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A beloved music producer is dying. His clients came to his home for a farewell concert

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A beloved music producer is dying. His clients came to his home for a farewell concert

Classical music producer Adam Abeshouse was diagnosed with bile duct cancer last spring. His clients — including Simone Dinnerstein, Jeremy Denk and Joshua Bell — performed a concert in his home studio to bid farewell. “I was just thinking of how many of us wanted to celebrate Adam while he’s still here,” said pianist Lara Downes, who organized the event.

Rick Marino/Abeshouse Productions


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Rick Marino/Abeshouse Productions

On a recent Friday afternoon, Adam Abeshouse, one of the world’s leading producers of classical music, lay on his bed in his Westchester, N.Y., home, propped up with pillows, waiting for his pain medicine to kick in. He struggled to talk about his life’s work with a star-studded list of clients, which includes celebrity violinist Joshua Bell and pianist Garrick Ohlsson.

“I worked very hard for my clients,” the 63-year-old producer said. His breathing was labored. “I was devoted to them. From the devotion to the clients, I developed this theory that the best thing that I could do for my clients is make them feel safe, and loved, and create an atmosphere in the recording session to do their best.”

Last spring, Abeshouse was diagnosed with bile duct cancer. It progressed with devastating speed. In August, his doctors told Abeshouse he had only weeks to live. One of his clients, pianist Lara Downes, organized an at-home concert by the musicians he’d worked so closely with for decades.

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Downes, who also hosts a video conversation series with NPR and Classical California, said the musicians wanted to give their beloved producer a chance to share music together one final time.

“Somehow, it worked out that we could all get here today to be together,” Downes told NPR. “I feel like it was sort of meant to be. This is Adam’s family and it’s such a gift that we can do this.”

The concert took place in the producer’s state-of-the-art studio, adjacent to his home. Abeshouse, wearing khakis and a bright blue polo shirt, sat listening in a wheelchair a few feet from the performers, flanked by friends and family. He held hands with Maria Abeshouse, his wife of 38 years.

The program opened with solo pieces played by acclaimed pianists Simone Dinnerstein and MacArthur “genius” grant winner Jeremy Denk on a Steinway grand that was built in 1906. Then a Grammy-winning string trio called Time for Three performed an original composition. Next up was pianist Garrick Ohlsson, widely regarded as a leading interpreter of Frédéric Chopin, playing the composer’s Nocturne in C Sharp Minor.

Adam Abeshouse's clients joined him at the studio adjacent to his home for a farewell concert. Joshua Bell, front, from left, Adam Abeshouse, Larisa Martinez and Kevin Puts. And, back, from left, John-Henry Crawford, Charles Yang, Peter Dugan, Lara Downes, Ranaan Meyer, Garrick Ohlsson, Jeremy Denk, Nicolas Kendall and Simone Dinnerstein.

Adam Abeshouse’s clients joined him at the studio adjacent to his home for a farewell concert. Joshua Bell, first row, from left, Adam Abeshouse, Larisa Martinez and Kevin Puts. And, second row, from left, John-Henry Crawford, Charles Yang, Peter Dugan, Lara Downes, Ranaan Meyer, Garrick Ohlsson, Jeremy Denk, Nicolas Kendall and Simone Dinnerstein.
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“He was the first producer I ever worked with who made recording — a pleasure is the wrong word — but a plausible joy,” Ohlsson said after his performance. “He is the most sympathetic human. He’s got the best ears. He’s got the best musical instincts and technological wizardries. And I’ve done maybe 30 CDs with him over the years. And he’s a dear friend and one of the greatest people I’ve ever known.”

Celebrity violinist Joshua Bell brought his rare Stradivarius, crafted in 1713, to play for Abeshouse. He’d flown in from Europe the night before.

“Adam has been both a dear, dear friend and he’s been my producer for the last 20 years,” said Bell. “I’ve spent many hours with him in the studios, sitting next to him, doing a process which is usually excruciating for me — the editing process. But with him, it always became a fun time together. Those moments have been so precious to me.”

Bell accompanied his wife, soprano Larisa Martinez, on a Mendelssohn aria.

Bell noted that Abeshouse is also a classically trained violinist. “And he understands music from a violinist’s perspective,” he said. “We just get along so well. He’s become my hero on top of everything, just the way he’s been dealing with his setbacks with such dignity. He’s just one of those people who everybody loves. You never hear an unkind word about Adam Abeshouse.”

Over the course of the concert, nearly a dozen musicians played for Adam Abeshouse. Each one embraced him after performing. At least for one afternoon, joy supplanted pain.

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“This is more than I could have ever dreamed,” Abeshouse said. “All these musicians are coming to play for me. It’s kind of a miracle.”

A musical miracle to bid a classical luminary godspeed.

Edited by Neda Ulaby. Produced for the web by Beth Novey. Produced for the radio by Chloee Weiner.

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‘How to Rule the World’ explores education and power at Stanford University

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‘How to Rule the World’ explores education and power at Stanford University

Students walk on the Stanford University campus on March 14, 2019, in Stanford, Calif.

