Beat Generation iconoclast William S. Burroughs once appeared in a Nike ad, singing the praises of 'new technology.'

Fresh off the success of Nirvana's "Nevermind," band frontman Kurt Cobain reached out to his literary idol, the Beat writer William S. Burroughs, suggesting a collaboration. The correspondence led to "The 'Priest' They Called Him," a hard-to-find recording featuring Burroughs reading a story and Cobain on dissonant guitar.

First editions of Burroughs’s "The Naked Lunch," Kerouac’s "The Dharma Bums," and Ferlinghetti’s "A Coney Island of the Mind" were just as notable for their text as they were for their design, which anticipated the psychedelic imagery of 1960s countercultural touchstones like Ken Kesey, Andy Warhol, and R. Crumb.

The Beat Generation challenged societal norms in the 1950s by embracing experimental writing and tackling taboo topics like drug use, spirituality, and nonconformity. Figures like Allen Ginsberg, Jack Kerouac, and Diane di Prima sparked a cultural movement that rejected traditional literary forms and explored the hidden struggles of American life.

Nike used The Beatles' "Revolution" in an ad, sparking a $15M lawsuit over the song's use. While The Beatles and Nike ultimately reached an agreement, Nike ushered in the modern practice of using hit songs in advertisements, as opposed to jingles or covers.

Works like Ginsberg’s "Howl" and Kerouac’s "On the Road" redefined literature, inspiring countercultural movements for several decades.

The movement, which rose to prominence in the 1950s, was primarily composed of poets challenging orthodoxies of post-war American literature and society. Figurehead Allen Ginsberg and his long poem "Howl" represented a rallying cry for a burgeoning counterculture.

The Beat Generation championed the transformative power of psychedelics, rebelled against the post-war social order, and called for more radical politics. With a strong foothold in San Francisco, it's no surprise these themes were carried over to the city's 1960s counterculture, informing the larger national hippie movement.

Advertising superstar Dan Wieden of legendary advertising agency Widen+Kennedy said he got inspiration for Nike’s “Just do it” from an inmate’s last words on death row. Wieden said the way the inmate talked about facing uncertainty inspired him.

Nirvana's breakout album inspired other major labels to hunt for similarly loud, countercultural bands. That led to a fascinating period in popular music that found defiantly anticommercial indie acts like the Melvins, the Butthole Surfers, and Ween (among many, many others) suddenly offered lucrative contracts.

Although Kerouac is said to have coined the name "Beat Generation," his friend John Clellon Holmes expanded on it in this 1952 essay for the New York Times Magazine. It was an anthropological attempt to define the moment that produced writers like Kerouac, Allen Ginsberg, William S. Burroughs, and others.

The Beats were alike in their willingness to experiment and transgress, though the movement’s writers were distinct artists with varying styles. This collection showcases the breadth of the Beat Generation’s work, with authorized texts from Allen Ginsberg, Jack Kerouac, Lawrence Ferlinghetti, Diane di Prima, Richard Brautigan and others.

The jazz style took off in the 1940s, mesmerizing listeners with its wild, improvised solos. It had a particular impact on the writers of the Beat Generation, including Jack Kerouac and Allen Ginsberg, who saw in bebop's freedom a model for what they could achieve through the written word. Beat writers like Lawrence Ferlighetti and Kenneth Rexroth even incorporated live jazz in their poetry readings.

In 1992, The New York Times was eager to report on the grunge phenomenon. When a Times reporter called Megan Jasper, who'd previously worked at Sub Pop, she decided to have some fun, feeding him a fake "Lexicon of Grunge."

The drug was popular with several Seattle acts in the early 1990s, with artists like Hole's Courtney Love even publicizing her use in a magazine profile. A 1992 New York Times story on Seattle said the city's principal drugs were "espresso, beer, and heroin."

