Lifestyle
Pharrell wanted to tell his story through Legos — here's why
Pharrell Williams tells the story of his life in Piece By Piece
Courtesy of Focus Features
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Courtesy of Focus Features
Though it may seem like a strange choice on the surface, it felt natural for the musician Pharrell Williams to tell his life story through Legos. “My earliest memories were the Lego sets that my parents would get me when I was really, really, really young,” he says. “Whether you actually really build what the set is all about or you’re just putting pieces together … it’s just magical.”
As a kid, Pharrell lived in the Atlantis Apartments, a densely populated public housing complex in Virginia Beach, Va. Outsiders were afraid to go into his neighborhood, but for Pharrell, the place was special, teeming with talent and fun.
“There were a lot of athletes that were incredibly gifted, a lot of artists that were incredibly gifted,” he says. “You know, you talk about carbon? … That heat, that pressure, that time produced a lot of diamonds.”
The new animated film, Piece By Piece, uses Legos to trace Pharrell’s early life as a boy fueled by creativity and drawn to music. Directed by Academy Award-winner Morgan Neville, the unusual biopic charts Pharrell’s trajectory to becoming a Grammy-winning songwriter, performer and producer who’s collaborated with artists like Jay-Z, Snoop Dogg, Britney Spears and Beyoncé. Perhaps a story as colorful as his can only be told in such a flamboyant way.
Interview highlights
On his synesthesia, which causes him to see color when he hears music
If you take it back to when you were born, all of your nerve endings — sight, sound, smell, taste, feeling — they were all connected. And then when you turn 1, those nerve endings, they prune. And sometimes some of them stay connected. And the ones that stay connected give you synesthesia. And when they’re connected, they send ghost images and ghost information to the different parts of the brain. And so you end up “hearing” a color or “seeing” a sound.
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On writing “Milkshake,” sung by Kelis
The shapes [I see] are hard for me to explain, but it sort of zig zags. And those synth lines are yellow and brown for me. … And the yellow it goes from bright to mustard, marigold, and then there is just very stark brown. …
That song came from a trip that I went to in Brazil, and I just, like, lost my mind. I’d never seen so many beautiful women. They were just everywhere. And forgive the objectification, when I say that. But that was the impression that it made on my mind at that time, I don’t know, 20 years ago. … I’d never seen anything like that. Where am I? And if you could put that energy and feeling if that could be sort of transmuted [into a song]… that was the attempt.
On writing a song for Prince that he rejected
He was different. He was one of those people that, like, he’s a musical savant. There’s not an instrument he couldn’t pick up and play. He’s a brilliant writer. Vocally, he’s incredible. He was an incredible performer and he wrote and produced for so many people. … [He was] like, “Do you own or your masters? If you don’t own your masters, we can’t work together.” … I never heard anyone say that before. Then his other thing was he wanted to sort of talk about religion. And I was like, interesting. And now I do own all of my master recordings. And I’d be happy to square off in a conversation about the business of religion versus the necessity of faith.
On his falsetto singing voice
I had a problem with my voice for many, many, many years because I didn’t feel like I had found my voice. I always thought that my tone sounded like Mickey Mouse. The next time you listen to “Frontin’,” picture Mickey Mouse — you can’t unsee it.
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On writing “Happy”
The song is a sarcastic answer … for a rhetorical question: How do you make a song about someone so happy that nothing can bring them down? … When Despicable Me 2 came out [the studio] couldn’t get it to work [on the] radio because it was alien. It didn’t sound like anything else. … [Radio] didn’t play it until we did the video six months later, when the song was included on a DVD … and there was a budget to do a video for the song. Since we loved it as a companion piece to sell the DVD.
On why being in water helps him write music
When you’re in the shower, you know, and the water’s just consistently running and it creates an effect of white noise. And that’s the reason why you can think clearly when you shower. … Ideas come. Or sometimes people sing in the shower – that’s the reason why they do it is because that consistent noise, that white noise is particularly freeing to the part of your mind that wants to just iterate and not be environmentally distracted. So running water, being near water, being in water, a bath, a pool, seeing the ocean, standing in the shower, washing my hands in the sink. It does it for me.
Ann Marie Baldonado and Susan Nyakundi produced and edited this interview for broadcast. Bridget Bentz, Molly Seavy-Nesper and Sheldon Pearce adapted it for the web.
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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