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When the computer or phone youre using right now blinks its last blink and you drop it off for recycling, do you know what happens? At the recycling center, powerful magnets will pull out steel. Spinning drums will toss aluminum into bins. Copper wires will get neatly bundled up for resale. But as the conveyor belt keeps rolling, tiny specks of valuable, lesser-known materials such as gallium, indium, and tantalum will be left behind. Those tiny specks are critical materials. Theyre essential for building new technology, and theyre in short supply in the U.S. They could be reused, but theres a problem: Current recycling methods make recovering critical minerals from e-waste too costly or hazardous, so many recyclers simply skip them. Sadly, most of these hard-to-recycle materials end up buried in landfills or get mixed into products like cement. But it doesnt have to be this way. New technology is starting to make a difference. As demand for these critical materials keeps growing, discarded electronics can become valuable resources. My colleagues and I at West Virginia University are developing a new technology to change how we recycle. Instead of using toxic chemicals, our approach uses electricity, making it safer, cleaner, and more affordable to recover critical materials from electronics. How much e-waste are we talking about? Americans generated about 2.7 million tons of electronic waste in 2018, according to the latest federal data. Including uncounted electronics, the U.S. recycles only about 15% of its total e-waste, suggests a survey by the United Nations. Even worse, nearly half the electronics that people in Northern America sent to recycling centers end up shipped overseas. They often land in scrapyards, where workers may use dangerous methods like burning or leaching with harsh chemicals to pull out valuable metals. These practices can harm both the environment and workers health. Thats why the Environmental Protection Agency restricts these methods in the U.S. The tiny specks matter Critical minerals are in most of the technology around you. Every phone screen has a super-thin layer of a material called indium tin oxide. LEDs glow because of a metal called gallium. Tantalum stores energy in tiny electronic parts called capacitors. All of these materials are flagged as high risk on the U.S. Department of Energys critical materials list. That means the U.S. relies heavily on these materials for important technologies, but their supply could easily be disrupted by conflicts, trade disputes, or shortages. Right now, just a few countries, including China, control most of the mining, processing, and recovery of these materials, making the U.S. vulnerable if those countries decide to limit exports or raise prices. These materials arent cheap, either. For example, the U.S. Geological Survey reports that gallium was priced between $220 to $500 per kilogram in 2024. Thats 50 times more expensive than common metals like copper, at $9.48 per kilogram in 2024. Revolutionizing recycling with microwaves At West Virginia Universitys Department of Mechanical, Materials, and Aerospace Engineering, I and materials scientist Edward Sabolsky asked a simple question: Could we find a way to heat only specific parts of electronic waste to recover these valuable materials? If we could focus the heat on just the tiny specks of critical minerals, we might be able to recycle them easily and efficiently. The solution we found: microwaves. This equipment isnt very different from the microwave ovens you use to heat food at home, just bigger and more powerful. The basic science is the same: Electromagnetic waves cause electrons to oscillate, creating heat. In our approach, though, were not heating water molecules like you do when cooking. Instead, we heat carbon, the black residue that collects around a candle flame or car tailpipe. Carbon heats up much faster in a microwave than water does. But dont try this at home; your kitchen microwave wasnt designed for such high temperatures. In our recycling method, we first shred the electronic waste, mix it with materials called fluxes that trap impurities, and then heat the mixture with microwaves. The microwaves rapidly heat the carbon that comes from the plastics and adhesives in the e-waste. This causes the carbon to react with the tiny specks of critical materials. The result: a tiny piece of pure, sponge-like metal about the size of a grain of rice. This metal can then be easily separated from leftover waste using filters. So far, in our laboratory tests, we have successfully recovered about 80% of the gallium, indium, and tantalum from e-waste, at purities between 95% and 97%. We have also demonstrated how it can be integrated with existing recycling processes. Why the Department of Defense is interested Our recycling technology got its start with help from a program funded by the Defense Departments Advanced Research Projects Agency, or DARPA. Many important technologies, from radar systems to nuclear reactors, depend on these special materials. While the Department of Defense uses less of them than the commercial market, they are a national security concern. Were planning to launch larger pilot projects next to test the method on smartphone circuit boards, LED lighting parts, and server cards from data centers. These tests will help us fine-tune the design for a bigger system that can recycle tons of e-waste per hour instead of just a few pounds. That could mean producing up to 50 pounds of these critical minerals per hour from every ton of e-waste processed. If the technology works as expected, we believe this approachcould help meet the nations demand for critical materials. How to make e-waste recycling common One way e-waste recycling could become more common is if Congress held electronics companies responsible for recycling their products and recovering the critical materials inside. Closing loopholes that allow companies to ship e-waste overseas, instead of processing it safely in the U.S., could also help build a reserve of recovered critical minerals. But the biggest change may come from simple economics. Once technology becomes available to recover these tiny but valuable specks of critical materials quickly and affordably, the U.S. can transform domestic recycling and take a big step toward solving its shortage of critical materials. Terence Musho is an associate professor of engineering at West Virginia University. This article is republished from The Conversation under a Creative Commons license. Read the original article.
