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Hour","82098f2c-a672-49b6-8a05-b8245aec3dbc","https:\u002F\u002Fimage.simplecastcdn.com\u002Fimages\u002F8313a7ce-b1b4-47be-af2d-a843c5421b9c\u002F4667df66-efe6-4459-b64c-679e72ce8edf\u002Fcropped_1792170912870.jpg","2026-10-16T17:40:00.000Z","https:\u002F\u002Fwnyc.org\u002Fbrowse\u002Fshows\u002Fepisode\u002Fsimplecast\u002F5a843e0e-e318-43c5-8acd-500c92b9565c","\u002Fbrowse\u002Fshows\u002Fepisode\u002Fsimplecast\u002F5a843e0e-e318-43c5-8acd-500c92b9565c","https:\u002F\u002Fpscrb.fm\u002Frss\u002Fp\u002Fmgln.ai\u002Fe\u002F14\u002Ftracking.swap.fm\u002Ftrack\u002FuJwtcKQUPuqBQPfusm59\u002Fpdrl.fm\u002F7a3b46\u002Fpdst.fm\u002Fe\u002Fdts.podtrac.com\u002Fpts\u002Fredirect.mp3\u002Fwaaa.wnyc.org\u002F82098f2c-a672-49b6-8a05-b8245aec3dbc\u002Fepisodes\u002F5a843e0e-e318-43c5-8acd-500c92b9565c\u002Faudio\u002F128\u002Fdefault.mp3?awCollectionId=82098f2c-a672-49b6-8a05-b8245aec3dbc&awEpisodeId=5a843e0e-e318-43c5-8acd-500c92b9565c",2965,"2026-10-16T13:40:00-04:00",{"slug":437,"type":406,"simplecastId":426},"has-maga-lost-faith-in-donald-trump-plus-molly-fischer-on-waymo-ep",{"brand":439},{"title":427,"logoImage":440},{"url":441},"https:\u002F\u002Fimage.simplecastcdn.com\u002Fimages\u002Fb99b6401-4efd-485f-b744-84da8d6c14f6\u002F69e0442c-6efc-4039-a258-c3e699882f12\u002Fnyrh-showsquare-2025-3000x3000.jpg",{"id":443,"title":444,"tease":445,"uuid":446,"type":406,"listingTitle":444,"listingDescription":447,"socialTitle":444,"socialDescription":445,"seoTitle":444,"searchDescription":444,"showId":448,"showSlug":448,"description":445,"image":449,"cmsSource":410,"publicationDate":460,"url":461,"shareUrl":462,"link":463,"body":447,"audio":464,"hasAudio":10,"estimatedDuration":465,"sortDate":466,"meta":467,"showTitle":63,"headers":469},2092588469,"Watch: Test your news knowledge with Brian Lehrer ","Brian Lehrer leads special guests in a multi-round quiz of news oddities.","d77514be-6029-4291-bead-0dcecca30a7c","What if the smell of death is actually the smell of life?\n","758af4c0-a2c3-47ec-a2d8-05f41bfbde51",{"id":450,"title":451,"description":9,"width":317,"height":452,"createdAt":453,"focalPointX":288,"focalPointY":288,"focalPointWidth":288,"focalPointHeight":288,"fileSize":454,"fileHash":455,"alt":456,"caption":457,"credit":315,"creditLink":9,"file":458,"usageLimitations":9,"expiryDate":288,"collection":349,"uploadedByUser":459},357088,"NYPR_021119_1127",533,"2026-05-18T13:43:21.367000-04:00",39476,"f137e1d5ea25940cb11f7195ee18d97471553742","Brian Lehrer on the air.","\"Ask the Mayor\" on \"The Brian Lehrer Show\" began in 2016 under Mayor de Blasio.","https:\u002F\u002Fimages-prod.gothamist.com\u002Foriginal_images\u002FNYPR_021119_1127.jpg",139,"2026-10-16T14:00:00.000Z","https:\u002F\u002Fwww.youtube.com\u002Flive\u002FRjZQwa_epTI","https:\u002F\u002Fwnyc.org\u002Fbrowse\u002Fshows\u002Fepisode\u002Fsimplecast\u002Fd77514be-6029-4291-bead-0dcecca30a7c","\u002Fbrowse\u002Fshows\u002Fepisode\u002Fsimplecast\u002Fd77514be-6029-4291-bead-0dcecca30a7c","https:\u002F\u002Fpscrb.fm\u002Frss\u002Fp\u002Fmgln.ai\u002Fe\u002F14\u002Fprfx.byspotify.com\u002Fe\u002Fdts.podtrac.com\u002Fpts\u002Fredirect.mp3\u002Fwaaa.wnyc.org\u002F758af4c0-a2c3-47ec-a2d8-05f41bfbde51\u002Fepisodes\u002Fd77514be-6029-4291-bead-0dcecca30a7c\u002Faudio\u002F128\u002Fdefault.mp3?awCollectionId=758af4c0-a2c3-47ec-a2d8-05f41bfbde51&awEpisodeId=d77514be-6029-4291-bead-0dcecca30a7c",2589,"2026-10-16T10:00:00-04:00",{"slug":468,"type":406,"simplecastId":446},"the-smell-of-hell",{"brand":470},{"title":63,"logoImage":471},{"url":472},"https:\u002F\u002Fimage.simplecastcdn.com\u002Fimages\u002F2c9187d6-9dff-4257-bc55-469cf13afd48\u002F60a2cfed-b8ca-460b-abb8-8ab0afb3fa8c\u002Fradiolab-showsquare-3000x3000.jpg",{"id":474,"title":475,"tease":9,"uuid":476,"type":406,"listingTitle":475,"listingDescription":54,"socialTitle":475,"socialDescription":54,"seoTitle":475,"searchDescription":475,"showId":477,"showSlug":477,"description":54,"image":478,"cmsSource":410,"publicationDate":479,"url":288,"shareUrl":480,"link":481,"body":9,"audio":482,"hasAudio":10,"estimatedDuration":483,"sortDate":484,"meta":485,"showTitle":54,"headers":487},1254079135,"A Nobel Peace Prize Winner on the State of Press Freedom and Democracy","e8309c94-b39d-4df2-9659-94e89ed7da69","9ad3f75f-0bb4-4437-bf95-5e4140741c91","https:\u002F\u002Fimage.simplecastcdn.com\u002Fimages\u002F0c248f77-9bfd-477c-a429-32c5ddd22c52\u002F15bc7a7a-f77f-4a7a-a5c7-9809c2b3e6c8\u002Fcropped_1792084878791.jpg","2026-10-16T17:32:04.000Z","https:\u002F\u002Fwnyc.org\u002Fbrowse\u002Fshows\u002Fepisode\u002Fsimplecast\u002Fe8309c94-b39d-4df2-9659-94e89ed7da69","\u002Fbrowse\u002Fshows\u002Fepisode\u002Fsimplecast\u002Fe8309c94-b39d-4df2-9659-94e89ed7da69","https:\u002F\u002Fpscrb.fm\u002Frss\u002Fp\u002Fmgln.ai\u002Fe\u002F14\u002Fpdst.fm\u002Fe\u002Fdts.podtrac.com\u002Fpts\u002Fredirect.mp3\u002Fwaaa.wnyc.org\u002F9ad3f75f-0bb4-4437-bf95-5e4140741c91\u002Fepisodes\u002Fe8309c94-b39d-4df2-9659-94e89ed7da69\u002Faudio\u002F128\u002Fdefault.mp3?awCollectionId=9ad3f75f-0bb4-4437-bf95-5e4140741c91&awEpisodeId=e8309c94-b39d-4df2-9659-94e89ed7da69",3701,"2026-10-16T13:32:04-04:00",{"slug":486,"type":406,"simplecastId":476},"a-nobel-peace-prize-winner-on-the-state-of-press-freedom-and-democracy",{"brand":488},{"title":54,"logoImage":489},{"url":490},"https:\u002F\u002Fimage.simplecastcdn.com\u002Fimages\u002Fda5ebfe4-b493-43ab-991b-8b85ea806757\u002Fb7910aaa-d1ea-4299-a292-f469e9b3101a\u002Fbrianlehrershowsquare20253000x3000.jpg",{"id":492,"type":395,"value":493},"d8fbebab-cffb-4342-8890-21d6f597983f",{"label":494,"layout":495,"list":496,"seeMoreLink":568},"Heard on air","four-pack",{"id":497,"title":498,"listItems":499},112,"Heard On Air - Automated",[500,518,535,552],{"id":501,"title":502,"tease":9,"uuid":503,"type":406,"listingTitle":502,"listingDescription":290,"socialTitle":502,"socialDescription":290,"seoTitle":502,"searchDescription":502,"showId":504,"showSlug":504,"description":290,"image":505,"cmsSource":410,"publicationDate":506,"url":9,"shareUrl":507,"link":508,"body":9,"audio":509,"hasAudio":10,"estimatedDuration":510,"sortDate":511,"meta":512,"showTitle":290,"headers":514},452980458,"Open House New York is back this weekend","61b7d4e8-030b-4470-9aed-4a897f22d99a","74534b9f-9c27-42d3-9183-3196f9b552ab","https:\u002F\u002Fimage.simplecastcdn.com\u002Fimages\u002F800c6e84-6d62-4527-9ec6-3739d8f4c5b0\u002Fa662b3e2-9ebc-46ab-a728-48e4b06bcfac\u002Fcropped_1792184650286.jpg","2026-10-16T21:51:53.000Z","https:\u002F\u002Fwnyc.org\u002Fbrowse\u002Fshows\u002Fepisode\u002Fsimplecast\u002F61b7d4e8-030b-4470-9aed-4a897f22d99a","\u002Fbrowse\u002Fshows\u002Fepisode\u002Fsimplecast\u002F61b7d4e8-030b-4470-9aed-4a897f22d99a","https:\u002F\u002Fpscrb.fm\u002Frss\u002Fp\u002Fmgln.ai\u002Fe\u002F14\u002Fprfx.byspotify.com\u002Fe\u002Fdts.podtrac.com\u002Fpts\u002Fredirect.mp3\u002Fwaaa.wnyc.org\u002F74534b9f-9c27-42d3-9183-3196f9b552ab\u002Fepisodes\u002F61b7d4e8-030b-4470-9aed-4a897f22d99a\u002Faudio\u002F128\u002Fdefault.mp3?awCollectionId=74534b9f-9c27-42d3-9183-3196f9b552ab&awEpisodeId=61b7d4e8-030b-4470-9aed-4a897f22d99a",193,"2026-10-16T17:51:53-04:00",{"slug":513,"type":406,"simplecastId":503},"open-house-new-york-is-back-this-weekend",{"brand":515},{"title":290,"logoImage":516},{"url":517},"https:\u002F\u002Fimage.simplecastcdn.com\u002Fimages\u002F74534b9f-9c27-42d3-9183-3196f9b552ab\u002F9856e2fe-a3ac-48b3-b4d7-91f12352d5f4\u002Fwnycnews-2-fehmeno.png",{"id":519,"title":520,"tease":521,"uuid":522,"type":406,"listingTitle":520,"listingDescription":521,"socialTitle":520,"socialDescription":290,"seoTitle":520,"searchDescription":520,"showId":504,"showSlug":504,"description":290,"image":523,"cmsSource":410,"publicationDate":524,"url":9,"shareUrl":525,"link":526,"body":521,"audio":527,"hasAudio":10,"estimatedDuration":528,"sortDate":529,"meta":530,"showTitle":290,"headers":532},382222887,"On The Way: MTA fare inspectors beat up man over fare he says he paid","Listen to \"On The Way,\" WNYC's weekly segment on \"All Things Considered\" breaking down the week's transportation news.","b960ed8f-56ff-4a40-94fa-6a79fab12ae6","https:\u002F\u002Fimage.simplecastcdn.com\u002Fimages\u002F2b6dc63f-5c10-48cd-aae9-e9f84280301c\u002Fa3b1949a-ae56-451a-83b8-25c4c14e74f0\u002Fcropped_1792167275382.jpg","2026-10-16T16:14:49.000Z","https:\u002F\u002Fwnyc.org\u002Fbrowse\u002Fshows\u002Fepisode\u002Fsimplecast\u002Fb960ed8f-56ff-4a40-94fa-6a79fab12ae6","\u002Fbrowse\u002Fshows\u002Fepisode\u002Fsimplecast\u002Fb960ed8f-56ff-4a40-94fa-6a79fab12ae6","https:\u002F\u002Fpscrb.fm\u002Frss\u002Fp\u002Fmgln.ai\u002Fe\u002F14\u002Fprfx.byspotify.com\u002Fe\u002Fdts.podtrac.com\u002Fpts\u002Fredirect.mp3\u002Fwaaa.wnyc.org\u002F74534b9f-9c27-42d3-9183-3196f9b552ab\u002Fepisodes\u002Fb960ed8f-56ff-4a40-94fa-6a79fab12ae6\u002Faudio\u002F128\u002Fdefault.mp3?awCollectionId=74534b9f-9c27-42d3-9183-3196f9b552ab&awEpisodeId=b960ed8f-56ff-4a40-94fa-6a79fab12ae6",545,"2026-10-16T12:14:49-04:00",{"slug":531,"type":406,"simplecastId":522},"on-the-way-mta-fare-inspectors-beat-up-man-over-fare-he-says-he-paid",{"brand":533},{"title":290,"logoImage":534},{"url":517},{"id":536,"title":537,"tease":538,"uuid":539,"type":406,"listingTitle":537,"listingDescription":538,"socialTitle":537,"socialDescription":290,"seoTitle":537,"searchDescription":537,"showId":504,"showSlug":504,"description":290,"image":540,"cmsSource":410,"publicationDate":541,"url":9,"shareUrl":542,"link":543,"body":538,"audio":544,"hasAudio":10,"estimatedDuration":545,"sortDate":546,"meta":547,"showTitle":290,"headers":549},1257124977,"In Season: apples","It's peak season for New York's state fruit, the apple! ","1e08d152-bff2-48ae-b1b7-ffee3cd6592a","https:\u002F\u002Fimage.simplecastcdn.com\u002Fimages\u002Fdb4ca8d4-994e-4f4a-a0af-569166f6d13c\u002F0e0b4d41-0300-4e61-a06e-68949465972d\u002Fcropped_1792150321891.jpg","2026-10-16T12:09:17.000Z","https:\u002F\u002Fwnyc.org\u002Fbrowse\u002Fshows\u002Fepisode\u002Fsimplecast\u002F1e08d152-bff2-48ae-b1b7-ffee3cd6592a","\u002Fbrowse\u002Fshows\u002Fepisode\u002Fsimplecast\u002F1e08d152-bff2-48ae-b1b7-ffee3cd6592a","https:\u002F\u002Fpscrb.fm\u002Frss\u002Fp\u002Fmgln.ai\u002Fe\u002F14\u002Fprfx.byspotify.com\u002Fe\u002Fdts.podtrac.com\u002Fpts\u002Fredirect.mp3\u002Fwaaa.wnyc.org\u002F74534b9f-9c27-42d3-9183-3196f9b552ab\u002Fepisodes\u002F1e08d152-bff2-48ae-b1b7-ffee3cd6592a\u002Faudio\u002F128\u002Fdefault.mp3?awCollectionId=74534b9f-9c27-42d3-9183-3196f9b552ab&awEpisodeId=1e08d152-bff2-48ae-b1b7-ffee3cd6592a",148,"2026-10-16T08:09:17-04:00",{"slug":548,"type":406,"simplecastId":539},"in-season-apples",{"brand":550},{"title":290,"logoImage":551},{"url":517},{"id":553,"title":554,"tease":9,"uuid":555,"type":406,"listingTitle":554,"listingDescription":290,"socialTitle":554,"socialDescription":290,"seoTitle":554,"searchDescription":554,"showId":504,"showSlug":504,"description":290,"image":556,"cmsSource":410,"publicationDate":557,"url":9,"shareUrl":558,"link":559,"body":9,"audio":560,"hasAudio":10,"estimatedDuration":561,"sortDate":562,"meta":563,"showTitle":290,"headers":565},938944967,"Measles