Maybe you’re looking out over a lake while sipping coffee on the porch of a country house, or wistfully reliving the smell of a particular fall day of your youth.

Music often triggers very specific associations, and while they’re different in each of us, there’s no denying that the music of Alexis Ffrench is resonating beyond the notes. The 56-year-old British pianist, composer, and producer boasts more than a billion streams.

“With collaborations spanning classical, pop, film, fashion, and sport, Alexis is quite simply redefining the boundaries of classical music and its role in contemporary culture,” his website bio says.

But his latest album, 24, released Friday, might bring back memories for fans of another artist who personified an age. Once upon a time, George Winston similarly bridged classical and other genres with the easygoing attitude of a guy who just casually sat down at the piano to channel a chill mood or gauzy realm where life was better.

Ffrench occupies a fairly narrow emotional range in the album’s 24 tracks; nothing is going to break the spell of a mellow, golden day tinged by a sparkling keyboard and occasional gentle instrumentals. Sameness is a virtue in this world.

It’s probably not a soundscape for classical purists. These listeners have their own phases-in-life associations to draw on anyway — the instantaneous summoning of, say, a certain feeling of the 1970s upon hearing the Poulenc Concerto for Two Pianos and Orchestra. But for many others, 24 is likely an equally powerful time-marker, either to a time before, or the today that will someday be looked back on as a personal golden age.

— Peter Dobrin

The fast-approaching Halloween and the announcement of Will Smith’s new TV series, 215, have gotten me all nostalgic and gotten me revisiting some classics.

I love holiday-themed hip-hop records, and there are very few odes that hit the mark as much as DJ Jazzy Jeff & The Fresh Prince’s “A Nightmare On My Street.”

Looking back, the 1988 record is all camp. Will Smith’s lyrics are aimed at the teenage audience that crept into the movie theaters to see Robert England’s Freddy Krueger in the classic horror that inspired the song.

“I said, ”Yo Fred, I think you’ve got me all wrong. I ain’t partners with nobody with nails that long,” Smith rapped. But the DJ Jazzy Jeff-produced beat, which interpolates the title track of the 1984 film, A Nightmare on Elm Street, and Smith’s playful story about escaping Freddy’s razor sharp clutches has an inescapable charm.

Every time I hear it, I’m reminded of the nights me and my friends circled my neighborhood with makeshift costumes, then came back to my parents’ house with buckets filled with sweets as Wes Craven’s Scream played from the VCR. That’s the true sign of the classic, and DJ Jazzy Jeff, whose real name is Jeffrey Townes, and Will Smith have many of them — from songs like Summertime to shows like The Fresh Prince of Bel-Air.

As you can tell, I’m all for nostalgia. And I think the series will give viewers insight into Smith and Townes’ brotherhood, their musical and entertainment ventures, and a snapshot of life in what feels like a now-distant era of Philadelphia.

— Earl Hopkins

Philadelphia’s Thomas Eakins was an ardent student of human anatomy. Stories of him attending classes and surgical demonstrations at Jefferson Medical College. The result of his acute observation is well evident in paintings like The Gross Clinic and The Agnew Clinic. On a visit to the Brooklyn Museum last week, I found a surprising echo of Eakins in the ongoing “Iris van Herpen: Sculpting the Senses” show.

What could possibly connect an early 20th century Philadelphia artist and a 42-year-old Dutch fashion designer? It’s their shared interest in human anatomy. Van Harpen is obsessed with the body, the skeleton, the nervous system and the many ways in which these interact with nature outside of our bodies.

The Skeleton Dress from 2011 with its 3D printed corset, resembling the rib cage and the pelvic girdle is at once exquisite and slightly eerie; much like Eakins’ 1878’s Horse Skeleton, a plaster relief he made as part of his deep study of the animal body.

The museum describes the dress as “halfway between fashion and sculpture” and informs us through gallery notes that it was made in collaboration with the Belgian architect Isaïe Bloch. The result is a painstakingly detailed, wearable art with flowing contours, that looks too fragile to touch let alone wear.

The whole exhibition is an exercise in constant wonder and awe; well worth the train ride from Eakins’ beloved hometown.

“Iris van Herpen: Sculpting the Senses” runs through Dec. 6. Brooklyn Museum, 200 Eastern Pkwy, Brooklyn, NY. brooklynmuseum.org

— Bedatri D. Choudhury