthy. In 1953, he was forced to publicly disavow his past to survive the hearings. Yet he never stopped agitating; he simply channeled his critique into his beloved character Jesse B. Semple ("Simple"), a Harlem everyman whose humor masked devastating truths about race.

Hughes’s influence extended directly into the Civil Rights Movement, providing the poetic blueprint for Martin Luther King Jr.’s "I Have a Dream" speech. When he died in 1967, his ashes were interred beneath the floor of the Schomburg Center in Harlem, inscribed with his own words: "My soul has grown deep like the rivers." He remains the foundation upon which so much of modern Black literature is built.

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M.C. Escher was a Dutch graphic artist celebrated for merging mathematical principles with visual art to explore the nature of reality. His work extensively utilizes tessellations, non-Euclidean geometries, and fractals to represent the concept of infinity on a flat surface. Throughout his career, he collaborated with prominent mathematicians like Roger Penrose to construct impossible architecture and complex optical illusions. Escher’s creative process was deeply influenced by natural patterns, such as those found in shells and landscapes, alongside the rhythmic structures of Bach’s music. Today, his legacy persists through his profound impact on popular culture, including significant influences on modern cinema and video games. These sources provide a comprehensive look at his artistic evolution, technical mastery of printmaking, and enduring intellectual contributions.

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