cases continue to tick up in New York after Gov. Hochul declared a disaster emergency","831e0303-c00a-4456-bab4-e2d71cbcece4","https:\u002F\u002Fimage.simplecastcdn.com\u002Fimages\u002F800c6e84-6d62-4527-9ec6-3739d8f4c5b0\u002F6e529367-d137-49e4-a29e-636d6a2d7fdb\u002Fcropped_1792012419157.jpg","2026-10-14T21:14:20.000Z","https:\u002F\u002Fwnyc.org\u002Fbrowse\u002Fshows\u002Fepisode\u002Fsimplecast\u002F831e0303-c00a-4456-bab4-e2d71cbcece4","\u002Fbrowse\u002Fshows\u002Fepisode\u002Fsimplecast\u002F831e0303-c00a-4456-bab4-e2d71cbcece4","https:\u002F\u002Fpscrb.fm\u002Frss\u002Fp\u002Fmgln.ai\u002Fe\u002F14\u002Fprfx.byspotify.com\u002Fe\u002Fdts.podtrac.com\u002Fpts\u002Fredirect.mp3\u002Fwaaa.wnyc.org\u002F74534b9f-9c27-42d3-9183-3196f9b552ab\u002Fepisodes\u002F831e0303-c00a-4456-bab4-e2d71cbcece4\u002Faudio\u002F128\u002Fdefault.mp3?awCollectionId=74534b9f-9c27-42d3-9183-3196f9b552ab&awEpisodeId=831e0303-c00a-4456-bab4-e2d71cbcece4",356,"2026-10-14T17:14:20-04:00",{"slug":564,"type":406,"simplecastId":555},"measles-cases-continue-to-tick-up-in-new-york-after-gov-hochul-declared-a-disaster-emergency",{"brand":566},{"title":290,"logoImage":567},{"url":517},{"label":569,"url":570},"Find more stories","https:\u002F\u002Fwnyc.org\u002Fbrowse\u002Fshows\u002Fwnyc-news\u002F",{"id":572,"type":395,"value":573},"89b984ca-4e14-4f23-be79-5d384b506fd6",{"label":574,"layout":575,"list":576,"seeMoreLink":288},"Personalities Banner","personalities-banner",{"id":577,"title":578,"listItems":579},88,"ZZZ - Personalities List",[580],{"id":581,"title":9,"tease":9,"type":582,"listingTitle":9,"listingDescription":9,"socialTitle":9,"seoTitle":9,"searchDescription":9,"cmsSource":583,"url":288,"shareUrl":288,"section":584,"rawBody":9,"hasAudio":11,"contentType":582,"body":9},1038130864,"card","wagtail",{},{"id":586,"type":395,"value":587},"3f6bddd4-6325-4cf4-85bb-1b895a6f9a11",{"label":588,"layout":589,"list":590,"seeMoreLink":697},"Top stories from NPR","vertical-feature",{"id":591,"title":592,"listItems":593},89,"NPR.org Top Stories",[594,618,637,656,678],{"id":595,"uuid":595,"title":596,"publicationDate":597,"publishAt":597,"updatedDate":598,"tease":599,"description":599,"image":600,"imageFullWidth":601,"imageFullHeight":602,"leadImageCaption":603,"cmsSource":378,"audio":288,"hasAudio":11,"type":604,"estimatedDuration":288,"meta":605,"showTitle":374,"showSlug":288,"body":606,"rawBody":606,"link":607,"shareUrl":608,"authors":609},"nx-s1-6005264","To Madvillainy and beyond: How Stones Throw Records created a galaxy of taste","2026-10-16T14:42:43.789-04:00","2026-10-16T14:58:14.681-04:00","From generational classics like J Dilla's \u003Cem>Donuts\u003C\u002Fem> to the star turns of Sudan Archives and Anderson .Paak, one small LA label has made history for 30 years — without losing its roots.","https:\u002F\u002Fnpr.brightspotcdn.com\u002Fdims3\u002Fdefault\u002Fstrip\u002Ffalse\u002Fcrop\u002F2162x2160+1018+0\u002Fresize\u002F{width}\u002Fquality\u002F{quality}\u002Fformat\u002F{format}\u002F?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2F84%2Fd3%2F2fa6feda4ccdb6888b0235de23b9%2Fstonesthrow2.jpg",2162,2160,"In its 30-year history, the Los Angeles record label Stones Throw has released generational classics by J Dilla, MF DOOM and Madlib, and launched newer stars including Sudan Archives, Knxwledge and Anderson .Paak.","npr_article",{"firstPublishedAt":597,"slug":595},"\u003Cp>In his 2004 \u003Cem>New Yorker\u003C\u002Fem> essay \"\u003Ca href=\"https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2004\u002F04\u002F12\u002Fdooms-day\" target=\"_blank\">Doom's Day\u003C\u002Fa>,\" the critic Sasha Frere-Jones gave a buzzed-about new LP some distinctive praise, hailing it as a triumph of the indie label. \"Independent pop — not just hip-hop — has in many ways become a version of graduate school, a safe zone where artists can eke out a living, take their time doing specialized work,\" he wrote. \"The duo Madvillain demonstrate that hiding out can be the right move. Madvillain's music is accessible but idiosyncratic, catchy but soaked in noise, lighthearted but full of abstractions. Madvillain is why independent hip-hop isn't such a bad idea; this group needed breathing space.\" In the two decades after that initial release, \u003Cem>Madvillainy —\u003C\u002Fem> an album-length collaboration between the rapper \u003Ca href=\"https:\u002F\u002Fwww.npr.org\u002Fartists\u002F815392324\u002Fmf-doom\" target=\"_blank\">MF DOOM\u003C\u002Fa> and the producer \u003Ca href=\"https:\u002F\u002Fwww.npr.org\u002Fartists\u002F15697271\u002Fmadlib\" target=\"_blank\">Madlib\u003C\u002Fa> — would become one of hip-hop's most celebrated achievements, rising from if-you-know-you-know classic to ubiquitous dorm-room poster. The small Los Angeles label that released it, meanwhile, has managed a similar arc: embodying the indie ideal as a creative ethic, giving artists space to breathe.\u003C\u002Fp>\u003Cp>Founded in 1996 by Chris Manak, aka the DJ and producer \u003Ca href=\"https:\u002F\u002Fwww.npr.org\u002Fartists\u002F15697268\u002Fpeanut-butter-wolf\" target=\"_blank\">Peanut Butter Wolf\u003C\u002Fa>, Stones Throw Records has come to feel central to LA's robust underground, plugged into the MCing and beatmaking networks that orbit local institutions like open-mic workshop Project Blowed and bygone club night Low End Theory. The label first gained traction releasing the music Wolf made with his late partner Charizma, and producing \"battle records\" — vinyl composed primarily of samples for DJs, like the cult classic \u003Cem>Super Duck Breaks\u003C\u002Fem>. But its true trajectory was set in 1999 with the signing of the alt-hip-hop group Lootpack, whose lineup featured the prolific and enigmatic Madlib, then still occasionally known by the alias Quasimoto. A reclusive, process-oriented vinyl aficionado, Madlib was a star seemingly made in Stones Throw's image. By the mid-2000s, he had company, as masked villain DOOM and Detroit producer extraordinaire \u003Ca href=\"https:\u002F\u002Fwww.npr.org\u002Fartists\u002F15119741\u002Fj-dilla\" target=\"_blank\">J Dilla\u003C\u002Fa> filled out a trifecta of flagship acts.\u003C\u002Fp>\u003Cp>As Stones Throw gained a reputation among the heads, its catalog grew to represent the broader interests of its brain trust, which also included general manager Eothen \"Egon\" Alapatt and art director Jeff Jank. The experimental artist Gary Wilson and the retro singer \u003Ca href=\"https:\u002F\u002Fwww.npr.org\u002Fartists\u002F99241607\u002Fmayer-hawthorne\" target=\"_blank\">Mayer Hawthorne\u003C\u002Fa> joined the fold, as did rapper turned soul man \u003Ca href=\"https:\u002F\u002Fwww.npr.org\u002Fartists\u002F15333117\u002Faloe-blacc\" target=\"_blank\">Aloe Blacc\u003C\u002Fa> and jazz sideman turned renaissance man \u003Ca href=\"https:\u002F\u002Fwww.npr.org\u002Fartists\u002Fg-s1-123339\u002Fkarriem-riggins\" target=\"_blank\">Karriem Riggins\u003C\u002Fa>. Label interns James Pants and Sofie Royer would graduate into signees, and Royer's roommate Knxwledge would form the group \u003Ca href=\"https:\u002F\u002Fwww.npr.org\u002Fartists\u002F1143377375\u002Fnxworries\" target=\"_blank\">NxWorries\u003C\u002Fa> with \u003Ca href=\"https:\u002F\u002Fwww.npr.org\u002Fartists\u002F464866525\u002Fanderson-paak\" target=\"_blank\">Anderson .Paak\u003C\u002Fa>, setting the latter on a creative trajectory that led to work with Dr. Dre and Bruno Mars. Meanwhile, the violinist Brittney Parks was redefining the loop tradition as \u003Ca href=\"https:\u002F\u002Fwww.npr.org\u002Fartists\u002F570244524\u002Fsudan-archives\" target=\"_blank\">Sudan Archives\u003C\u002Fa>, synthesizing an electro-R&B that could extend in any direction. Parks has since become a critical darling, while NxWorries won Stones Throw its first Grammy in 2025.\u003C\u002Fp>\u003Cp>Once a crate-digger's paradise, elevating turntablism and instrumental hip-hop from fringe métier to serious business, Stones Throw steadily became its own eclectic soul universe, integrating funk, R&B and electronic music into the same breakbeat-infused palette. As the label has grown, and originators like Dilla and DOOM have passed on, the sound has become harder to pin down. But its guiding principle has always been a delightfully strange epicurean taste, creating a home for castaways outside of rap commercialism. Amid \u003Ca href=\"https:\u002F\u002Fwww.stonesthrow.com\u002Fstore\u002Fstones-throw-30-music-festival-tickets\u002F\" target=\"_blank\">a festival\u003C\u002Fa> celebrating the label's 30th anniversary, artists and staff have gathered here to explain to NPR Music how a little niche imprint came to leave an outsized impression on pop culture.\u003C\u002Fp>\u003Cp>\u003Chr \u002F>\u003C\u002Fp>\u003Cp>\u003Ch2>\u003Cstrong>The Foundations\u003C\u002Fstrong>\u003C\u002Fh2>\u003C\u002Fp>\u003Cp>\u003Cem>A core team assembles\u003C\u002Fem>\u003C\u002Fp>\u003Cp>\u003Cstrong>Chris \"Peanut Butter Wolf\" Manak — Stones Throw founder, DJ and producer:\u003C\u002Fstrong> As a kid, I was making mixtapes. I was into hip-hop, but if I go back earlier, it was more like funk and soul and disco. And when I was 16, I noticed the records I was buying were mostly from labels that I didn't necessarily know about — Tuff City, or Profile, the early Def Jam records. At that point, I really wanted to have a record label.\u003C\u002Fp>\u003Cp>I was in a band with Jeff Jank, a good friend of mine from high school. A lot of MCs in San Jose would find out about that record and want to work with me, and the rapper Charizma was one of them. He was 16 at the time; I was 20. We got signed to a major label called Hollywood Basics, which was a division of Walt Disney. We were a duo, kind of like when Pete Rock & C.L. Smooth and Gang Starr were duos. And then the label folded; we got dropped. And then Charisma got killed. He was 20 years old, and I quit music for a while. I quit everything. I was at home trying to just cope with losing my friend. I wasn't actually consciously trying to figure out anything. I was just living day by day.\u003C\u002Fp>\u003Cp>A few years later, I went back to my original idea of starting a label. One of the reasons was to put out some of the music that I had done with Charizma. But I also knew a lot of rappers and hip-hop producers in the Bay Area that were making stuff that I thought was very interesting, and they were not signed. So I was like, let me start my own label, and have about three or four good artists that I really like. I'll just keep putting things out and see how it goes.\u003C\u002Fp>\u003Cp>\u003Cstrong>A-Trak — DJ, producer and president of the Brooklyn label Fool's Gold:\u003C\u002Fstrong> I met Peanut Butter Wolf in late '97. I was 15 years old, and there was a tour that he and Cut Chemist were on for a compilation called Deep Concentration. When that tour came through Montreal, where I lived at the time, Joseph Patel, who put together the compilation and the tour, reached out to have both myself and Kid Koala join the Montreal and Toronto shows. I was a young scratch DJ kid — I had won the DMC World Championships literally a few months prior, while I was still in high school. My world was just picking up really fast.