Lifestyle
Powerhouse classical music producer Adam Abeshouse dies at 63
Classical music producer Adam Abeshouse was diagnosed with bile duct cancer last spring. His clients — including Simone Dinnerstein, Jeremy Denk, Joshua Bell and Lara Downes — organized a concert at his home studio to bid farewell.
Rick Marino/Abeshouse Productions
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Rick Marino/Abeshouse Productions
Renowned classical music producer Adam Abeshouse has died.
Over a career that lasted more than 30 years, Abeshouse made hundreds of records with some of classical music’s biggest stars. He won two Grammy awards, including Classical Producer of the Year in 1999.
Abeshouse died Thursday at his home in Westchester, N.Y. He was 63. His death was confirmed to NPR by his studio engineer.

Early in 2024, he had been diagnosed with bile duct cancer, and the disease swiftly metastasized. He was a producer who inspired great love and loyalty with the artists he worked with. Shortly before the end of his life, a dozen of his celebrity clients came together to perform for Abeshouse one last time, in a private concert at his home studio.
Adam Abeshouse understood musicians because he was a musician himself.
Born on Long Island in 1961, he began playing violin in the third grade. He studied at New York University and the Manhattan School of Music, and performed for years before and after he began producing other musicians, including such groups as the Orchestra of St. Luke’s and the Metropolitan String Quartet.
His career as a producer started with making audition tapes for friends in a small basement studio Abeshouse built himself.
“I found that I was really good coaching people through the process,” he told NPR. “This rhythm isn’t right; this line would speak much better if you aimed for this note. You try to find the essence of the music that you’re playing.”
Abeshouse said he wanted his clients to feel safe and loved during the pressure of recording sessions.
“I didn’t care about mistakes because we could always edit that out,” he said. “And to see people come in at the beginning — they were kind of nervous at the beginning. And there was always a point where you could see a change, where people would relax. You could see it and you could hear it.”
“We’ve made many many recordings together,” violinist Joshua Bell told NPR. “I’ve spent many hours with him in the studios, doing a process which is usually excruciating for me. But with him it always became a fun time together. Those moments have been so precious to me.”
Bell spoke to NPR during the farewell concert organized by another of Abeshouse’s celebrity clients, pianist Lara Downes. Musicians flew in from all over the world to be there, including Jeremy Denk, the MacArthur “genius grant” winning pianist.
“Adam has a combination of exactitude and patience,” Denk said. “That’s extremely essential for this kind of work. He’s also pretty interested in the individual character of each musician — what they’re trying to say, and what they’re after, what their dreams and goals in life are in a certain way.”
Denk performed an Ives sonata. The string trio Time for Three played an original composition entitled “Joy.” Abeshouse produced a record with the group performing with the Philadelphia Orchestra. The recording won two Grammys and Abeshouse said the project was one of the highlights of his career.
Time for Three’s violinist and vocalist Nick Kendall said Adam Abeshouse was the most selfless and talented producer the group had ever worked with.
“What he said to us before we saw him last is a reflection of how he is selfless,” said Kendall. “Before we left, he said, ‘Boys, just continue listening to each other.’ That hit us huge, and will always live with us.”
In 2002, Adam Abeshouse founded the Classical Recording Foundation to help artists record music they were passionate about but might not have economic appeal. Because he said, “Recordings are just as important an art form as live performance.”
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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