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E-Commerce
Feeling bad about your appearance? Try making a fan edit of yourself. Thats the latest advice circulating on TikTok, where users are cutting and stitching together dramatic clips of themselves to the tune of Rasheedas 2006 track Got That Good. And it seems to work. One viral video, with 10 million views, has people hyping up the creator in the comments. WHO IS THAT DIVA? one wrote. Chill out my bf is on this app, another added. In another video, with 5.6 million views, the creator wrote, Feel ugly? Make an edit with yourself to boost your confidence. Again, the internet responded with compliments, and many saying they are going to try the trend for themselves. This was my favorite activity as a high schooler, one commented. Made one yesterday and cant stop looking at it, another wrote. Hold on wait Im gonna try this but I’m afraid it would raise my ego through the roof. The trend is meant to boost creators confidence by giving themselves a fan edit normally reserved for the likes of Harry Styles, Timothée Chalamet, and other beloved celebrities. Fan edits have long been a cornerstone of fandom and online culture. They are also an art form, with dramatic music, flashy transitions, and glowing filters that show the subjects at their most attractive and iconic. But why should celebrities be the only ones who get the fan-cam treatment? Its no secret that social media is a highlight reel. Yet even when we know Instagram is not real life, the constant exposure to filtered photos and curated feeds can take a toll on our self-image. Research backs this up. One 2021 study found that frequent Instagram use is linked to higher rates of body dissatisfaction, a stronger desire to be thin, and lower self-esteem among girls ages 14 to 24. Why not put those editing skills to good use instead?
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E-Commerce
Want more housing market stories from Lance Lamberts ResiClub in your inbox? Subscribe to the ResiClub newsletter. Zillow economists have an economic model known as the Zillow Market Heat Index to gauge the competitiveness of housing markets across the country. This model looks at key indicatorsincluding home price changes, inventory levels, and days on marketto generate a score showing whether a market favors sellers or buyers. A higher score indicates a hotter metro-level housing market where sellers have more power. A lower score indicates a colder metro-level housing market where buyers have more power. According to Zillow, a score of 70 or above is a strong sellers market, and a score from 55 to 69 is a sellers market. A score of 44 to 55 indicates a neutral market. A score from 28 to 44 reflects a buyers market, and a score of 27 or below is a strong buyers market. Nationally, Zillow rates the U.S. housing market at 55 for its April 2025 reading, published in May 2025, right on the border between a sellers market and a neutral market. That said, Zillows reading varies significantly across the county. !function(){"use strict";window.addEventListener("message",(function(a){if(void 0!==a.data["datawrapper-height"]){var e=document.querySelectorAll("iframe");for(var t in a.data["datawrapper-height"])for(var r,i=0;r=e[i];i++)if(r.contentWindow===a.source){var d=a.data["datawrapper-height"][t]+"px";r.style.height=d}}}))}(); Among the 250 largest metro area housing markets, these 10 are the hottest markets, where sellers have the most power, according to Zillow: Rochester, NY: 169 Buffalo, NY: 126 Charleston, WV: 107 Syracuse, NY: 105 Hartford, CT: 97 Albany, NY: 97 Manchester, NH: 93 Anchorage, AK: 86 Boston, MA: 85 Lansing, MI: 85 And these 10 are the coldest markets, where buyers have the most power, according to Zillow: Jackson, TN: 23 Macon, GA: 25 Gulfport, MS: 26 Brownsville, TX: 27 Naples, FL: 27 Cape Coral, FL: 30 Daphne, AL: 30 Panama City, FL: 30 Punta Gorda, FL: 31 Beaumont, TX: 33 5 takeaways on Zillows latest assessment Directionally, theres a lot Zillow gets right. We believe Zillow has correctly identified many regional housing markets where buyers have gained the most leverageparticularly around the Gulf. It also highlights areas where sellers have maintained, relatively speaking, some degree of control, including large portions of the Northeast and Midwest. In ResiClub’s view, Zillow is slightly overstating Northeast and Midwest tightness. While there are still some relatively competitive pockets in those regions, Zillows