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Ella Jenkins, the first lady of children's music, has died at 100

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Ella Jenkins, the first lady of children's music, has died at 100

Known as “the first lady of children’s music,” Ella Jenkins performed on all seven continents.

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Known as “the first lady of children’s music,” Ella Jenkins performed on all seven continents.

Courtesy of the artist

You may have grown up hearing one of Ella Jenkins’ signature tunes, like “You’ll Sing A Song and I’ll Sing A Song.” And you may have then played her music for your own children. Jenkins, who was known as “the first lady of children’s music,” died on Saturday at her residence in Chicago. She was 100.

Her death was confirmed by John Smith, associate director of Smithsonian Folkways Recordings, her longtime record label. She recorded 39 albums for Folkways, according to a statement from the label, over a career that spanned nearly 70 years.

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Jenkins was inspired by a lot of things — the folk tradition, the civil rights movement, the church.

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In 2013, she told NPR that when it comes down to it, music is just about sharing what you love. “Whatever you happen upon with something that you really feel that you really like,” she said, “I’d say listen to it, and listen to it often. If you want to try to repeat or imitate, do it in a way that when you’re sharing it, someone else is going to think it’s beautiful, too.”

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A lot of her songs had a signature style of call and response: “I say something, and you say it back to me.” The idea came to her from a kind of unexpected source.

Jenkins was born in St. Louis, Mo. on Aug. 6, 1924. But she and her family eventually moved to the South Side of Chicago, where one of the hottest acts in the clubs at the time was Cab Calloway. And in his famous song “Minnie the Moocher,” the “Hi-dee hi-dee hi-dee hi” section is a call-and-response.

“Then you’d say it back — ‘ho-dee ho-dee ho-dee ho’,” Jenkins explained to NPR. “So I started doing not only with his songs — I thought I would make up few songs myself. Children can learn very easily by imitating, following the leader and then pretty soon be able to teach it themselves.”

Ashli Christoval grew up listening to Ella Jenkins. She’s now a children’s musician herself — performing as Jazzy Ash. Christoval says that Jenkins made her feel both proud and inspired of her heritage, in the face of what she calls a “daunting history.”

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“Across the board,” Christoval says, “African-American music, [the] Black music diaspora, is sort of approached in a really dark place. And granted, Black history has a really dark part of it, but I think that every culture has a right to be celebrated. “

And Ella Jenkins celebrated every culture.

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“You can travel around the world with Ella Jenkins through her songs,” says Cathy Fink, a Grammy-winning children’s musician and a friend of Jenkins.

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“Ella traveled the world and performed all over the world,” Fink says. “And as she did, she would learn from the people that she was with. She would learn words, or she would learn a song from another country. The first thing she’d say to a taxi driver is, ‘What’s your name and where are you from?’ And then she’ll say, ‘Well, tell me about your country.’ She sees meeting each person as an opportunity to make a friend and learn something.”

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And what she learned, she taught to generations of parents, teachers and children.

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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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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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