\u003C\u002Fp>\u003Cp>I don't think I knew about Stones Throw. But Chris [Peanut Butter Wolf] and I kind of got along right from when we met. In hindsight, he was probably psyched to meet some kid who could scratch well. Somewhere along the way, he must have told me that he also had an independent record label, because around that same time, my brother and I founded \u003Cem>our\u003C\u002Fem> first label, Audio Research. We idolized the underground scene of the era. We'd go down to New York and go to Fat Beats, the record shop, and buy whatever they were championing; this was the era of Company Flow and Rawkus Records. So it was cool to meet this sort of eccentric DJ with super-vast musical knowledge, who had a cool label. I'd see him like once or twice a year, but every time, he was doing something new.\u003C\u002Fp>\u003Cdiv class=\"user-embedded-video\">\u003Cdiv>\u003Ciframe width=\"560\" height=\"315\" src=\"https:\u002F\u002Fwww.youtube.com\u002Fembed\u002FmRLAOccUj4M\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen>\u003C\u002Fiframe>\u003C\u002Fdiv>\u003C\u002Fdiv>\n\u003Cp>\u003Cstrong>Eothen \"Egon\" Alapatt — Stones Throw general manager (2000-2011):\u003C\u002Fstrong> I was graduating from college, and my plan was to move to New York to work in the hip-hop underground, make beats and sell records and stuff like that. I had already manifested the idea that the only record label that I wanted to work for was Stones Throw — and I didn't just want to work for it, I wanted to run it.\u003C\u002Fp>\u003Cp>[Peanut Butter Wolf] saw the work that I was doing and he told me, \"I'm moving down from San Francisco to LA, and I want you to work with me. But you have to graduate — go get your s*** together, and move out in like a month. … I'm gonna rent a house. You can stay in it with me, and we'll figure out a salary when you get there.\" So there was like a wing-and-a-prayer type situation. He'd already sent me a test press of the Quasimoto record [2000's \u003Cem>The Unseen\u003C\u002Fem>], and I'd been in the Bay to see the reaction to it. The reaction wasn't that good from the hip-hop bona fides: It was like, \"\u003Cem>What is this weird s***?\"\u003C\u002Fem> I was like, this is exactly the place that I need to be.\u003C\u002Fp>\u003Cp>I got to Connecticut and sorted out all my stuff; I was between there and New York City. He flew out and met me. We pooled the money that we got for a gig he had booked with MTV — I opened, he headlined — and I had some money that I'd gotten from remixing the Beastie Boys for their Criterion Collection DVD. We took all that money, rented a van and drove across the country.\u003C\u002Fp>\u003Cp>\u003Cstrong>Peanut Butter Wolf\u003C\u002Fstrong>: When I started the label I had been working at a record distributor, and I started a hip-hop division for it. I was really interested in indie hip-hop labels that were putting out one to two singles by an artist, but the songs were really magical — and Lootpack was one of them that I heard. I called the number on the record; it was the group of a producer named Madlib. They'd put out one 12-inch, but they didn't have any distribution: Madlib's dad pressed it up, and he was sitting on records. I said, \"If you press 500 or 1000 records, I'll sell what you have.\" I ended up working something out to put out Lootpack's future stuff. They just had so much music, and I would listen to their tapes more than anybody else. I really was blessed with the artist roster I had. … I wasn't actively looking for stars. I was looking for really cool records to be associated with.\u003C\u002Fp>\u003Cdiv class=\"user-embedded-video\">\u003Cdiv>\u003Ciframe width=\"560\" height=\"315\" src=\"https:\u002F\u002Fwww.youtube.com\u002Fembed\u002Fo9D8a6QU-vk\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen>\u003C\u002Fiframe>\u003C\u002Fdiv>\u003C\u002Fdiv>\n\u003Cp>\u003Ca href=\"https:\u002F\u002Fwww.npr.org\u002Fartists\u002F434384751\u002Fdam-funk\" target=\"_blank\">\u003Cstrong>DaM-Funk \u003C\u002Fstrong>\u003C\u002Fa>\u003Cstrong>— Stones Throw artist (2007-2015)\u003C\u002Fstrong>: While shopping at Aron's Records in Los Angeles, I noticed some records displayed near the entrance, and one that caught my eye was by an artist called Funkaho. I looked at the artwork and thought, \"Whoa, they got funk in it!\" As I continued looking around the store, I noticed records by Yesterdays New Quintet, which was a Madlib side project, and Dudley Perkins' \u003Cem>Flowers\u003C\u002Fem>. Seeing all these different records displayed together made me curious about [the label issuing them], Stones Throw. I thought, \"I gotta check this label out.\"\u003C\u002Fp>\u003Cp>\u003Cstrong>Anderson .Paak, member of the Stones Throw duo NxWorries:\u003C\u002Fstrong> I had a friend growing up that was very into Living Legends and J Dilla and Common and MF DOOM. I was more into mainstream rap — Snoop and Jay-Z and Kanye. He would always challenge me and be like, \"Those guys are just pop guys. These guys over here are real underground spitters, and a lot of those guys are influenced by these guys.\"\u003C\u002Fp>\u003Cp>It wasn't until I got to LA, when I was around 21 and chasing my own dream as an artist, that I started tapping into the underground scene — and one of the first acts that I really got into was J Dilla and Madlib. That same friend burned me a CD of \u003Cem>Champion Sound\u003C\u002Fem> [a 2003 collaborative album, released by the two artists as Jaylib], and I just couldn't stop listening to that. I wanted to get everything that Madlib did, and everything that Dilla did. Then that led me to MF DOOM, and I started seeing that all these records were coming out on Stones Throw.\u003C\u002Fp>\u003Cp>\u003Cstrong>Aloe Blacc — Stones Throw artist (2006-2013): \u003C\u002Fstrong>I heard the music on underground hip-hop radio shows — the \u003Cem>Friday Night Flavas\u003C\u002Fem> show that used to be on Power 106, or the UCI hip-hop radio station, or USC's hip-hop show back in the '90s. As an underground hip-hop head, Stones Throw seemed like the gold standard, at least on the West Coast. You could go to the record store, and if you saw the logo, you'd pick it up, and probably buy the record without even listening to what was on it, because you just trusted the curation.\u003C\u002Fp>\u003Cp>\u003Chr \u002F>\u003C\u002Fp>\u003Cp>\u003Ch2>\u003Cstrong>The Pillars\u003C\u002Fstrong>\u003C\u002Fh2>\u003C\u002Fp>\u003Cp>\u003Cem>Madlib, DOOM and Dilla solidify an aesthetic mission\u003C\u002Fem>\u003C\u002Fp>\u003Cp>\u003Cstrong>Egon:\u003C\u002Fstrong> We were living in this beautiful mid-century, three-bedroom house near the airport in Playa del Rey — it was Chris, me, and Jeff. We each took a bedroom, and the deal became that Jeff would do the art direction, I would do the business stuff, and Chris would do the A&R, figurehead, catalyzing stuff. Very quickly after that, Madlib moved into the living room, which was this big open area, and set up a studio.\u003C\u002Fp>\u003Cp>\u003Cstrong>Peanut Butter Wolf\u003C\u002Fstrong>: Madlib really kind of keeps to himself. I think that's why a lot of people don't know about him. I think most people who are into rap music know \u003Cem>Madvillainy\u003C\u002Fem>, but there's so much Madlib material that has been released, and I'm sitting on over 500 unreleased songs — instrumental beats, stuff with rappers, stuff with the imaginary band he made up, Yesterdays New Quintet. He has really dedicated himself to craft and put all of the public-facing stuff aside, in a way that can maybe be detrimental to legacy, whatever that means. But you go through that music, and the backlog is so incredible. You can get lost in how expansive it is.\u003C\u002Fp>\u003Cp>\u003Cstrong>Anderson .Paak\u003C\u002Fstrong>: I had never met Madlib before, or even seen him around. I just knew that he was from the city [.Paak's hometown of Oxnard, Calif.], and he had been doing his thing for years. I was kind of late to the party, so when I started discovering it, I was just so enamored about how raw it was. It was amazing to me that he had so many alter-egos and so many different versions of what he was doing. That was really inspiring for me too, to be like, \"Wow, you don't need to just be one thing. You can do whatever you want.\"\u003C\u002Fp>\u003Cp>It's this complete expression. You get samples from, like, drug PSAs, and then these little excerpts and skits, and then you get soul. There's just so much stuff coming at you, not to mention some of the illest beats, period. West Coast sound, but more his own style.\u003C\u002Fp>\u003Cdiv class=\"user-embedded-video\">\u003Cdiv>\u003Ciframe width=\"560\" height=\"315\" src=\"https:\u002F\u002Fwww.youtube.com\u002Fembed\u002FV7yk-HwNBwE\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen>\u003C\u002Fiframe>\u003C\u002Fdiv>\u003C\u002Fdiv>\n\u003Cp>\u003Cstrong>Peanut Butter Wolf\u003C\u002Fstrong>: When Madlib and I had DJ gigs, we would both bring [MF DOOM's] \u003Cem>Operation: Doomsday\u003C\u002Fem> in our crate. There was a point in the early 2000s where I asked him, 'If you could work with anybody besides your immediate crew from Oxnard, who would it be?' He said MF DOOM and Jay Dee, who we didn't call Dilla until later.\u003C\u002Fp>\u003Cp>\u003Cstrong>Egon\u003C\u002Fstrong>: Chris handled Dilla, because Dilla was his guy. No one knew DOOM. But my old running buddy from college, that I would go record collecting with, lived in the same town as DOOM and had lent him some gear. I called him and said, \"Dude, I need you to be an emissary for this project. Can you bring some records and, like, a mission statement to DOOM about this guy Madlib, and see if they want to work together?\"\u003C\u002Fp>\u003Cp>DOOM wanted money to work on this stuff. It was a hard thing to pull together, like, 1,500 bucks on the fly, you know? Sometimes there would be more checks out than there was money in the bank. But I gotta tell you: The chemistry between Madlib and DOOM was so real. I took photos those first few days, and when I look back at them, it's the two of them really understanding each other.\u003C\u002Fp>\u003Cp>\u003Cstrong>Peanut Butter Wolf\u003C\u002Fstrong>: With the Jaylib record [\u003Cem>Champion Sound\u003C\u002Fem>], which was Jay Dee and Madlib both rapping over each other's beats, they were just sending CDs back and forth — they were never in the same city together. Originally, \u003Cem>Madvillainy\u003C\u002Fem> was kind of the same thing. But then DOOM was like, \"Hey, I want to come out and really do this proper.\" Madlib was living at my house at the time, and it was a modest house, but we crammed everybody in. We got DOOM a hotel; he was staying at the house as well to record. But even with that, I never saw them in the same room. It was really DOOM recording his vocals in my bedroom, and Madlib making beats in the converted bomb shelter basement with all-concrete walls.