Eisenstaedt’s Ode to America, “The Only Fabulous Country.”

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As Independence Day approached in 1952, LIFE magazine commemorated America’s birthday with a story that celebrated the country in images and words—and not just any words. Actor Charles Laughton selected literary passages that related to the American landscape. Then LIFE staff photographer Alfred Eisenstaedt shot images to pair with those passages.

LIFE turned to Laughton because the actor was known for entertaining audiences by reading aloud to them from classic literature. That kind of show would have a tough time finding an audience today, but back then it was a popular genre: here Laughton is reading from the Bible on The Ed Sullivan Show for about eight minutes uninterrupted.

In its story LIFE encouraged its subscribers to read aloud the passages that Laughton chose. Three of those passages were by Thomas Wolfe — two from Of Time and the River and one from You Can’t Go Home Again. “I make no apologies for this,” Laughton told LIFE. “For me Wolfe is the great writer, the man who greatly described America as `the only fabulous country.'”

Laughton also chose passages from the works of Washington Irving (Rip Van Winkle), Mark Twain (Life on the Mississippi), Henry Wadsworth Longfellow (The Song of Hiawatha) and Stephen Vincent Benet (John Brown’s Body).

To illustrate those passages Eisenstaedt took photos in a variety of settings, capturing the bustle of New York City, the somber history of Gettysburg National Military Park, the majesty of a riverboat cruising the Mississippi, and the pastoral beauty of Minnehaha Park in Minnesota. The photos obviously do not capture all of America—to do so would be a lifetime project—but they bring enough variety and history to hint at a country that, to borrow a phrase from another writer, Walt Whitman, “contains multitudes.”

If you had to pick a few places to capture the spirit of “the only fabulous country,” which ones would you choose? Just thinking about the possibilities is a reminder of the awesome variety of the American landscape.

Actor Charles Laughton, who would read aloud from books to paying audiences, offered literary selections to LIFE for a 1952 story celebrating America in words and images.

Alfred Eisenstaedt/Life Picture Collection/Shutterstock

The Hudson River as it flowed through the landscape written about by Washington Irving, 1952.

Alfred Eisenstaedt/Life Picture Collection/Shutterstock

Pedestrians walked along 42nd Street in Times Square in New York City, 1952.

Alfred Eisenstaedt/Life Picture Collection/Shutterstock

People shopped in the market on the corner of 9th Avenue and 40th Street in New York City, 1952.

Alfred Eisenstaedt/Life Picture Collection/Shutterstock

People riding a train, United States, 1952.

Alfred Eisenstaedt/Life Picture Collection/Shutterstock

A monument at the Gettysburg National Military Park commemorated the Civil War battle that took place in 1863.

Alfred Eisenstaedt/Life Picture Collection/Shutterstock

A monument at the Gettysburg National Military Park commemorated the Civil War battle that took place in 1863.

Alfred Eisenstaedt/Life Picture Collection/Shutterstock

Monuments at the Gettysburg National Military Park commemorated the Civil War battle that took place in 1863.

Alfred Eisenstaedt/Life Picture Collection/Shutterstock

A cemetery in the yard of a country church, 1952.

Alfred Eisenstaedt/Life Picture Collection/Shutterstock

An auto junk yard, 1952.

Alfred Eisenstaedt/Life Picture Collection/Shutterstock

A freight train, 1952.

Alfred Eisenstaedt/Life Picture Collection/Shutterstock

A riverboat on the Mississippi, 1952.

Alfred Eisenstaedt/Life Picture Collection/Shutterstock

A barge sailed the Mississippi River, circa 1952.

Alfred Eisenstaedt/Life Picture Collection/Shutterstock

Two men piloted from the bridge of a riverboat on the Mississippi River, 1952.

Alfred Eisenstaedt/Life Picture Collection/Shutterstock

Minnehaha Park in Minnesota, 1952.

Alfred Eisenstaedt/Life Picture Collection/Shutterstock

Minnehaha Park in Minnesota, 1952.

Alfred Eisenstaedt/Life Picture Collection/Shutterstock

Minnehaha Park in Minnesota, 1952.

Alfred Eisenstaedt/Life Picture Collection/Shutterstock

What Fun Looked Like in Brussels, 1945.