Warhol produced iconic album art for The Rolling Stones and The Velvet Underground. He also inspired rappers Jay-Z and Tyler, the Creator. Warhol’s immense influence on art and pop culture elevated him to celebrity status, and his identity and style continue to be referenced in sometimes unexpected corners of cultural consciousness.

During Super Bowl XVIII, Apple aired its dystopian “1984” commercial once to a mass audience, introducing the Macintosh and positioning Apple as a challenger to IBM’s dominance in personal computing.

Directed by Ridley Scott and a winner at the Cannes Lions International Advertising Festival, the clip features a heroine flinging a sledgehammer at a Big Brother-style figure delivering a speech. As the screen shatters, a voiceover proclaims that Apple's release of the Macintosh will ensure, "1984 won't be like '1984.'"

The Seattle band's second record, its first on a major label, went to number one four months after it was released in 1991. At one point, it was selling 300,000 copies a week. The band's lead singer, Kurt Cobain, believed in punk's countercultural aims and felt deeply conflicted about the band's success and its ties to the success of "grunge," a subgenre he felt ambivalent about.

After Nirvana's breakthrough, the grunge aesthetic became a marketable commodity. Fashion designer Marc Jacobs created a collection for Perry Ellis that featured grunge fashion, incorporating thrift store clothing typically worn by grunge bands onto the runway, accompanied by the music of Nirvana and Sonic Youth. Jacobs sent samples of the collection to Kurt Cobain and Courtney Love, but the couple burned them. "We were punkers," Love said in 2010, "we didn't like that kind of thing."

The Six Gallery was located in the “Harlem of the West,” where jazz musicians, filmmakers, painters and poets experimented with no regard for commercial success. “If Ginsberg had broken new ground,” historian Rebecca Solnit writes, “the Six had made it possible to go public with it.”

Nike cofounder Bill Bowerman once cowrote a book with a doctor, W.E. Harris, called “Jogging.” Published in 1967 by New York, Grosset & Dunlap, it introduced America to the idea of running for health, instead of just sport—and kicked off the fitness frenzy of the 1970s that fueled Nike’s early success.

The Seattle band’s second record, its first on a major label, went to number one four months after it was released in 1991. At one point, it was selling 300,000 copies a week. The band’s lead singer, Kurt Cobain, believed in punk’s countercultural aims and felt deeply conflicted about success.

Beat writer Jack Kerouac believed literature should aim to be more like jazz, using improvisation to burrow down to the root of the subconscious. In this video from the University of Pennsylvania’s Modern and Contemporary Poetry course, Professor Al Filreis directs a conversation of Kerouac’s manifesto, “Essential of Spontaneous Prose.”

The Beats autobiographical approach to literature is seen in contemporary autofiction. While autofiction emerged as a literary term in the 1970s, its philosophy has several antecedents, including Colette’s Claudine novels, Marcel Proust’s "In Search of Lost Time" and Beat writer Jack Kerouac’s "On the Road."

The legendary singer-songwriter's work with his band Crazy Horse, especially "Rust Never Sleeps" and "Ragged Glory," married infectious melodies with overpowering guitars, a formula that many grunge acts would replicate. Young would go on to perform with Pearl Jam (like in the performance of "Rockin' in the Free World" below) and record the 1995 album "Mirror Ball" with them.

This time period spawned some of history’s most well-known ad campaigns, from "I Heart NY" to Nike’s “Just Do It” campaign. In this video from the 4As (the American Association of Advertising Agencies), advertising executive Jerry Della Femina reflects on the most creative ads of the era.

This documentary features interviews with Beat writers Diane di Prima and Lawrence Ferlinghetti, reflecting on their arrival in San Francisco and the explosion of Beat culture in the city and beyond. “It’s not a generation,” di Prima says, reading one of her verses, “it’s a state of mind.”

This time period spawned some of history’s most well-known ad campaigns, from "I Heart NY" to Nike’s “Just Do It” campaign. In this video from the 4As (the American Association of Advertising Agencies), advertising executive Jerry Della Femina reflects on the most creative ads of the era.