\u003C\u002Fp>\u003Cp>\u003Cstrong>Egon\u003C\u002Fstrong>: Madlib didn't have a studio, he had the bomb shelter. So he would just mix everything to CD, and we would have to figure out a way to edit it and then record. If DOOM wasn't a hip-hop producer himself, if Dilla wasn't a producer \u003Cem>and\u003C\u002Fem> a rapper himself, those records wouldn't have happened. DOOM had to go edit the tracks just as much as any of us did.\u003C\u002Fp>\u003Cdiv class=\"user-embedded-video\">\u003Cdiv>\u003Ciframe width=\"560\" height=\"315\" src=\"https:\u002F\u002Fwww.youtube.com\u002Fembed\u002FjytxkJUM_7U\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen>\u003C\u002Fiframe>\u003C\u002Fdiv>\u003C\u002Fdiv>\n\u003Cp>\u003Cstrong>A-Trak\u003C\u002Fstrong>: If I was going to LA, I would crash at the Stones Throw house for maybe two or three days, and Wolf would give me some sort of Madlib beat CD or two to listen to. I remember hearing some of the instrumentals that ended up making it to the Madvillain album, and the thing that was always a trip to me is that Madlib would have little skits at the start of the songs already, before giving it to an MC. I think most beatmakers or producers will just make a beat, and then assemble the sort of seamless connective tissue of an album afterwards. But Madlib had such a crazy imagination. I can only imagine how inspiring it had to be for DOOM and Dilla and whoever else to get these beat CDs and be like, \"Whoa — what is this whole cinematic soundscape that I'm getting from this guy?\"\u003C\u002Fp>\u003Cp>\u003Cstrong>Egon\u003C\u002Fstrong>: I think all of us really believe that he was the greatest hip-hop producer besides Dilla. Madlib would talk about DOOM being Charlie Parker, and Dilla being Coltrane, and him being Miles Davis or Sun Ra or some amalgamation of the two of them. That's kind of the way that we looked at it. But Madlib wasn't appreciated like Dilla was.\u003C\u002Fp>\u003Cp>\u003Cstrong>Peanut Butter Wolf\u003C\u002Fstrong>: It was weird because [Dilla] was getting more money for one track from some of these major label artists than we could afford to give him for a whole album. I'm always thankful that he did stuff with us. He was really fully on board with the Jaylib record, and when that record came out, he had already had health problems. I knew he wasn't really touring with Slum Village [the rap group Dilla co-founded in Detroit], and so I never pushed it to try to go on a tour with him. But he said that he was down, and I couldn't believe it.\u003C\u002Fp>\u003Cp>\u003Cstrong>Karriem Riggins — Stones Throw artist (2012-2016):\u003C\u002Fstrong> I think everything about Dilla's production stands out because he truly had his own voice. He became one with the drum machine. And through learning how to articulate himself on the actual instruments he loved hearing on the records he sampled, he developed his own musical language.\u003C\u002Fp>\u003Cp>\u003Cstrong>Anderson Paak:\u003C\u002Fstrong> Dilla was someone who was really a student of the game, and had extensive knowledge of not just hip-hop, but soul, rock, jazz, Latin music. He was also one of my favorite rappers when he's rapping on his own beats. Seeing the stuff that he's sampling, the stuff that he's playing on and interpreting … I just imagine he probably had millions of records and was going through them all, exploring different worlds. When you have such an extensive knowledge, you see that there's really no rules to this.\u003C\u002Fp>\u003Cp>\u003Cstrong>Peanut Butter Wolf\u003C\u002Fstrong>: One day we were in the car on the way to the record store, and Jay Dee gave me a CD and said, \"Hey, throw this on.\" It was what eventually became \u003Cem>Donuts\u003C\u002Fem> [Dilla's second solo album, released shortly before his death in 2006]. I told him, \"I know that you get a lot of money from rappers, and that you work with so many big ones. It's cool if you put out versions with rappers over some of these songs, but I'd love to put this out as the instrumentals.\" And he was like, \"Yeah, let's do it.\" I never asked him if he showed me it that day for me to put it out, or if he had an intention to put it out period, with anybody — or if it was just, \"Let's listen to some beats in the car.\" I'll never know the answer to that.\u003C\u002Fp>\u003Cp>But I do know that he agreed to me putting it out. Not only did he agree, but he went back to make it longer. He got really sick again, and I know he made music in the hospital. I never saw him make a beat or anything, but when we did visit, Madlib would always give him records. He gave him a turntable, a little portable to sample. I think maybe Madlib was thinking, if he were in the hospital, what would he want to do? Make beats.\u003C\u002Fp>\u003Cp>\u003Cstrong>A-Trak\u003C\u002Fstrong>: He had so many reinventions, but through all that, it was knocking drums and super-pristine sonic collages. Everything was placed so cleverly, and so no matter what sound he would come with, you wanted to hear his snare drums and his bass lines. Then \u003Cem>Donuts\u003C\u002Fem> comes out, and it's completely stripped down, just cut-up samples. We were used to hearing him chop up samples indecipherably for 10 years, and then he gave us these super-naked, bare bones reimaginations of loops. It surprised most of his listeners, including myself. And it was just such a trip to get the album in the same week that you find out about his passing. The whole thing kind of took a while to digest. But I think through the years, there's just something to the sort of distilled purity of \u003Cem>Donuts\u003C\u002Fem>. It's almost like you're witnessing this craftsman in his little atelier, sewing or knitting, down to the raw elements.\u003C\u002Fp>\u003Cp>\u003Chr \u002F>\u003C\u002Fp>\u003Cp>\u003Ch2>\u003Cstrong>Opening Doors\u003C\u002Fstrong>\u003C\u002Fh2>\u003C\u002Fp>\u003Cp>\u003Cem>A younger generation adds colors to the palette\u003C\u002Fem>\u003C\u002Fp>\u003Cp>\u003Cstrong>Karriem Riggins\u003C\u002Fstrong>: One thing I've always appreciated about Stones Throw is that their music is boundaryless. It's not confined to any particular genre — it's just good, soulful music.\u003C\u002Fp>\u003Cp>\u003Cstrong>Egon\u003C\u002Fstrong>: Stones Throw always was a bit of an eclectic venture. I started bringing soul and funk reissues, and then I started my own label, which I distributed through Stones Throw. Chris would do things that were off the beaten path too, like sign Gary Wilson. So there were things like that happening, which I think people looked at as more like a novelty, less as part of the core of what Stone Throw was.\u003C\u002Fp>\u003Cp>\u003Cstrong>Aloe Blacc\u003C\u002Fstrong>: Peanut Butter Wolf was signing some risky, strange, left-field, weird artists, and I think he also was looking at how to expand the legacy of Stones Throw — for it to be potentially more than just a hip-hop label. I feel like I came in right at the right time for him, having those idea, and that inclination. \u003Cem>Shine Through\u003C\u002Fem> [Blacc's 2006 debut] was my opportunity to share all of the experimentation that I was doing. I looked at it as a table of contents to my future: Here's all of the music that I think I'm going to do in my career, but each of these songs is just the title of a chapter.\u003C\u002Fp>\u003Cp>\u003Cem>Good Things\u003C\u002Fem> [2010] was an opportunity to take one of the chapters from the \u003Cem>Shine Through\u003C\u002Fem> album a little bit further. Egon had an idea of me going to work with the musicians of the production house Truth & Soul, who had all sort of been the backing band to Amy Winehouse's \u003Cem>Back to Black\u003C\u002Fem> album. I spent a couple weeks at a time in New York, putting the album together; we had no idea what was going to happen. I knew that it would probably be something that Stones Throw fans would be interested in, new music that people could sample from.\u003C\u002Fp>\u003Cdiv class=\"user-embedded-video\">\u003Cdiv>\u003Ciframe width=\"560\" height=\"315\" src=\"https:\u002F\u002Fwww.youtube.com\u002Fembed\u002FiR6oYX1D-0w\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen>\u003C\u002Fiframe>\u003C\u002Fdiv>\u003C\u002Fdiv>\n\u003Cp>As an underground indie artist, you're not expecting a whole lot of success — financial success or even industry success. You're just kind of you. There's a certain level that you expect to get to, but nothing past that. And with \u003Cem>How to Make It in America's\u003C\u002Fem> synchronization of \"I Need a Dollar\" [which became the HBO series' opening theme], it changed the game — for me, in a major way, and for what I think an indie artist can expect.\u003C\u002Fp>\u003Cp>\u003Cstrong>DaM-Funk\u003C\u002Fstrong>: I saw myself as the funk artist on Stones Throw. Straight-up funk — it wasn't hip-hop or any of the other styles I might have been experimenting with. I wanted people who were familiar with funk to understand that there was a new direction for the music. It embraced synthesizers and the influence of late-'70s and early-'80s funk artists who inspired me: people like Prince, Junie Morrison, Slave, Steve Arrington, Aurra, Kashif, Mtume, and Change. I was also influenced by Los Angeles artists like DJ Quik, and musicians who were pushing G-funk into different directions. My goal was to bring modern funk to Stones Throw in a way that respected the past, while pushing the music toward the future.\u003C\u002Fp>\u003Cp>\u003Cstrong>James Pants, Stones Throw artist:\u003C\u002Fstrong> I met Peanut Butter Wolf the night of my senior prom, still in tux: I took my date to his show in Austin, Texas. I had spent days prior emailing every variation of Peanut Butter Wolf — \"pbw,\" \"pbwolf,\" etcetera — at the Stones Throw email, offering to take him record shopping. Thankfully, he responded to a random Texas teenager. I spent the next few days driving him around town, picking up vinyl.\u003C\u002Fp>\u003Cp>I emailed Wolf again [about interning at the label]. He agreed, and I spent the next few months in LA calling various record stores throughout the country asking how units were selling. I was a journalism major, so I'm not quite sure what they saw in me.\u003C\u002Fp>\u003Cp>Stones Throw never hired me, and neither did any grocery store in LA, so I returned to my college town of Spokane, Wash., with just a few hundred bucks, considering my rap music production career over. I stopped making beats and made some weird scream-funk in my basement just for fun. I eventually sent some songs to Matt, who liked them enough to pass them on to Wolf.\u003C\u002Fp>\u003Cp>\u003Cstrong>Peanut Butter Wolf\u003C\u002Fstrong>: Matt Rowland, who worked at Stones Throw, was like, \"Did you know James makes music?