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The magic of photography is that it takes people to places they could never go on their own—whether it’s the front lines of battle or the home of Marilyn Monroe. The power of the photograph to transport its viewers is what made LIFE magazine so popular in its early heyday, when photography was the principal means for gaining a window to the world.

Sometimes LIFE’s photographers took its readers to a places they would never have thought to go—for example, a nightclub in Brussels during the waning days of World War II, and months after German occupation of Belgium had ended. Here’s how the magazine set the scene in a story that ran in its issue of March 26, 1945:

By New York and Paris standards, most nightclubs in Brussels are drab and dingy. There is little glamor and no fancy decor. After 10 o’clock the only light is from oil lamps, and by midnight, when civilians must be home, the nightspots are empty. Still, they do a good business because liberated Belgians are in a mood to celebrate and so are the weary soldiers—British, Canadians and Poles—who go there on leave. There are champagne, friendly girls and musicians trying to earnestly play American swing.

The description of the club makes it sound like it could be the setting for a seedy film noir, or possibly even a romantic comedy. And on the particular night that LIFE photographer George Silk visited a cellar bistro called La Parisiana, which was said to have the best floor show in Brussels, the entertainment included snakes. A pair of “old-time circus performers” named Hamid and Aicha danced for customers with pythons draped around them.

During World War II Belgium was occupied by Germany from May 1940 until late 1944 and early 1945, when the Allied Forces liberated Belgium in stage. At the time of this snake show, the country had just been through years of hell. In short, the clientele of La Parisiana was truly in need of some entertainment.

A dancer named Aicha, with two pythons wrapped around her, entertained patrons at the La Parisiana nightclub in Brussels, 1945.

George Silk/Life Picture Collection/Shutterstock

Former circus performers Hamid and Aicha, pythons draped around them, entertained patrons at the La Parisiana nightclub in Brussels, 1945.

George Silk/Life Picture Collection/Shutterstock

A dancer named Aicha, with two pythons wrapped around her, entertained patrons at the La Parisianna nightclub in Brussels, 1945.

George Silk/Life Picture Collection/Shutterstock

The floor show at the La Parisiana nightclub in Brussels, 1945.

George Silk/Life Picture Collection/Shutterstock

The floor show at the La Parisiana nightclub in Brussels, 1945, months after Belgium had been liberated from German occupation.

George Silk/Life Picture Collection/Shutterstock

Patrons at the La Parisiana nightclub in Brussels, 1945.

George Silk/Life Picture Collection/Shutterstock

An American flier enjoyed a night at the Brussels nightclub La Parisiana, 1945.

George Silk/Life Picture Collection/Shutterstock

Hamid held a python aloft while Aicha, in the background, sat before crosses as part of the floor show at the Brussels nightclub La Parisiana, 1945.

George Silk/Life Picture Collection/Shutterstock

A dancer named Aicha, with two pythons wrapped around her, entertained patrons at the La Parisianna, Brussels, 1945.

George Silk/Life Picture Collection/Shutterstock

The Uplifting Magic of “The Karate Kid”

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The following is excerpted from LIFE’s new special issue on The Karate Kid, available at newsstands and online:

The title was ridiculous. So ridiculous nobody thought it would stick. It was a name fit for a silly Saturday morning cartoon, a sappy after-school special, a flop. It certainly wasn’t a title for a movie that could launch an enduring Hollywood franchise. 

No, “The Karate Kid” had to go. 

“I mean, can you imagine?” Ralph Macchio wrote in his 2022 memoir, Waxing On: The Karate Kid and Me. “If I ever did get this part and the movie hit, I would have to carry this label for the rest of my life!”

Macchio got the part. And once he landed the lead, he fought to get the title changed. He wasn’t alone. Next to nobody liked it. But producer Jerry Weintraub wouldn’t budge. He knew it was memorable: “It’s a terrible title, but because of that, it’s a great title.” It wasn’t the only thing memorable about 1984’s The Karate Kid.

“Wax on, wax off.” “Sweep the leg.” “Ali . . . with an i.” “Get him a body bag!” Forty-one years on, we’re still quoting classic lines from the original film. Four decades in, the Netflix series Cobra Kai has introduced multiple new generations to Daniel LaRusso, Johnny Lawrence, John Kreese, and the wisdom of Mr. Miyagi. And now 2025’s Karate Kid: Legends pairs Macchio with martial arts icon Jackie Chan. 