model appears to exaggerate the strength of seller conditions. In the real world, many of these markets feel more neutral or only slightly tilted toward sellersnot full-blown strong sellers markets as the model suggests. Zillow also appears to be overstating seller strength on the West Coast. Conditions on the West Coast have clearly softened over the past year, and Zillows model doesnt fully reflect that shift. The softest housing markets right now are Southwest Florida and Central Texas. Based on our own housing market analysis, Florida, in particular, Southwest Florida currently stands out as the softest region in the country, followed by Central Texas markets such as Austin and San Antonio. Zillows Market Heat Index is usefulbut I believe ResiClub’s monthly reportsespecially our inventory analysis across +800 metros and +3,000 counties and our home price analysis across 800+ metros and 3,000+ countiesdo a better job of keeping housing stakeholders ahead of market shifts and better informed on current market dynamics. What did this Zillow analysis look like back in spring 2022 at the climax of the pandemic housing boom? Below is Zillows April 2022 readingpublished in May 2022.
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E-Commerce
New York City’s Brooklyn-Queens Expressway is falling apart. Built between 1946 and 1964, the urban highway runs 12.1 miles through the heart of the two boroughs to connect on either end with the interstate highway systema relic of midcentury car-oriented infrastructure, and a prime example of the dwindling lifespan of roads built during that time. The degradation is most visibleand most pressingin a section running alongside Brooklyn Heights known as the triple cantilever. This 0.4-mile section, completed in 1954, is unique among U.S. highways in that it juts out from the side of a hill and stacks the two directions of traffic on balcony-like decks, one slightly overhanging the other. A third level holds a well-loved park, the Brooklyn Heights Promenade. This unusual layer cake of a freeway was a marvel of engineering in its day, though not without controversy. Masterminded by Robert Moses, the citys all-powerful, often ruthless city planner for more than four decades, the roadway bisects working-class and immigrant neighborhoods that grapple with the health and environmental fallout to this day. Like the reputation of the man who built it, the triple cantilever has aged poorly. Its narrow width, (33.5 feet for the roadway in either direction) has made all but the most basic maintenance incredibly difficult, and its 71-year-old structure is constantly battered by the ever heavier automobiles and trucks. Designed to accommodate around 47,000 vehicles per day, it now carries more than three times that amount. Deteriorating deck joints and failing steel-reinforced concrete have led many to worry the triple cantilever is on the verge of collapse. An expert panel warned in 2020 that the triple cantilever could be unusable by 2026. [Photo: Alex Potemkin/Getty Images] The mounting concern comes amid a 50-year decline in direct government spending on infrastructure in the U.S., according to a recent analysis by Citigroup. Simply maintaining existing infrastructure is a challenge, the report notes. Meanwhile, the American Society of Civil Engineers grade for the countrys infrastructure has improved, from a D+ in 2017 to a C in 2025. Now even private credit firms are circling: As reported in Bloomberg, Apollo Global Management estimates that a boom in infrastructure deals help could grow the private debt market up to a staggering $40 trillion. Independent urban designer Marc Wouters has an idea on how to fix BQEs cantilever. Hes been working on it for years. “My process is that I always interview people in the community before I do any drawings,” he says. So I really have listened to pretty much everybody over the past few years.” Unsolicited and developed in his own spare time, Wouters has designed an alternative for the triple cantilever that he named the BQE Streamline Plan. BQE Streamline Plan [Image: courtesy Marc Wouters | Studios/2025] His concept, based on decades of experience in urban planning, infrastructure, and resilience projects in communities across the country, is relatively simple: extend the width of the two traffic-bearing cantilevers and add support beams to their outside edge, move both directions of traffic onto four lanes on the first level, and turn the second level