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When Theo Baker arrived at Stanford University a few years ago, he joined the student newspaper, following the path of his journalist parents, Peter Baker, a White House correspondent for The New York Times, and Susan Glasser, a writer for The New Yorker.

Through his reporting as a student journalist, he eventually broke a story about manipulated data in Stanford President Marc Tessier-Lavigne’s neuroscience research that helped lead to the university president’s resignation.

Theo Baker’s book, How to Rule the World: An Education in Power at Stanford University was released May 19. In it, Baker describes Stanford as a place where proximity to Silicon Valley gives rise to a parallel system of influence, recruitment and money, with investors looking to identify promising students almost as soon as they arrive on campus.

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He told Morning Edition host Steve Inskeep there was “a sort of Stanford inside Stanford,” where elite students are drawn into an “alternate reality” of excess and access to cut corners.

In the interview, he discusses how Stanford is not just a university but also a pipeline where status and power can matter as much as ideas.

We reached out to Stanford University for comment and have not heard back.

Listen to the interview by clicking play on the blue box above.

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OTB Takes Full Control of Viktor & Rolf

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OTB Takes Full Control of Viktor & Rolf
The Italian fashion group behind Diesel and Maison Margiela is taking full ownership of the avant-garde haute couture house, acquiring the remaining 30 percent it didn’t already own. Founders Viktor Horsting and Rolf Snoeren remain creative directors.
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How having zero points in tennis — or ‘love’ — came to sound so sweet

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How having zero points in tennis — or ‘love’ — came to sound so sweet

The scoreboard shows the results of the women’s singles final match between Iga Swiatek of Poland and Amanda Anisimova of the U.S. at the Wimbledon Tennis Championships in London, Saturday, July 12, 2025.

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Kirsty Wigglesworth/AP

Fifteen points in tennis? Nice. Thirty, 40 — even better. Advantage — that sounds good. “Love” — that also must be great, right? Well, not quite.

As the French Open rolls on and Serena Williams has announced her return to the sport, maybe you’ve been paying a little more attention to tennis. The sport’s scoring system is notably distinct, and can sometimes be hard to grasp for newcomers. But even tennis aficionados might not know why, or how, “love” became the unmistakable callout for zero points. For this installment of NPR’s Word of the Week, we’re exploring how a word that signifies trailing behind got such a sweet name.

“Love” comes from the heart — or an egg?

It’s hard to pinpoint when the first tennis ball went over the net. Tennis is a derivative of lots of other sports, such as “jeu de paume,” a handball game played in France, said JT Buzanga, the collections manager at the International Tennis Hall of Fame museum.

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But tennis became a patented, official sport in 1874, said Steve Flink, a journalist whose tennis coverage got him inducted into the International Tennis Hall of Fame. It has retained its unique, mysterious scoring system ever since.

“By and large, the original system has held up almost entirely,” Flink said.

The use of “love” goes back to the late 18th century, said Jesse Sheidlower, a lexicographer. But it was used earlier than that in card games such as whist and bridge. Before the term made its way to tennis, the sport favored plain old “nothing,” or “nil,” he said.

Why love in the first place, though? Historians don’t really know for sure, but there are a few theories.

The French could have something to do with it. Some historians believe “love” derives from “l’oeuf,” which means “the egg” in French. Because eggs are shaped like zeros, terms such as “goose egg” and “duck’s egg” have been used in other contexts to mean zero, Sheidlower said.

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It’s also possible English speakers mispronounced l’oeuf as “love.” But Sheidlower isn’t convinced that’s the answer.

“It’s the French equivalent of an English expression. But since that expression doesn’t appear in French, the French word wouldn’t have been used,” he said.

To be sure, France has had a lot of influence on tennis culture, Buzanga said. For example, “deuce” or a game tied at 40 points, comes from the French word for “two”: “deux.” But he prefers another prominent theory: that “love” comes from the idiom “for the love of the game.” Even if a player hasn’t scored, it doesn’t matter, because their heart is in it. It’s the theory Sheidlower said is the most plausible, because the idiom was used by the English before tennis was popularized.

Another variation of the “love of the game” theory is that the word could have come from the Dutch “lof,” or “honor” — or the Latin “amare,” meaning “to love,” Flink said.

But if tennis’ “love” doesn’t come from a French word, the theory at least has a French sensibility.

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“I think the ‘for the love of the game’ is kind of romantic,” Buzanga said.

“Love” probably isn’t going anywhere

Tennis used to be a sport of leisure. The style of play has changed a lot over the years; players are more athletic and competitive, for instance, Flink said. But the rules of the sport are more steadfast, he said.

“There’s this incredible, enduring respect for tradition in tennis,” he said. “Changes are not made easily.”

There has been one major change in modern history: the tie-break. Matches can go on and on because players have to score two consecutive points to break a deuce, or by two games to break a tied set. But the onset of television meant matches would have to get shorter if the sport wanted to capture a larger audience, Flink said.

Change even came for “love.” An alternative sprouted up in the 1970s, and is still used today: “bagel,” named for its zero shape, Sheidlower said. Novices may say “zero,” and insiders will understand what they mean, but they “will needle them about it,” Flink said.

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But “love” still prevails.

“People kind of like it,” Flink said. “It’s different. Why say zero when you can say love?”

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