In the early 1980s, karate wasn’t cool. Aliens were cool: E.T. The Extra-Terrestrial broke box office records in 1982, and the original Star Wars trilogy wrapped to wild fanfare in 1983. Hunky boxers, barbarians, and (oddly enough) archaeologists were cool, as flicks from Sylvester Stallone, Arnold Schwarzenegger, and Harrison Ford filled the multiplexes. 

Blockbuster teen movies weren’t even a thing yet. Before 1984, nobody knew who Molly Ringwald, John Hughes, or the Brat Pack were. Karate and high school drama wasn’t exactly a winning combination for a film. This meant expectations for The Karate Kid were low. 

The $8 million budget came in at less than a quarter of what it cost to make Return of the Jedi. The leads were B-list at best—Macchio’s most notable credit was a spot as a recurring character on a single season of ABC sitcom Eight Is Enough; Mr. Miyagi actor Noriyuki “Pat” Morita was best known as restaurant owner Matsuo “Arnold” Takahashi in two dozen Happy Days episodes. Despite the modest budget and lack of star power, The Karate Kid was a smash. 

“After the first Karate Kid screened and everybody was doing the crane kick in the parking lot, [producer Jerry Weintraub] put his arm around me and said, ‘You’re going to be making a few of these,’ ” Macchio remembered. 

Macchio has now made four films—the original ’80s trilogy plus this year’s Karate Kid: Legends—set in the Miyagi-verse, which is what he calls the Karate Kid cinematic universe. Morita also tallied a quartet of movies in the series (he followed the trilogy with 1994’s The Next Karate Kid, starring an unknown Hilary Swank in her breakout role). And the universe has continued to expand, even when Macchio and Morita sat out projects. 

A Saturday-morning cartoon was made in 1989 with Morita doing narration. Car washes popped up that incorporated “Wax On, Wax Off” in their names. 

A reimagining of the first film with the same title starring Jaden Smith and Jackie Chan racked up $359 million worldwide in 2010. Then in 2018, the Netflix streaming hit Cobra Kai reunited Macchio with original nemesis Johnny Lawrence, played by William Zabka, adding their characters’ kids to the martial arts rumbles across six seasons. The world couldn’t get enough of the Miyagi-verse.

Why was the movie such a success when it debuted? Why does the saga’s popularity endure through generations? And who exactly must shine their Honda at Wax On, Wax Off? The latter question might be impossible to answer. But the first two aren’t so confounding when you look at what the Karate Kid myth delivers. 

Everybody loves an underdog, and Daniel LaRusso is the ultimate underdog. 

Also, it turned out The Karate Kid did have a few things in common with past blockbusters. Daniel and Miyagi’s relationship echoed that of Rocky Balboa and trainer Mickey Goldmill. It recalled the lovable battle of wills between Luke Skywalker and Miyagi-like Jedi Master Yoda. 

The lessons of the first film, lessons about kindness, acceptance, and mercy, reverberate across the Miyagi-verse. In The Karate Kid Part II, Miyagi says, with a little bit of cheek, “Rules to karate. Rule number one: Karate for defense only. Rule number two: First learn rule number one.” After the fictional death of Miyagi—Morita passed away in 2005—Daniel carried his mentor’s wisdom forward in Cobra Kai, telling his pupil: “You may know the moves, but none of that matter unless you have balance . . . I mean balance in your life.” 

Even Johnny Lawrence, the ’80s quintessential high school bully, looks for some balance in Cobra Kai. One thing that makes the Netflix series so compelling is the reinvention of Johnny from bad boy to, well, a little bit less of a bad boy. The kid who was raised to “strike first, strike hard, no mercy” grows up to understand Miyagi’s teachings and becomes another lovable underdog you can’t help rooting for. 

This shared Miyagi-verse not only unites all of these projects but provides a consistent human-first worldview that we should all strive for, making the films as entertaining as they are memorable. Well, as memorable as a franchise with the title “The Karate Kid” can be.