into a large freeway cap park. Instead of major rebuilding efforts, Wouters’s proposal is more of a reinforcement and expansion, with a High Line-style park plopped on top. Though he’s not an engineer, Wouters is confident that his design would shift enough strain off the existing structure to allow it to continue functioning for the foreseeable future. (What actual engineers think remains to be seen.) “What I’ve done is come up with a plan that happens to be much less invasive, faster to build, a lot cheaper, and it encompasses a lot of what the community wants,” he says. “Yet it still handles the same capacity as the highway does right now.” So what will it take for this outsider’s idea to be considered a viable design alternative? This idea had been brewing in his mind for years. Wouters, who lives near the triple cantilever section of the BQE in Brooklyn Heights, has followed the highway’s planning process for more than a decade. As complex infrastructure projects go, this one is particularly convoluted. The BQE is overseen by both the state of New York and New York City, among others, with the city in charge of the 1.5-mile section that includes the triple cantilever. This dual ownership has complicated the management of the highway and its funding. The city and the state have launched several efforts over the years to reimagine the highways entire length. In winter 2018, the citys Department of Transportation (NYC DOT) released two proposals to address the ailing cantilever. Not seeing what they wanted from either one, Brooklyn Heights Association, a nonprofit neighborhood group, retained Wouters and his studio to develop an alternative design. He suggested buildin a temporary parallel bypass that would allow a full closure and repair of the triple cantilever. That proposal, along with competing ideas developed under the previous mayoral administration, went by the wayside in 2022, when the latest BQE redesign process commenced. Wouters found himself following yet another community feedback and planning process for the triple cantilever. The ideas being proposed by the city’s DOT this time around included a plan that would chew into the hillside that currently supports the triple cantilever to move the first tier of traffic directly underneath the second, and add a large girding structure on its open end to hold it all up. Other options included reshaping the retaining wall that currently holds up the triple cantilever, moving traffic below grade into a wide tunnel, or tearing the whole thing down and rebuilding from scratch. Each would be time-consuming and disruptive, and many of them cut into another well-loved public space immediately adjacent to the triple cantilever, Brooklyn Bridge Park. None of these options has anything close to unanimous support. And any of them will cost more than $1 billiona price tag that hits much harder after the Federal Highway Administration rejected an $800 million grant proposal for fixing the BQE back in early 2024. BQE Streamline Plan [Image: courtesy Marc Wouters | Studios/2025] Wouters is no highway zealot. In fact, he’s worked on a project heading into construction in Syracuse that will replace an underutilized inner-city highway with a more appropriately sized boulevard and developable land. But he felt sure there was a better way forwarda concept that would work as well in practice as on paper. “I just kept going to meetings and waiting to see what I thought was a progressive solution,” Wouters says. Unimpressed and frustrated, he set out to design it himself. Wouters released the Streamline Plan in March. The concept quickly gathered interest, receiving a flurry of local news coverage. He has since met with various elected officials to discuss it. But as elegant as Wouters’s concept may be, some stakeholders remain unconvinced that the city should be going all in on a reinterpretation of the triple cantilever. What might be more appropriate, critics say, is to make necessary fixes now to keep the triple cantilever safe and functional, and to spend more time thinking about whether this section of highway is even what the city needs in the long term. A group of local organizations is calling for a more comprehensive reconsideration of the BQE under the premise that its harms may be outnumbering its benefits. Launched last spring, the Brooklyn-Queens Expressway Environmental Justice Coalition wants any planning for the future of the BQE to include efforts to address its health and