Lifestyle
L.A. beauty rituals: For Barrington Darius, cutting hair is math, it’s theory and it’s art
A skin, hair or makeup routine is never just a skin, hair or makeup routine. We dived deep into the beauty rituals of artists and aestheticians across L.A., and in turn learned more about their relationships to themselves and the world around them. A beauty ritual is as much personal as it is a portal: to better versions of ourselves, to better versions of the future. For Barrington Darius, a creative director, photographer, director and model, beauty is found in freedom, and freedom is found in practice, specifically a hair-cutting practice Darius has been perfecting for the last few years. As Darius says, cutting hair is math, it’s theory and it’s art. “When I cut my hair, I feel like that aura has been turned up. Aura points going up … My conversations are sharp. My thoughts are married to confidence. I speak directly.”
Cutting my hair is something I do in private. As an artist, I feel like I’m always kind of anxious about sharing. I do what I think are some magical things privately, but while some people share their magic — I use it for inspiration, for reference. I might be transitioning into that space where I share more. I have “take risk” tattooed on the back of my neck.
“When I cut my hair, I feel like that aura has been turned up. Aura points going up. It’s like, ‘I’m back.’ My conversations are sharp. My thoughts are married to confidence. I speak directly.”
— Barrington Darius
I think our haircut is our crown, so deciding to tinker with my crown at my own leisure, it’s liberating. As a creative director, filmmaker, photographer and everything else, I decide to follow off spirit — there’s never a right or wrong way. All that theory that goes into the photos, the films, the music, it’s literally the same exact thing with the practice of cutting hair. Cutting hair is math and also assessing — assessing the bones of what it’s about to be before you actually go into sculpting. You see some people’s heads and the hair that they have and it’s like, “You’re supposed to have that hair. It just fits.” I feel like I’m the fade. I’m the same every time, but I’m sharp. Every little corner that no one else thinks about, that sticks out most to me. With haircuts, there’s no Photoshop, so you have to be on point. When I cut my hair, I feel like that aura has been turned up. Aura points going up. It’s like, “I’m back.” My conversations are sharp. My thoughts are married to confidence. I speak directly. I hate to hurt people’s hearts but I do use soap and water as my skincare. My grandfather used Irish Spring, I use Irish Spring. It’s just something about that Black skin.
I plan everything. For so many years of my life, I’ve had this kind of linear vision — checkpoint to checkpoint to checkpoint. But as life introduces new realms, and everything gets shifted, your rituals change. But it’s been the same thing forever. I get up at 5 a.m. I just like the blue — I like when the blue comes up in the morning. I can sit there and see the gradient of no sun to sun and it just changes everything. I get up early, I download early, praise early. How I get up, how I include myself in the day, that’s my ritual.
I think I watched too much Spike Lee too early. “Mo’ Better Blues,” Spike Lee’s installment with Denzel [Washington], shaped my idea of beauty. I love jazz music. When you watch the film, you’ll see how selfish the Denzel character is in his space, even how he allots himself an hour of practice, no distractions, every day. I saw beauty in action. To be an example is leadership. If you move like you’re beautiful, people really just start believing you’re beautiful. I’m starting to look in the mirror like, “Wow, we are amazing human beings. We can learn to do things with our hands that we didn’t think we could do.” When I’m cutting my hair, I feel like I’m doing something real. Any practice makes you feel liberated.
Barrington wears Carhartt Wip Pants customized by the artist.
Prop styling: Synthea Gonzales
Production: Mere Studios
Lifestyle
‘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.
Ben Margot/AP
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Ben Margot/AP
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.
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.
Lifestyle
OTB Takes Full Control of Viktor & Rolf
Lifestyle
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.
Kirsty Wigglesworth/AP
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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.

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.
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.
“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.
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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