\" I heard it, and I really liked it. And he was totally into the idea [of putting it out]. He was an intern who later became an artist. That's what actually happened with Sofie Royer as well: We hired her to do digital marketing for us, and then she went and became the voice of Boiler Room and quit Stones Throw. I heard her music, and I was like, \"Hey, come back! Let's put something out!\"\u003C\u002Fp>\u003Cp>When Sofie was an intern, she had two roommates that were making beats, Mndsgn and Knxwledge. She was always telling me about their music. I heard it, I liked it, and ended up signing both of them separately. Knxwledge showed us this thing he was working on with Anderson .Paak. He's kind of singing, kind of rapping — it's kind of in-between. I don't know what it is, but I like it.\u003C\u002Fp>\u003Cdiv class=\"user-embedded-video\">\u003Cdiv>\u003Ciframe width=\"560\" height=\"315\" src=\"https:\u002F\u002Fwww.youtube.com\u002Fembed\u002FzNTNbNtft9g\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen>\u003C\u002Fiframe>\u003C\u002Fdiv>\u003C\u002Fdiv>\n\u003Cp>\u003Cstrong>Anderson .Paak\u003C\u002Fstrong>: I was on Bandcamp and SoundCloud — these were pretty much the formats that we were rocking on at one point — and I somehow stumbled on Knxwledge's \"Hexual\" mixtapes on Bandcamp. I was obsessed with them. It was kind of like the Madlib thing: I was just so impressed that this dude had so much material out. I was exploring the world of his beats, and I thought that he had a real gift in finding an amazing eight-bar loop that you can just be hypnotized by.\u003C\u002Fp>\u003Cp>One day, I saw he'd done a remix of a live performance I did called \"Play Your Part.\" Next thing I know, he hit me on Twitter and sent me a s***-ton of beats. I really wanted to impress him. I had just gotten my first car, and I was cruising around every day playing these beats. I felt like I was this young pimp that came from the South, landed in LA and was trying to make a new life for himself: This guy has nothing, but he's ambitious and he wants to start over. It was a whole story.\u003C\u002Fp>\u003Cp>Eventually, he's like, \"Man, we gotta link.\" He lived right by the Hollywood Bowl. I went to his apartment one day, and he was just a super chill, quiet dude. I was bouncing off the walls — I couldn't even keep up with how much weed he smoked. We were polar opposites, but I think we saw a lot of each other in each other. Where he lacked, I could pick up, and vice versa. Once we had \"Suede\" and a few other tunes, and I was like, \"Yo, play this for Stones Throw, let's see if we can get it on there.\" I was always bugging him. \u003Cem>\"You're\u003C\u002Fem> signed. \u003Cem>I\u003C\u002Fem> want to be signed!\"\u003C\u002Fp>\u003Cp>I was doing a lot of different things before I met Kxwledge. If you listen to my music and the tone, it was a lot of experimentation going on, but I don't think I had a distinct sound until I started working with a producer. It was a cohesion that happened, and that was how I was able to get signed. It was through \"Suede\" that I got into Dre's studio; that was the music that he really loved.\u003C\u002Fp>\u003Cp>\u003Cstrong>Peanut Butter Wolf\u003C\u002Fstrong>: With Sudan Archives, I heard one song — \"Come Meh Way\" — and I knew right away I wanted to work with her. I couldn't put a finger on what it was, but she came into the studio, and she just seemed really shy and kind of awkward. She'd introduce herself as a musician, and I'd tell her, \"You're an artist.\" I brought her to Japan and did shows with her, but I could tell that she was going to be a lot bigger than I ever would be.\u003C\u002Fp>\u003Cp>Her last album, [2025's \u003Cem>The BPM\u003C\u002Fem>], was a different, more dancey direction for her. She was like, \"I'm really into the Detroit techno sound, and I'm gonna go to Detroit and record my album there.\" It took a minute for people to understand the changes. She was like, \"I know it's not really Stones Throw.\" And I'm like, \"Yeah, but what is Stones Throw?\" I think with the last album, she really came out of her shell. And the album before that was voted the No. 2 album of the year on Pitchfork. Just seeing where she's gone from when I first met her, it's pretty remarkable.\u003C\u002Fp>\u003Cdiv class=\"user-embedded-video\">\u003Cdiv>\u003Ciframe width=\"560\" height=\"315\" src=\"https:\u002F\u002Fwww.youtube.com\u002Fembed\u002FKNZ8uAz2w-c\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen>\u003C\u002Fiframe>\u003C\u002Fdiv>\u003C\u002Fdiv>\n\u003Cp>\u003Cstrong>A-Trak\u003C\u002Fstrong>: The more recent chapter of Stones Throw — Benny Sings, John Carroll Kirby, and even the NxWorries Project — I think those success stories show that it continues to be a label where a new crop of music fans will want to sign. It's one thing to have released Quasimoto and Madvillain. But for there to be a young audience — a sort of post-Tyler, the Creator audience — who thinks that Benny Sings is super-cool or Mndsgn is super-cool, and wants to sign to the label because of that? When you consider the amount of years that have passed since Jaylib and Madvillain, that's super impressive.\u003C\u002Fp>\u003Cp>For a lot of labels, there's a point where they're like, \"OK, should we try to release something that really is commercially viable?\" And \"commercial\" is not a dirty word, but there can be misses when labels try to do that. I think Stones Throw is really uncompromised: There's never been a release where you're like, \"Yeah, that was the weird years.\" It also kind of shows how the hip-hop mindset is larger than hip-hop music. Even though stuff they release might not be rap music, a lot of times it still sounds like a beat tape. It just kind of shows the broader scope of what happens when your ears are shaped by hip-hop. You can aim farther.\u003Cbr>\u003C\u002Fp>","https:\u002F\u002Fwww.npr.org\u002F2026\u002F10\u002F16\u002Fnx-s1-6005264\u002Fstones-throw-30th-oral-history","https:\u002F\u002Fwnyc.org\u002Fnpr\u002Fnx-s1-6005264",[610],{"id":611,"firstName":612,"lastName":613,"organization":374,"organizationUrl":288,"name":614,"photoID":615,"jobTitle":616,"biography":288,"website":9,"email":9,"slug":617,"url":9,"socialMediaProfile":288},"458414564","Sheldon","Pearce","Sheldon Pearce","https:\u002F\u002Fmedia.npr.org\u002Fassets\u002Fimg\u002F2015\u002F12\u002F04\u002Fsheldon3.jpg_sq-2e2156a5796bb1f5166622ca9c52c24e6317d7f2.jpeg?s={width}&c={quality}&f={format}","Editor, NPR Music","\u002Fpeople\u002F458414564\u002Fsheldon-pearce",{"id":619,"uuid":619,"title":620,"publicationDate":621,"publishAt":621,"updatedDate":622,"tease":623,"description":623,"image":624,"imageFullWidth":625,"imageFullHeight":625,"leadImageCaption":626,"cmsSource":378,"audio":288,"hasAudio":11,"type":604,"estimatedDuration":288,"meta":627,"showTitle":374,"showSlug":288,"body":628,"rawBody":628,"link":629,"shareUrl":630,"authors":631},"nx-s1-6005317","Katie Zacharia is 'transitioning out' as press secretary, White House says","2026-10-16T14:08:33.925-04:00","2026-10-16T16:34:00.793-04:00","Katie Zacharia's first official day was on Monday.","https:\u002F\u002Fnpr.brightspotcdn.com\u002Fdims3\u002Fdefault\u002Fstrip\u002Ffalse\u002Fcrop\u002F3021x3021+755+0\u002Fresize\u002F{width}\u002Fquality\u002F{quality}\u002Fformat\u002F{format}\u002F?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2F56%2Fad%2Fd9e0aa32477197e43fcb5ad9365a%2Fgettyimages-2300010311.jpg",3021,"U.S. President Donald Trump is followed by White House Press Secretary Katie Zacharia (L) as he departs on the South Lawn of the White House on October 13, 2026 in Washington, DC.",{"firstPublishedAt":621,"slug":619},"\u003Cp>Katie Zacharia is \"transitioning out\" of her role as press secretary, according to a White House official not authorized to speak on the record, marking a stunning turn of events for the spokeswoman who officially started Monday and is out by Friday.\u003C\u002Fp>\u003Cp>Zacharia's first briefing was Tuesday morning where she faced scrutiny both over her performance – during which she delivered a lengthy and halting opening statement read from notes and called on only three reporters – and her legal credentials.\u003C\u002Fp>\u003Cp>President Trump on Friday cast doubt on the future of Zacharia, saying he had a discussion with her just before leaving for a campaign rally in Georgia.\u003C\u002Fp>\u003Cp>\"I just spoke to her about it. I said, 'Katie, is this for you?',\" he told reporters. \"She's been treated, I would say, pretty nastily. And I said to Katie just two minutes ago, I said, Katie, you know, you don't have to do this if you don't want.\"\u003C\u002Fp>\u003Cp>He said he was leaving the decision up to her but advised her \"you should reconsider\" serving in the position.\u003C\u002Fp>\u003Cp>The 41-year-old graduate of Pepperdine Caruso School of Law and self-described attorney had stepped in as Trump's chief spokesperson at a moment when his popularity has fallen to record lows and Republicans are scrambling to limit potential losses in the midterm elections.\u003C\u002Fp>\u003Cp>Much of the scrutiny of Zacharia focused on her credentials as an attorney. While standing with Trump, she was asked by reporters where she passed the bar exam.\u003C\u002Fp>\u003Cp>\"When I moved to China,\" Zacharia answered, an apparent reference to what she has described on her \u003Ca href=\"https:\u002F\u002Fwww.linkedin.com\u002Fin\u002Fkatie-zacharia\u002Fdetails\u002Fexperience\u002F?locale=en-US&isSelfProfile=false&vieweeProfileId=ACoAAEutTP4B-s-DGdmq6nV8c2g6xAe2AEElI8w\" target=\"_blank\">LinkedIn page\u003C\u002Fa> as a period of time from 2011 through 2013 spent working for a prominent Beijing-based law firm called Zhon Lun.\u003C\u002Fp>\u003Cp>NPR asked the White House to clarify whether Zacharia is a licensed attorney in the U.S. In a statement provided to NPR, Zacharia said she \"practiced international transaction law, with all the appropriate credentials.\"\u003C\u002Fp>\u003Cp>More recently, Zacharia has served as a communications advisor for the Trump Media & Technology Group, the firm that operates Trump's Truth Social platform. She has also been a frequent pro-Trump commentator on conservative outlets including Fox News and Newsmax.\u003C\u002Fp>\u003Cp>\u003Cem>NPR's Brian Mann contributed.\u003C\u002Fem>\u003C\u002Fp>","https:\u002F\u002Fwww.npr.org\u002F2026\u002F10\u002F16\u002Fnx-s1-6005317\u002Ftrump-casts-doubt-on-press-secretarys-future","https:\u002F\u002Fwnyc.org\u002Fnpr\u002Fnx-s1-6005317",[632],{"id":633,"firstName":374,"lastName":634,"organization":374,"organizationUrl":288,"name":635,"photoID":288,"biography":288,"website":9,"email":9,"slug":636,"url":9,"socialMediaProfile":288},"g-s1-3964","Washington","NPR Washington Desk","\u002Fpeople\u002Fg-s1-3964\u002Fnpr-washington-desk",{"id":638,"uuid":638,"title":639,"publicationDate":640,"publishAt":640,"updatedDate":641,"tease":642,"description":642,"image":643,"imageFullWidth":644,"imageFullHeight":644,"leadImageCaption":642,"cmsSource":378,"audio":288,"hasAudio":11,"type":604,"estimatedDuration":288,"meta":645,"showTitle":374,"showSlug":288,"body":646,"rawBody":646,"link":647,"shareUrl":648,"authors":649},"nx-s1-6005201","Hot flashes, night sweats, insomnia – OB-GYNS set new rules for menopause treatment","2026-10-16T13:45:16.804-04:00","2026-10-16T14:00:24.646-04:00","For the first time since 2014, the American College of Obstetricians and Gynecologists has updated its guidelines for the treatment of symptoms commonly associated with menopause.","https:\u002F\u002Fnpr.brightspotcdn.com\u002Fdims3\u002Fdefault\u002Fstrip\u002Ffalse\u002Fcrop\u002F2420x2420+408+0\u002Fresize\u002F{width}\u002Fquality\u002F{quality}\u002Fformat\u002F{format}\u002F?