Did you know that Nike used to be called Blue Ribbon Sports? Or that Google was originally named BackRub? Getting a brand's name right is a tough job; there's an entire cottage industry of brand naming agencies to prove it. See which brands got it right the first time—and which ones might be better off with their current names—in this article.

This list includes the spots (like Nike’s “Just Do It” campaign and Snickers’ Betty White cameo) that transcended advertising and became genuine pop culture sensations.

Once considered a fringe activity, running eventually became an American interest. The trend was spurred in part by the 1966 book "Jogging," which was cowritten by Bill Bowerman, the cofounder of Nike.

The Sub Pop label paid for journalist Everett True, then writing for Melody Maker, to fly to the sleepy northwestern city to check out the scene, which was breeding a curious mix of punk rock and heavy metal. The gambit worked. "The most vibrant, kicking music scene encompassed in one city for at least 10 years," Everett wrote.

The hilarious 1963 story offered insight into how Americans were shifting away from elite interests to “low culture” by focusing on customized cars and their teen enthusiasts in Southern California. Wolfe pokes fun at the trend while also recognizing young people’s post-war desire for freedom, individualism and creativity.

Cultural critic Neil Postman argued in 1985's "Amusing Ourselves to Death" that mass media had made the dystopia of Huxley's "Brave New World" a reality. In 1992, he published "Technopoly," a wider critique of the utopian visions of technology or, as Postman calls it, "all of the machinery that takes people out of public arenas and keeps them fixed in their homes."

While exploring sneaker history and technology, Nye covers the science of structural design, air bubbles and materials, including algae foam. He once voiced a 20-minute guided run on the Nike Run Club app.

In the 1990s, Nike came under fire for its use of factories with unsafe working conditions and child labour to produce its products. While Nike didn’t own the manufacturing sites, many people felt Nike was ultimately responsible for using sweatshops in countries like Vietnam and Thailand.

Consumerism emerged from industrial capitalism, promoting the idea that consuming goods was linked to personal success and happiness. Artists, especially pop artists, approached this cultural phenomenon through various perspectives, some supportive of consumerism and others against. Figures like Andy Warhol embraced mass media imagery and mimicked its style, while many artists rejected the “commodification” of things by creating art that couldn’t be sold or focusing on experiences rather than objects.

Looking at vintage ads can provide a deep dive into the history of how businesses communicate with their customers. This archive of some of the most iconic print and out-of-home ads of all time breaks down why each ad resonated at the time (think brutally honest copywriting, and long copy that is a pleasure to read). See ads from Porsche, Listerine, and more.

The band blended Warhol’s Pop Art with Beat poetry, early rock ‘n’ roll and the European avant-garde, creating a sound that was often chaotic, noisy and abrasive. The band’s debut album, “The Velvet Underground and Nico,” sold poorly, but (supposedly) everyone who purchased a copy started a band.

In this 1992 appearance on "Charlie Rose," Beat Generation icon Ginsberg articulates why Whitman mattered not only to the Beats but to all of poetry, arguing that he forever changed the possibilities of the form.

You read that right. By 2004, Dylan was already known as a wild card, but even his most ardent devotees were confused by the sight of their artistic hero, by then in his 60s, appearing in a lingerie commercial. Was it a cynical cash grab or just another example of Dylan’s never-ending meta-commentary on stardom?

Much has been written about Allen Ginsberg, Jack Kerouac, and William S. Burroughs’ time at Columbia University in the 1940s, but less attention has been paid to Lucien Carr, another student and one of the trio’s close friends, who murdered his childhood stalker.

The prolific artist loved music, obsessing over David Bowie, Aretha Franklin, and numerous jazz figures. Many of his favorites appeared in his paintings, creating a body of work that also acts as a glossary of influences. Below is a 1984 portrait of Max Roach, the jazz drummer.