Here are a selection of photos from LIFE’s new special issue on The Karate Kid:

Front Cover ©Columbia Pictures/Courtesy Everett Collection; (background) Columbia Pictures/Album/Alamy

Daniel LaRusso (Ralph Macchio) works on his crane kick in the 1984 film “The Karate Kid.”

Alamy Stock Photo

Daniel sets up for the crane kick against Johnny Lawrence (William Zabka) in the climactic fight of “The Karate Kid” (1984).

@Columbia Pictures/Photofest

Daniel (Ralph Macchio) and Kumiko in the 1986 film “The Karate Kid Part II.”

©Columbia Pictures/Courtesy Everett Collection

Daniel and Mr. Miyagi (Pat Morita) celebrate in “The Karate Kid Part III “(1989).

©Columbia Pictures/courtesy Everett Co / Everett Collection

Mr. Miyagi takes on new pupil Julie (Hilary Swank) in “The Next Karate Kid” (1994).

©Columbia Pictures/Courtesy Everett Collection

Jaden Smith took center stage in the 2010 franchise reboot film “The Karate Kid.”

©Columbia Pictures/Courtesy Everett Collection

Ralph Macchio and William Zabka reprised their roles from The Karate Kid in the Netflix series Cobra Kai.

Curtis Bonds Baker/Netflix

Ralph Macchio directed William Zabka on the set of the Netflix series “Cobra Kai.”

CURTIS BONDS BAKER/NETFLIX

(Left to right) Ralph Macchio, Ben Wang and Jackie Chan in the 2025 film “Karate Kid: Legends.”.

Jonathan Wenk/Columbia Pictures

There’s Cool, and Then There’s Keith

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In his wonderful 2010 autobiography Life—hey, nice title—Keith Richards wrote that “We age not by holding on to youth, but by letting ourselves grow and embracing whatever youthful parts remain.”

His philosophy seems to be working, because Keith Richards has moved through the decades with a spirit that remains remarkably untouched by time. He is first and foremost known as a member of The Rolling Stones and for his guitar work on classics such as Sympathy for the Devil. But the unapologetic and unrepentant way he has lived his life has come to be appreciated as its own work of art. It’s why the most popular photo of Richards in the LIFE print store shows him holding not a guitar but a bottle of whiskey.

This collection of performance and paparazzi shots from the 1980s and 1990s captures Richards showing his mastery on stage, and also living the life of a beloved rock star. Included are photos of the breathtaking all-star jam at the 1992 Rock & Roll Hall of Fame induction ceremony, in which he shreds on classics such as All Along the Watchtower and Green Onions with the likes of Neil Young, Johnny Cash, Jimmy Page, Little Richard and The Edge, among others.

While offstage, Richards posed for photos with, among others, action star Tom Cruise, fellow rock legend Bruce Springsteen, and President of the United States Donald Trump. When you are as cool as Keith Richards is, everyone wants to be in the frame with you.

Keith Richards took center stage during the Rolling Stones’ ‘Voodoo Lounge’ tour, 1994.

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Rolling Stone band members Mick Jagger (left) and Keith Richards shared a laugh.

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Keith Richards and his father, 1983.

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Keith Richards outside New York’s Danceteria night club, 1980.

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Keith Richards.

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Keith Richards in concert.

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The Rolling Stones, with Bill Wyman, Mick Jagger and Charlie Watts, basked in the cheers.

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Bruce Springsteen and Keith Richards.

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Keith Richards

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Keith Richards

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Actor Tom Cruise (right) chatted with Keith Richards (right) and Ron Wood backstage before a Rolling Stones concert in Las Vegas.

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Keith Richards (right) with (left to right) The Edge, Carlos Santana and John Fogerty at the 1992 Rock & Roll Hall of Fame induction ceremony.

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Keith Richards, with (left to right) Neil Young, The Edge and Jimmy Page at the 1992 Rock & Roll Hall of Fame induction ceremony.

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Keith Richards with Johnny Cash, John Fogerty, Little Richard and others at the 1992 Rock & Roll Hall of Fame induction ceremony.

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Actress Elizabeth Hurley with rock musician Keith Richards and his wife, Patti Hansen, at the premiere of the 1999 film Mickey Blue Eyes, which Ms. Hurley co-produced.

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Keith Richards and wife Patti Hansen with Donald and Melania Trump.