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2Fb6%2F34%2Fd9c3bde94f53b06e88c7599041d1%2Fgettyimages-151055685.jpg",2420,{"firstPublishedAt":640,"slug":638},"\u003Cp>\u003Cblockquote>\u003Cdiv>\u003Cp>\u003Ca href=\"https:\u002F\u002Fwww.npr.org\u002Fnewsletter\u002Fhealth\"target=\"_blank\"   >\u003Cstrong>\u003Cem>For stories on the science of healthy living, subscribe to NPR's Health newsletter.\u003C\u002Fem> \u003C\u002Fstrong>\u003C\u002Fa>\u003C\u002Fp>\u003C\u002Fdiv>\u003C\u002Fblockquote>\u003C\u002Fp>\u003Cp>For the first time since 2014, the American College of Obstetricians and Gynecologists has updated its guidelines for the treatment of symptoms commonly associated with menopause. The doctor's group, known as ACOG, recommends hormone replacement therapy alongside certain antidepressants, nonhormonal medicines, and other treatments to address symptoms like hot flashes, insomnia and mood swings.\u003C\u002Fp>\u003Cp>\"What's changing is the breadth of options that we now have … And the benefit of that is that we are better equipped to be able to take an individualized approach for patients,\" said Catherine Cansino, MD, MPH, an obstetrician\u002Fgynecologist, chair of ACOG's Committee on Clinical Practice Guidelines and co-author of the new guidance.\u003C\u002Fp>\u003Cp>The guidance, released Thursday, focuses on specific menopausal symptoms and underscores that the safety of hormone replacement therapy is now \"well-established,\" Cansino said.\u003C\u002Fp>\u003Cp>In 2002, the Women's Health Initiative suggested that hormone replacement therapy increased the risk of heart disease, breast cancer, stroke and pulmonary embolism. \u003C\u002Fp>\u003Cp>However, as researchers revisited that data years later, they noticed certain limitations, (including that a majority of participants were 60 years or older) making it difficult to generalize the findings to younger women experiencing menopause or perimenopause.\u003C\u002Fp>\u003Cp>With more and better quality studies, physicians are able to review the evidence and make better-informed recommendations, Cansino said.\u003C\u002Fp>\u003Cp>\"Hormone therapy is probably the best option for symptomatic, newly menopausal women within 10 years of the final menstrual period or before the age of 60,\" said Robert Kauffman, MD, MSCP, a co-author of the guidelines, during a press briefing on Thursday.\u003C\u002Fp>\u003Cp>In addition to hormone replacement therapy, the guidelines highlight new nonhormonal options for treating menopausal symptoms, including the drug fezolinetant, brand name Veozah, which\u003Ca href=\"https:\u002F\u002Fwww.fda.gov\u002Fnews-events\u002Fpress-announcements\u002Ffda-approves-novel-drug-treat-moderate-severe-hot-flashes-caused-menopause\" target=\"_blank\"> the Food and Drug Administration approved to treat\u003C\u002Fa> hot flashes in 2023 and elinzanetant, brand name Lynkuet, which was approved in 2025.\u003C\u002Fp>\u003Cp>\"What's so exciting about these treatment options is they were specifically studied based on the understanding that we have of the physiology of thermoregulation and sleep,\" Cansino said.\u003C\u002Fp>\u003Cp>The medications work by blocking certain chemical messengers in the part of the brain that regulates body temperature and manages sleep\u002Fwake cycles, according to the guidance.\u003C\u002Fp>\u003Cp>About \u003Ca href=\"https:\u002F\u002Fwww.aarp.org\u002Fpri\u002Ftopics\u002Fhealth\u002Fconditions-treatment\u002Fmenopause-women-untreated\u002F\" target=\"_blank\">2 million women begin\u003C\u002Fa> menopause each year. The average age of a woman experiencing menopause is 49.9 years, according to the guidelines. However, symptoms of menopause can begin years before a woman's final menstrual period.\u003C\u002Fp>\u003Cp>The new recommendations support the use of systemic hormone replacement therapy, or HRT, with a combination of estrogen and progestogen in women with a uterus who have no contraindications to hormones.\u003C\u002Fp>\u003Cp>Reasons to avoid hormone therapy include undiagnosed abnormal genital bleeding, and current or past histories of certain gynecologic cancers, blood clots, stroke, heart attack, liver disease or a known or suspected pregnancy.\u003C\u002Fp>\u003Cp>The reason progestogen is recommended in women with a uterus is because estrogen can stimulate growth of the uterine lining and increase the risk of endometrial cancer. Progestogen therapy helps mitigate that risk, Cansino explained.\u003C\u002Fp>\u003Cp>Around half a million women have hysterectomies each year, and for women without a uterus, ACOG \u003Ca href=\"https:\u002F\u002Fpmc.ncbi.nlm.nih.gov\u002Farticles\u002FPMC9529796\u002F\" target=\"_blank\">recommends estrogen alone\u003C\u002Fa>.\u003C\u002Fp>\u003Cp>As an alternative to estrogen-progestogen therapy, ACOG also recommends a pill, sold under the brand name Duavee, that combines estrogen and a drug called bazedoxifene. Bazedoxifene is a \"selective estrogen receptor modulator,\" which blocks the estrogen from working in certain areas of the body, such as breast tissue, while mimicking estrogen's benefit for bone density, for instance.\u003C\u002Fp>\u003Cp>Another drug recommended in the new guideline is gabapentin, an anticonvulsant typically used to treat seizures. It can also manage menopause symptoms for people who can't tolerate hormones or the other new medicines.\u003C\u002Fp>\u003Cp>Cognitive behavioral therapy, mindfulness-based interventions, exercise, clinical hypnosis, and acupuncture can all improve some symptoms, ACOG says, however the guidelines also note that the evidence for these interventions is weaker than the evidence for HRT.\u003C\u002Fp>\u003Cp>Still, patients may have their own preferences and goals, Cansino said.\u003C\u002Fp>\u003Cp>\"I live in California, and I have a practice where many patients don't necessarily want pharmacologic therapy,\" Cansino said. So, she tends to have a lot of conversations about non-pharmacologic treatment options with her patients.\u003C\u002Fp>\u003Cp>\"A healthy diet and regular physical exercise is going to go a long way. So let's start with that,\" and then discuss what other interventions to add to the regimen, she said.\u003C\u002Fp>\u003Cp>Asked, in a follow-up email, whether Cansino recommended one medication or tool over another, she warned against \"over-simplifying treatment based on tiers.\"\u003C\u002Fp>\u003Cp>Just like with contraception, she noted that patients may choose a certain method, knowing that it's less effective. \"As long as they understand the pros and cons, such a decision is perfectly OK.\"\u003C\u002Fp>\u003Cp>Meanwhile, demand for HRT is already rising. Last year, the FDA scrapped the \"\u003Ca href=\"https:\u002F\u002Fwww.npr.org\u002F2025\u002F11\u002F10\u002Fnx-s1-5604358\u002Ffda-reverses-decades-of-guidance-on-hormone-therapy-for-menopause\" target=\"_blank\">black-box warning\u003C\u002Fa>\" on labels for certain estrogen therapies.\u003C\u002Fp>\u003Cp>In recent months, estrogen products like \u003Ca href=\"https:\u002F\u002Fwww.npr.org\u002F2026\u002F03\u002F10\u002Fnx-s1-5742817\u002Fmenopause-hormone-therapy-shortages\" target=\"_blank\">transdermal patches have been hard\u003C\u002Fa> for pharmacies to keep in stock.\u003C\u002Fp>\u003Cp>\"I think the shortage of transdermal estrogen therapy highlights the fact that we have all of this attention about hormone therapy, and not necessarily enough about other treatment options,\" Cansino told NPR.\u003C\u002Fp>\u003Cp>She also stressed the need for patients to talk to trusted clinicians about the pros and cons of treatments and to avoid having \"tunnel vision\" about a single option.\u003C\u002Fp>\u003Cp>The level of care that OB\u002FGYNs provide by helping individual patients find the right treatment is one of the most important aspects of the new guidance, Cansino said.\u003C\u002Fp>\u003Cp>\"There's a lot of misinformation out there and exaggerated claims about hormone therapy, and so some people end up taking risks when they shouldn't,\" she added.\u003Cbr>\u003C\u002Fp>","https:\u002F\u002Fwww.npr.org\u002F2026\u002F10\u002F16\u002Fnx-s1-6005201\u002Fhealth-treatment-menopause-hot-flash-night-sweats-insomnia","https:\u002F\u002Fwnyc.org\u002Fnpr\u002Fnx-s1-6005201",[650],{"id":651,"firstName":652,"lastName":653,"organization":374,"organizationUrl":288,"name":654,"photoID":288,"biography":288,"website":9,"email":9,"slug":655,"url":9,"socialMediaProfile":288},"g-s1-148434","Shannon","Firth","Shannon Firth","\u002Fpeople\u002Fg-s1-148434\u002Fshannon-firth",{"id":657,"uuid":657,"title":658,"publicationDate":659,"publishAt":659,"updatedDate":660,"tease":661,"description":661,"image":662,"imageFullWidth":663,"imageFullHeight":663,"leadImageCaption":664,"cmsSource":378,"audio":288,"hasAudio":11,"type":604,"estimatedDuration":288,"meta":665,"showTitle":374,"showSlug":288,"body":666,"rawBody":666,"link":667,"shareUrl":668,"authors":669},"nx-s1-6001834","The new Elizabeth Holmes film blends fact, fiction and fraud","2026-10-16T13:05:49.355-04:00","2026-10-16T13:17:11.606-04:00","Nathan Fielder's new film about Theranos founder Elizabeth Holmes blurs the lines between reality and fiction. The film can be genuinely gripping — but the truth might not be so ambiguous.","https:\u002F\u002Fnpr.brightspotcdn.com\u002Fdims3\u002Fdefault\u002Fstrip\u002Ffalse\u002Fcrop\u002F4480x4480+942+0\u002Fresize\u002F{width}\u002Fquality\u002F{quality}\u002Fformat\u002F{format}\u002F?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2Fb7%2F79%2F937814704d88ab76915fdf8a9cdd%2Fhttps-cdn-sanity-io-images-xq1bjtf4-production-964fa47326a827f12bf336e880b2fdc4665711e6-5973x4480.jpg",4480,"Elizabeth Holmes with her child as Nathan Fielder looks on.",{"firstPublishedAt":659,"slug":657},"\u003Cp>\u003Cem>You Can See Everything\u003C\u002Fem>, the new documentary(-ish?) film about convicted fraudster Elizabeth Holmes, is best treated as two movies stitched together. The first 90 minutes or so, filmed before she went to prison, are a relatively straightforward chronicle of filmmaker Nathan Fielder and his collaborator Lance Oppenheim documenting Holmes' last month at home with her partner, Billy Evans, and their kids. The other 90 minutes are far more experimental, as the story picks up two years later without Holmes available to film. Fielder and Oppenheim have treated their approach to that part of the story as secret; I will not spoil it.