environmental impacts on neighboring communities and to seek an alternative that reconnects communities that have been divided by the corridor. One member of this coalition is the Riders Alliance, a nonprofit focused on improving public transit in New York. Danny Pearlstein, the group’s policy and communications director, says implementing a major redesign of the triple cantilever would just reinforce car dependency in a place that’s actually well served by public transit. The environmental justice coalition’s worry is that rebuilding this one section in a long-term fashion could make it harder for change across the length of the entire BQE and could increase the environmental impact the highway has on the communities that surround it. “This is not just one neighborhood. This is communities up and down the corridor that don’t resemble each other very much in income or background who are united and are standing together for something that’s transformative, rather than doubling down on the old ways,” Pearlstein says. [Photo: NYC DOT] Lara Birnback is executive director of the Brooklyn Heights Association, representing a neighborhood of roughly 20,000 people. Her organization, which worked directly with Wouters in the past, is circumspect about his latest concept. “It’s certainly more interesting and responsive to the kinds of things that the comunity has been asking for when thinking about the BQE. It’s more of those things than we’ve seen from any of the designs that New York City DOT has presented to us through their engagement process,” she says. “But at the end of the day, it’s still a way of preserving more or less the status quo of the BQE as a major interstate highway running through the borough.” She argues it makes more sense to patch up the triple cantilever and use the extra years of service that buys to do a more radical rethinking of the BQE’s future. (For example, one 2020 proposal by the Brooklyn-based architecture studio Light and Air proposed a simple intervention of installing buttresses on the open-air side of the triple cantilever, propping it up with a relatively small addition of material.) “We really strongly encourage the city to move forward immediately with a more short-term stabilization plan for the cantilever, with repairs that would last, for example, 20 to 25 years rather than spending billions and billions of dollars rebuilding it for the next 100 years,” Birnback says. Birnback says a major rebuilding plan like the one Wouters is proposingfor all its community benefitscould end up doing more harm to the city. “I think going forward now with a plan that both embeds the status quo and most likely forecloses on the possibility of real transformation across the corridor is a mistake,” she says. NYC DOT expects to begin its formal environmental review process this year, laying the necessary groundwork for deciding on a plan for what to do with the triple cantilever, either for the short term or the long term. The environmental process will evaluate all concepts equally, according to DOT spokesperson Vincent Barone, who notes that the department is required to review and respond to all feedback that comes in through that process. There is technically nothing holding back Wouters’s proposal from being one of the alternatives considered. And he may have some important political support to help make that happen. Earlier this month, Brooklyn’s Community District 2 board formally supported the plan. They are calling for the city’s transportation department to include it in the BQE’s formal environmental review process when it starts later this year. [Photo: Sinisa Kukic/Getty Images] Wouters argues that his proposal solves the pressing structural problems of the triple cantilever while also opening resources to deal with the highway’s big picture challenges. “The several hundred million dollars of savings is now funding that could go to other parts of the BQE. And there are other parts that are really struggling,” he says. “I’m always thinking about the whole length and about all these other communities, not just this one.” With a new presidential administration and a mayoral primary election in June, what happens with the triple cantilever is very much up in the air. But if the environmental review process begins as planned this year, it only makes sense for every option to fall under consideration. What gets builtor torn down, or reconstructed, or reinterpretedcould reshape part of New York City for generations.