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The Bohemian Life in Big Sur, 1959

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Big Sur, located on the Central California coast, has been a touchstone of alternative culture for decades. In the final episode of the television show Mad Men, Don Draper is at a retreat in Big Sur when he achieves his climactic moment of enlightenment (which turns out to be an idea for a Coke ad that commercializes 1960s idealism). Today Big Sur is still home to plenty of resorts and retreats, including the storied Esalen Institute, which offers self-improvement workshops galore at its cliffside perch overlooking the Pacific Ocean.

When LIFE magazine visited Big Sur in 1959, the Esalen Institute was three years from opening, but the coastal community had long been attracting free-thinking types. LIFE’s story was headlined “Rugged, Romantic World Apart: Creative Colony Finds a Haven in California’s Big Sur,” and it offered an explanation of how Big Sur gained its bohemian character:

In 1944 Henry Miller, the once-expatriate novelist whose most famous works (Tropic of Cancer, Tropic of Capricorn) are banned in the U.S. as pornographic, settled in Big Sur. Around him, living in tents and shacks, clustered a coterie of young rebels who seemed bent on creating what one reporter called “a cult of sex and anarchy.” But the rigors of Big Sur living eventually drove most of the rebels to more easeful surroundings. In their place came a calmer breed; dedicated craftsmen who find they work best far from the urban rat-race; others, still more conventional, who have retired, young and old, to Big Sur’s tranquility.

LIFE’s story is richly illustrated with photos by J.R. Eyerman, and to today’s viewer it can be remarkable how stately most the images are. Sure, Eyerman photographed a few skinny dippers by the shore and captured an outdoor art class drawing a nude model. He also shows a man teaching yoga to his neighbors long before that practice became popular.

But Eyerman’s other photos from Big Sur have a Norman Rockwell-like gentility. A group of musicians play chamber music at home. A retired magazine editor enjoys tea with his friends on the terrace. A group of men gathered at a bar are mostly wearing coats and ties. Granted, one of those men is the aforementioned literary rebel Henry Miller (whose years at Big Sur are commemorated there at the Henry Miller Memorial Library—which is proudly not banning any books on its shelves).

But even the famously licentious novelist told LIFE that BIg Sur at its best was a a place “of grandeur and of eloquent silence.” If there is a common theme to Eyerman’s pictures beyond their location, is it quiet pleasure—the kind that continues to draw visitors to this coastal spot.

Big Sur, California, 1959.

J.R. Eyerman/Life Picture Collection/Shutterstock

Douglas Madsen (rear), a sculptor, instructed his neighbors in yoga in Big Sur, California, 1959.

J.R. Eyerman/Life Picture Collection/Shutterstock

Writer Henry Miller, 67 (second from left), a longtime Big Sur resident whose presence helped lure others there, held court with friends (from left, poet Eric Barker, sculptor Harry Dick Ross, and archaeologist Giles Greville Healey) at the round bar of the Nepenthe Restaurant, 1959.

J.R. Eyerman/Life Picture Collection/Shutterstock

Seating on fallen trees, a group of children listened to 80-odd year old Susan Potter recount tales of Irish folklore, Big Sur, California, 1959.

J.R. Eyerman/Life Picture Collection/Shutterstock

The Hermits of New Camaldoli, a Roman Catholic order dedicated to the arts, set up their first monastery outside Italy in Big Sur, 1959.

J.R. Eyerman/Life Picture Collection/Shutterstock

A weekly figure drawing class met outdoors at Lafler Canyon in Big Sur, 1959.

J.R. Eyerman/Life Picture Collection/Shutterstock

Retired American magazine editor and publisher (of Collier’s) William Ludlow Chenery (center) and his wife Margaret shared tea with their guests on the patio of their home in Big Sur, California, 1959.

J.R. Eyerman/Life Picture Collection/Shutterstock

Author and former diplomat Nicholas Roosevelt (left, rear) played cello as he led a chamber music session at his home, Big Sur, California, 1959.

J.R. Eyerman/Life Picture Collection/Shutterstock

At her Big Sur studio American mosaic artist Louisa Jenkins planned out designs for the ceiling of St. Anne’s Chapel in Palo Alto, 1959.

J.R. Eyerman/Life Picture Collection/Shutterstock

Sam Hopkins, 43, rejected the socialite world he grew up in and moved his family to Big Sur, California, 1959.