\u003C\u002Fp>\u003Cp>Substantively, the film makes a much better impression as a blend of reality and invention — and not only in the ways it announces itself to be — than it does as a true documentary. If you don't expect to be able to square it with the widely reported facts about its subject, then \u003Cem>You Can See Everything\u003C\u002Fem> is compelling and fascinating, and it contains moments of real insight. (The best one, believe it or not, involves scrambled eggs.) Perhaps ironically, given its title, the best way to enjoy the film is not to look too closely.\u003C\u002Fp>\u003Cp>That's going to be tough for people who, like me, are \u003Ca href=\"https:\u002F\u002Fwww.npr.org\u002F2022\u002F01\u002F06\u002F1070525046\u002Felizabeth-holmes-theranos-trial-fraud\" target=\"_blank\">Theranos completists\u003C\u002Fa>. There is a tremendous amount of reporting and investigating that has been done about Theranos, and about Elizabeth Holmes specifically. Still, Fielder, who develops a close bond with Holmes over the course of the film, seemingly chooses to trust his gut and his own conversations with her over all else, and he develops a sort of chin-stroking inability to decide what to think about what she did. He also has an understandable suspicion that she might be trying to play him, at least early on. This is familiar territory for people who encounter her: Even in Alex Gibney's excellent 2019 documentary \u003Cem>The Inventor\u003C\u002Fem>, the question of Holmes' intent vexes some people. Did she convince herself that a sort of \"fake it till you make it\" approach wasn't exactly lying? Was she so able to fool other people that she fooled herself as well?\u003C\u002Fp>\u003Cp>\u003Cem>You Can See Everything \u003C\u002Fem>presents some of these same questions, but it stacks the deck in answering them by setting aside some of the evidence that would seem, at the very least, to shed some light. For instance, when Holmes tells Fielder she never lies — never has lied in her life — he is skeptical, but he responds by asking her about things like white lies. Surely, she has told a white lie now and then? Gotten out of a social obligation by pretending to be sick? No? She seems open to the possibility she \u003Cem>might\u003C\u002Fem> have, in those very limited situations, but certainly never, ever about anything of any significance.\u003C\u002Fp>\u003Cp>As he works through what to make of this claim on her part, Fielder wonders whether she might, in fact, not have lied to her investors as such. For instance, he wonders if a misunderstanding over the word \"can\" might exonerate her, and whether the rah-rah statements she made about the capabilities of her technology were therefore not intentionally false. Maybe, he wonders, she was just using the word \"can\" one way and her investors heard it a different way. Maybe it's because, as Billy says, she thinks differently. (I should be clear here that these are things that \"Nathan Fielder\" the on-screen character wonders. Whether the filmmaker Nathan Fielder, inside his own mind, actually wonders about these things is impossible to know, as is the distance between those two Fielders.)\u003C\u002Fp>\u003Cp>The problem with spending so much time on this narrow question of what \"can\" means is that this is not, by any stretch of the imagination, the only thing, or the only kind of thing, that Elizabeth Holmes was accused of lying about. For example, at her trial, Holmes was accused of \u003Ca href=\"https:\u002F\u002Fwww.justice.gov\u002Fusao-ndca\u002Fpr\u002Felizabeth-holmes-sentenced-more-11-years-defrauding-theranos-investors-hundreds\" target=\"_blank\">falsely claiming that her technology was being used by the military on the battlefield\u003C\u002Fa>, a statement that doesn't lend itself nearly so easily to a linguistic \"it depends on your definition of 'can'\"-type analysis. But at least in the final cut, Fielder doesn't ask about these other, more concrete untruths and how they might complicate her wide-eyed insistence that she never lies on purpose.\u003C\u002Fp>\u003Cp>Similarly, when poring over whether Holmes has any malicious intent or is just misunderstood because she's overly literal (and, the film strongly implies but does not quite say, neurodivergent), he never asks her about the whistleblowers who \u003Ca href=\"https:\u002F\u002Fwww.npr.org\u002F2022\u002F01\u002F05\u002F1070474663\u002Ftheranos-whistleblower-tyler-shultz-elizabeth-holmes-verdict-champagne\" target=\"_blank\">said she tried to ruin their lives\u003C\u002Fa> with threats, lawyers and private investigators. That, if true, would lend some credence to the idea that she knew she had plenty to hide, rather than having innocently given investors the wrong idea. That consciousness of guilt seems to be precisely the matter at hand. Why not ask her about it?\u003C\u002Fp>\u003Cp>This selective attention and inattention extends even to what happens between the subjects and the filmmakers. Fielder becomes fixated at one point, as communication with Evans breaks down, on the terms of the agreement between the couple and A24 — and whether they would profit from the film. Fielder wonders what Holmes knows of the financial negotiation, and what Evans may (or may not) have shared with her. But ... presumably, Fielder has access to whatever paperwork they signed, since it's his movie. The obvious question is: What, if anything, did Holmes sign, and what did it say? There are suggestions she might not have needed to sign anything at all, but it feels murkier than it should. When Fielder the on-screen character doesn't reckon with evidence that it seems like Fielder the filmmaker should have — and doesn't explain why not — the uncomfortable sense that there's some willful sleight-of-hand going on creeps in. (And again, some varieties of sleight-of-hand with reenactments and such are well within Fielder's usual box of tricks; this is different, particularly if he's not transparent about whether he's doing it.)\u003C\u002Fp>\u003Cp>Fielder aficionados, of whom there are many, will tell you enthusiastically that this bafflement is the point of his methods and of his style. He \u003Cem>wants\u003C\u002Fem> you to find it all very trippy, to question what's real and what's not. He wants you to wonder what to think, including about him. That's true, and he's very good at it, and it works exceptionally well when the ambiguity originates in the messy nature of a real situation and in the strange nature of human behavior, as it does in the film's treatment of some of the underlying dynamics of Holmes and Evans' relationship. It feels a bit more hollow and more manipulative if questions are artificially rendered unanswerable through the setting aside of available evidence.\u003C\u002Fp>\u003Cp>If you treat \u003Cem>You Can See Everything\u003C\u002Fem> as a kind of fact-fiction blend, which it more glaringly becomes in its second half, it is an enormously skilled piece of filmmaking that pulls on precisely the threads it means to. It creates a grayer-than-gray version of Elizabeth Holmes who credibly might, in fact, mostly be a victim of a lot of misunderstandings and some bad relationship choices. Seeing Fielder wrestle with that possibility — particularly as someone who touched, during the second season of \u003Cem>The Rehearsal\u003C\u002Fem>,\u003Cem> \u003C\u002Fem>on his own ambivalence about potentially being diagnosed as neurodivergent — is genuinely gripping. It's even touching, maybe.\u003C\u002Fp>\u003Cp>But if you read John Carreyrou's \u003Cem>Bad Blood\u003C\u002Fem>, and if you listen to the accompanying podcast, and if you watch \u003Cem>The Inventor\u003C\u002Fem>, and if you read about what unfolded at her fraud trial, it's fair to wonder whether \u003Cem>You Can See Everything\u003C\u002Fem>'s version of Elizabeth Holmes is, at its heart, a creation of the filmmakers that could do a disservice to people who treat it as real, as well as to the people who suffered real consequences from her actions. Not just the Theranos investors, but regular people who said they got incorrect test results from Theranos machines, and those whistleblowers, and other people who worked for her and were sucked into her orbit.\u003C\u002Fp>\u003Cp>Fielder and Oppenheim's \"Liz\" is assembled at least in part through the clever use of narrative negative space — through leaving in what supports this \"it's complicated, who knows?\" version of her and leaving out whatever suggests that in reality, that might be a lot of hooey, and she might not be all that different from anybody else who commits a large-scale fraud. That a leader did not initially set out to rip anybody off doesn't mean there was no dishonesty. Even the co-creator of \u003Ca href=\"https:\u002F\u002Fwww.npr.org\u002F2019\u002F01\u002F13\u002F684887614\u002Ffyre-festival-documentary-shows-perception-and-reality-of-infamous-concert-flop\" target=\"_blank\">the Fyre Festival\u003C\u002Fa>, who was also \u003Ca href=\"https:\u002F\u002Fwww.npr.org\u002F2018\u002F10\u002F11\u002F656480640\u002Ffyre-festival-co-founder-billy-mcfarland-sentenced-in-manhattan\" target=\"_blank\">convicted of fraud\u003C\u002Fa>, may have hoped it would be a big success when the planning started. He, too, was probably sad about going to prison.\u003C\u002Fp>\u003Cp>\"It's not that deep\" is not much of a three-hour documentary logline, and it wouldn't make a movie nearly as interesting as this one. But what if that, in fact, is the truth?\u003C\u002Fp>","https:\u002F\u002Fwww.npr.org\u002F2026\u002F10\u002F16\u002Fnx-s1-6001834\u002Felizabeth-holmes-nathan-fielder-you-can-see-everything","https:\u002F\u002Fwnyc.org\u002Fnpr\u002Fnx-s1-6001834",[670],{"id":671,"firstName":672,"lastName":673,"organization":374,"organizationUrl":288,"name":674,"photoID":675,"jobTitle":676,"biography":288,"website":9,"email":9,"slug":677,"url":9,"socialMediaProfile":288},"93702353","Linda","Holmes","Linda Holmes","https:\u002F\u002Fmedia.npr.org\u002Fassets\u002Fimg\u002F2019\u002F03\u002F07\u002Flindaholmes_vert-844bb099d307e2ce1403af43e3959f172f72adaa.jpg?s={width}&c={quality}&f={format}","Host, Pop Culture Happy Hour","\u002Fpeople\u002F93702353\u002Flinda-holmes",{"id":679,"uuid":679,"title":680,"publicationDate":681,"publishAt":681,"updatedDate":681,"tease":682,"description":682,"image":683,"imageFullWidth":684,"imageFullHeight":684,"leadImageCaption":685,"cmsSource":378,"audio":288,"hasAudio":11,"type":604,"estimatedDuration":288,"meta":686,"showTitle":374,"showSlug":288,"body":687,"rawBody":687,"link":688,"shareUrl":689,"authors":690},"g-s1-148404","Amid talk of public execution, public opinion on death penalty is split","2026-10-16T12:28:00.577-04:00","A majority of Americans support the death penalty for people convicted of murder, but support becomes more divided when questions vary.","https:\u002F\u002Fnpr.brightspotcdn.com\u002Fdims3\u002Fdefault\u002Fstrip\u002Ffalse\u002Fcrop\u002F2472x2472+923+0\u002Fresize\u002F{width}\u002Fquality\u002F{quality}\u002Fformat\u002F{format}\u002F?