J.R. Eyerman/Life Picture Collection/Shutterstock

Diners watched dancers on the patio of the Nepenthe Restaurant, Big Sur, California, 1959. The restaurant opened in 1949 after the building was purchased from actors Orson Welles and Rita Hayworth, who had used it as a cabin.

J.R. Eyerman/Life Picture Collection/Shutterstock

Big Sur, California, 1959.

J.R. Eyerman/Life Picture Collection/Shutterstock

Big Sur, California, 1959.

J.R. Eyerman/Life Picture Collection/Shutterstock

A van drove on the Pacific Coast Highway in Big Sur, 1959.

J.R. Eyerman/Life Picture Collection/Shutterstock

Madonna (and Friends) Striking Poses

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In the 1980s and 1990s, Madonna was such a big star that people started comparing her to Marilyn Monroe. Madonna had the hit songs, of course—such as Like a Prayer and Vogue, to name a couple. But as the reigning sex symbol of the MTV generation, she had a a cultural influence that went beyond her album sales.

This collection of photos from the height of her fame shows her on stage but also highlights the company she kept. Here she is pictured with, among others, Warren Beatty (her costar in the movie Dick Tracy and also a one-time flame), Sean Penn (her husband from 1985 to 1989), Rosanna Arquette (her costar in the movie Desperately Seeking Susan), Jellybean Benitez (the DJ who produced Madonna’s early music) and actors Joe Mantegna and Ron Silver (her costars in the 1988 Broadway production of David Mamet’s Speed-the-Plow).

This collection also includes a photo of Madonna with Michael Jackson, the rare pop star who could meet her on equal footing. The two attended the 1991 Academy Awards together, which led to breathless speculation that they might actually be a couple. Madonna later told VH1 that their Oscar night date came about in a casual way: “Michael was like, ‘Well, who are you going to go with? I looked at him and said, ‘I don’t know. You want to go?’ And he said, ‘Yeah, that’d be great.’” While their relationship seems to have been mostly friendly and professional, Madonna did say that they kissed at one point, with her playing the initiator.

But even if the reality is that there wasn’t all that much to their relationship—they never made any music together either, despite apparently discussing the possibility—it’s not hard to see why the mere idea of their union gripped the imagination. A relationship could have led to an American version of a royal wedding. Thus does the photo of these two icons attending the Academy Awards remain the best-selling image of Madonna in the LIFE print store.

It is one of many wonderful photos of Madonna in the LIFE archives, and here is a sampling of some favorites. Especially when she was on stage, she could strike a pose like there was nothing to it.

Madonna and Michael Jackson (left) arrived at the Shrine Civic Auditorium for the 63rd Annual Academy Awards ceremony, March 25, 1991.

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Madonna performed at the MTV Video Music Awards at Radio City Hall in New York, 1984.

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Singer Madonna with record producer Jellybean Benitez at tge opening of the club Private Eyes, 1984.

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Madonna with Rosanna Arquette, the costar of her 1985 film “Desperately Seeking Susan.”

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Madonna with singer David Lee Roth in the mid 1980s.

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Madonna out for a run with a trainer, 1987.

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Madonna in concert, 1987.

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Madonna with actor Sean Penn, her husband from 1985 to 1989.

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Madonna in concert, 1987.

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Madonna in concert, 1987.

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Madonna with Ron Silver (left) and Joe Mantegna (right), her costars in the Broadway production of the David Mamet play Speed-the-Plow, 1988.

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Madonna in concert, 1988.

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Madonna performed in Los Angeles during her Blonde Ambition tour, 1990.

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Madonna in concert, 1990.

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Madonna with her boyfriend, model Tony Ward, at the premiere of the 1990 film Goodfellas at the Museum of Modern Art; Ward appeared in videos for the Madonna songs “Cherish” and “Justify My Love.”

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Madonna with Rosie O’Donnell, her costar in the 1992 movie A League of Their Own.

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Madonna performed at Madison Square Garden, 1993.

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Former flames Warren Beatty and Madonna at the nightspot Moomba for the premiere party of the 1997 motion picture Two Girls and a Guy.

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Bob Dylan and Madonna in the late 1990s.

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Madonna in concert, 1990.

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