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2Ff1%2F8e%2Ff69a25a94e7297a73a52cd730396%2Fgettyimages-2298257785.jpg",2472,"The U.S. Disciplinary Barracks, where Nidal Malik Hasan is being held on death row, is seen in Fort Leavenworth, Kansas.",{"firstPublishedAt":681,"slug":679},"\u003Cp>U.S. public sentiment about the death penalty has come to the forefront after President Trump gave his blessing, then backtracked, to livestreaming an \u003Ca href=\"https:\u002F\u002Fwww.npr.org\u002F2026\u002F10\u002F09\u002Fnx-s1-5996529\u002Ffiring-squad-livestream-execution-fort-hood-shooter\" target=\"_blank\">execution via firing squad\u003C\u002Fa>.\u003C\u002Fp>\u003Cp>That planned execution comes after \u003Ca href=\"https:\u002F\u002Fwww.npr.org\u002F2026\u002F10\u002F07\u002Fnx-s1-5991884\u002Fformer-tennessee-prisons-chief-oversaw-botched-executions-arizona\" target=\"_blank\">two botched Tennessee lethal injections this year\u003C\u002Fa>, where the state struggled to find veins to administer death-inducing drugs to Christa Pike and Tony Carruthers.\u003C\u002Fp>\u003Cp>Speaking at a press conference a day after Pike's failed execution, Tennessee Gov. Bill Lee said Tennesseans were disappointed about what happened.\u003C\u002Fp>\u003Cp>\"The people of Tennessee have determined that the death penalty is an appropriate penalty for the most heinous crimes in this state,\" he said. \"The people of Tennessee make that decision and my job is to make sure that those sentences are carried out.\"\u003C\u002Fp>\u003Cp>Those Tennesseans join\u003Cstrong> \u003C\u002Fstrong>some two-thirds of Americans who support the death penalty for people convicted of murder, according to a \u003Ca href=\"https:\u002F\u002Fwww.pewresearch.org\u002Fpolitics\u002F2026\u002F08\u002F06\u002Fmost-americans-favor-the-death-penalty-for-those-convicted-of-murder\u002F\" target=\"_blank\">Pew Research Center poll from this summer\u003C\u002Fa>. According to \u003Ca href=\"https:\u002F\u002Fprri.org\u002Fspotlight\u002Famericans-views-on-the-death-penalty\u002F\" target=\"_blank\">PRRI, a nonpartisan nonprofit\u003C\u002Fa>, people that favor the punishment tend to be Christian, white and vote Republican.\u003C\u002Fp>\u003Cp>Daniel LaChance, a history professor at Emory University, says the overall numbers mask a wide range of opinions.\u003C\u002Fp>\u003Cp>\" Support for the death penalty in the United States is a mile wide and an inch deep,\" says LaChance, who also wrote the book \"Executing Freedom: The Cultural Life of Capital Punishment in the United States.\"\u003C\u002Fp>\u003Cp>That's because the polling is incredibly nuanced, LaChance said. When polls offer more variance in the questions, such as life without parole, \u003Ca href=\"https:\u002F\u002Fnews.gallup.com\u002Fpoll\u002F268514\u002Famericans-support-life-prison-death-penalty.aspx\" target=\"_blank\">60% of Americans support that\u003C\u002Fa> over the death penalty. The number drops even further when \u003Ca href=\"https:\u002F\u002Fdeathpenaltyinfo.org\u002Fresearch\u002Fanalysis\u002Freports\u002Fin-depth\u002Fsentencing-for-life-americans-embrace-alternatives-to-the-death-penalty\" target=\"_blank\">monetary support to the victims' family members\u003C\u002Fa> is an option.\u003C\u002Fp>\u003Cp>And separate 2025 polling from \u003Ca href=\"https:\u002F\u002Fnews.gallup.com\u002Fpoll\u002F1606\u002Fdeath-penalty.aspx\" target=\"_blank\">Gallup\u003C\u002Fa> — which has been tracking support for the death penalty since 1937 — shows that 52% of Americans support the death penalty if a person is convicted of murder, the lowest share in more than 50 years.\u003C\u002Fp>\u003Cp>\u003Ch3>The change in public opinion \u003C\u002Fh3>\u003C\u002Fp>\u003Cp>The Death Penalty Information Center, a nonprofit that tracks the use of the death penalty but does not take a position on it, has counted 203 people since 1972 who were exonerated after being wrongfully convicted and sentenced to death.\u003C\u002Fp>\u003Cp>\"Those are just the ones we know about,\" says Robin Maher, the nonprofit's executive director. \"We don't know how many innocent people were executed before we learned about their claims.\"\u003C\u002Fp>\u003Cp>The wrongful death sentences, plus the moral efficacy, are what is swaying the public's opinion, Maher said.\u003C\u002Fp>\u003Cp>\"For the public to realize that the death penalty system was fallible, that it made serious mistakes, raised a lot of issues in people's minds about whether this very costly public policy, that was nonetheless rather inaccurate and unfair, should be used,\" Maher said.\u003C\u002Fp>\u003Cp>The Pew Research Center study from July also found that while most people support the death penalty for crimes like murder, some 59% of respondents in the survey said the death penalty does not deter people from committing serious crimes – versus 39% who believe it does.\u003C\u002Fp>\u003Cp>Six states were responsible for the \u003Ca href=\"https:\u002F\u002Fdeathpenaltyinfo.org\u002Fexecutions\u002F2026\" target=\"_blank\">31 executions\u003C\u002Fa> in 2026 — even though 27 states still legally allow the most severe form of punishment in this country. Florida led the way, with more than half of the executions this year.\u003C\u002Fp>\u003Cp>Maher says that the fact that more than half the states allow capital punishment, but are issuing fewer death sentences, shows that the American people are disenchanted with the use of the death penalty.\u003C\u002Fp>\u003Cp>\" More often than not, they are finding it is not the right answer to violent crime,\" she says. \"Executions on the other hand, are the result of what a handful of elected officials in just a few states are doing.\"\u003C\u002Fp>\u003Cp>Texas accounts for the most executions since the 1970s, while Michigan holds the title for the longest-running death penalty abolition in the U.S., after banning the practice in 1847.\u003C\u002Fp>\u003Cp>\u003Ch3>Out of public sight\u003C\u002Fh3>\u003C\u002Fp>\u003Cp>The planned execution by firing squad is of Nidal Hasan, the former Army psychiatrist stationed at Fort Hood, Texas, who killed 13 people and wounded 32 in 2009. It's slated for December but appeals could delay it further.\u003C\u002Fp>\u003Cp>While 52% of Americans support Fort Hood shooter Nidal Hasan's execution, 80% say \u003Ca href=\"https:\u002F\u002Fwww.ipsos.com\u002Fen-us\u002FABC-News-Washington-Post-Ipsos-Poll-October-2026\" target=\"_blank\">his death should not be livestreamed\u003C\u002Fa>, according to an October poll from ABC News\u002FWashington Post\u002FIpsos.\u003C\u002Fp>\u003Cp>When Defense Secretary Pete Hegseth \u003Ca href=\"https:\u002F\u002Fwww.npr.org\u002F2026\u002F10\u002F09\u002Fnx-s1-5996529\u002Ffiring-squad-livestream-execution-fort-hood-shooter\" target=\"_blank\">announced\u003C\u002Fa> earlier this month\u003Cstrong> \u003C\u002Fstrong>that Hasan would be executed publicly, the U.S. also hadn't conducted a high-profile public execution in 90 years.\u003C\u002Fp>\u003Cp>In certain parts of America, quasi-public executions drew up to 10,000 viewers in the past, said LaChance, the Emory history professor. But the growing use of medicine such as anesthesia began a negative shift in public executions.\u003C\u002Fp>\u003Cp>\" Pain, especially in public spaces, starts to seem scandalous,\" LaChance says. \"It's preventable now. It starts to seem barbaric.\"\u003C\u002Fp>\u003Cp>LaChance also said the public, especially in immigrant communities, would turn the executed into heroes. \"They would claim the body and conduct little parades in Lower Manhattan, celebrating the life of the person who had been put to death,\" he said.\u003C\u002Fp>\u003Cp>One U.S. official \u003Ca href=\"https:\u002F\u002Fwww.npr.org\u002F2026\u002F10\u002F15\u002Fnx-s1-6001794\u002Ffort-hood-execution-hegseth-christian-nationalist\" target=\"_blank\">who spoke to NPR\u003C\u002Fa> on condition of anonymity out of fear of retribution said President Trump was talked out of a livestream execution because it was against American values — but also because there was concern the tape would show up on Jihadi websites, leading to an increase in recruits and possible danger to U.S. forces in the Middle East.\u003C\u002Fp>\u003Cp>\" That's the story of the death penalty,\" LaChance says. \"People didn't want public executions to disappear when they did. Elites did because they were becoming embarrassing carnivals.\"\u003Cbr>\u003C\u002Fp>","https:\u002F\u002Fwww.npr.org\u002F2026\u002F10\u002F16\u002Fg-s1-148404\u002Fpublic-opinion-execution-death-penalty","https:\u002F\u002Fwnyc.org\u002Fnpr\u002Fg-s1-148404",[691],{"id":692,"firstName":693,"lastName":694,"organization":374,"organizationUrl":288,"name":695,"photoID":288,"biography":288,"website":9,"email":9,"slug":696,"url":9,"socialMediaProfile":288},"g-s1-33506","Nate","Perez","Nate Perez","\u002Fpeople\u002Fg-s1-33506\u002Fnate-perez",{"label":698,"url":699},"Visit NPR.org","https:\u002F\u002Fnpr.org",{"id":701,"type":395,"value":702},"c8f4bca7-6440-4dc9-858b-0b2ab47d3afe",{"label":703,"layout":704,"list":705,"seeMoreLink":891},"Upcoming Events","river",{"id":706,"title":707,"listItems":708},102,"Homepage - Upcoming Events",[709,758,799,833,863],{"id":710,"title":711,"tease":9,"type":712,"listingTitle":711,"listingDescription":9,"listingImage":713,"socialTitle":711,"seoTitle":711,"searchDescription":711,"image":724,"imageFullWidth":716,"imageFullHeight":717,"cmsSource":583,"publicationDate":725,"url":726,"shareUrl":726,"section":727,"rawBody":9,"hasAudio":11,"meta":729,"contentType":734,"body":9,"eventDate":735,"endDate":288,"startTime":288,"endTime":288,"duration":736,"ticketUrl":737,"price":738,"eventLocation":739,"venueName":740,"eventUrl":737,"startDatetime":741,"endDatetime":742,"tags":743},169968,"In Conversation: The Affordability Series","event",{"id":714,"title":715,"description":9,"width":716,"height":717,"createdAt":718,"focalPointX":288,"focalPointY":288,"focalPointWidth":288,"focalPointHeight":288,"fileSize":719,"fileHash":720,"alt":721,"caption":9,"credit":9,"creditLink":9,"file":722,"usageLimitations":9,"expiryDate":288,"collection":349,"uploadedByUser":723},361826,"NYC Now Queens",5712,4284,"2026-10-07T16:00:51.280187-04:00",15421991,"e895a2ea07f9725b4ac1fbaef63a92e29f215c3c","Photo of five people in panel 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construction","subway-construction",{"id":759,"title":760,"tease":761,"type":712,"listingTitle":760,"listingDescription":9,"listingImage":762,"socialTitle":760,"seoTitle":760,"searchDescription":760,"image":774,"imageFullWidth":320,"imageFullHeight":765,"cmsSource":583,"publicationDate":775,"url":776,"shareUrl":776,"section":777,"rawBody":761,"hasAudio":11,"meta":778,"contentType":734,"body":761,"eventDate":782,"endDate":288,"startTime":288,"endTime":288,"duration":9,"ticketUrl":783,"price":738,"eventLocation":784,"venueName":785,"eventUrl":786,"startDatetime":787,"endDatetime":288,"tags":788},169896,"Get Lit: T Kira Madden","The October \"Get Lit!\" book club event with author T Kira 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