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Until last October, Argentinian musical duo Ca7riel & Paco Amoroso were more or less a regional act. Known for their experimental blend of Latin trap, pop, and rap, the pair had a fanbase, but still werent cracking more than 3,000 daily streams across services like Spotify, Apple Music, and YouTube. Within a week, they shot up 4,700%hitting 222,000 daily streamsaccording to exclusive data firm Luminate, which powers the Billboard charts. Suddenly Ca7riel & Paco Amoroso were global pop stars. What changed? On Oct. 4, the pair were featured in a Tiny Desk Concert, part of NPRs 17-year-old video series featuring musicians performing stripped-down sets behind an office desk in the cramped Washington, D.C. headquarters of the public broadcaster. In the concert video, the artists play five songs from their debut album Bao Maria, which came out last April. Pacos raspy voice emerges from underneath a puffy blue trapper hat while Ca7riel sports an over-the-top pout and a vest made of stitched-together heart-shaped plush toys. The pair sing entirely in Spanish, backed by their Argentinian bandmates (sporting shirts screenprinted with their visas) and an American horn section. The duos performance quickly took off across the internet. Within five days, it had racked up more than 1.5 million views on YouTube, and hit 11 million in little more than a month. It also reverberated across social media: the NPR Music Instagram post garnering nearly 900,000 likes, and TikToks clips garnered hundreds of thousands of views. In a year that featured Tiny Desk performances from buzzy stars like Chappell Roan and Sabrina Carpenter, as well as established acts like Chaka Khan and Nelly Furtado, Ca7riel & Paco Amorosos concert was the most-watched of 2024. It currently sits at 36 million views. That virality translated to an influx of bookings for the duo, including a performance at Coachella in April, and upcoming slots at Glastonbury in June, FujiRock Japan in July, and Lollapalooza and Outside Lands in August. Ca7riel & Paco Amorosos global tour includes sold-out dates at Mexico’s 20,000-capacity Palacio de los Deportes and Chile’s 14,000-seat Movistar Areanaand was previewed by an appearance on The Tonight Show Starring Jimmy Fallon in April. Through Tiny Desk, we’ve noticed media approaching us, promoters being very interested in offering their spaces and festivals, and many media outlets opening doors to show us to the world, says Jonathan Izquierdo, the bands Spain-based tour manager who began working with the duo shortly after the Tiny Desk Concert debuted. Weve managed to sell out summer arena shows in record time and we’re constantly adding new concerts. Promoters are knocking on our doors to get the Tiny Desk effect. Bobby Carter [Photo: Fenn Paider/courtesy NPR] Tiny Desk, Big Influence The Tiny Desk effect is something Bobby Carter, NPR Tiny Desk host and series producer, has seen firsthand. Carter has been at NPR for 25 years, including the past 11 on the Tiny Desk team. He took the reins when Bob Boilen, the longtime All Songs Considered host who launched Tiny Desk in 2008, retired in 2023. The serieswhich now has more than 1,200 videosbegan as an internet-first way for Boilen to showcase performances from musicians that were more intimate than what happens in bigger concert venues. The first installment, featuring folk artist Laura Gibson, went up on YouTube. Today, the concerts are posted on the NPR site with a writeup and credits, as well as YouTube, where NPR Music has 11 million followers. NPR Music also clips installments on Instagram, where it has 3 million followers. In the early days, NPR staff reached out to touring bands to secure bookings. Acts coming through DC could often be cajoled into filming an installment before heading out to their venues for that nights sound check. Now, musicians come to DC just for the chance to record in NPRs offices. We dont have to worry about tours anymore, Carter says. Labels and artists are willing to come in solely for a Tiny Desk performance. They understand the impact that a really good Tiny Desk concert can have on an artists career. Early on, the stripped-down nature of the Tiny Deskartists cant use any audio processing or voice modulationlent itself to rock, folk, and indie acts. But a 2014 concert with T-Pain, in which the famously autotune-heavy singer unveiled an impressive set of pipes, showed how artists from a broader array of genres could shine behind the Tiny Desk. Everyone knows at this point that theyre going to have to do something different in our space, Carter says. Its a bigger ask for hip-hop acts and electronic acts, but most artists now understand how important it can be if they nail it. Carter highlights rapper Doechii as an artist who overhauled her sound for her Tiny Desk concert in December. Doechiis all-female backing band used trumpet, saxophone, guitar, and bass to transform songs from her mixtape Alligator Bites Never Heal for the live setting. If you listen to the recorded version of her music, its nothing like what you saw in that Tiny Desk, Carter says. Clips of Doechiis Tiny Desk virtuosity lit up social media, introducing the swamp princess to new fans. The concert even inspired a viral parody, with writer-director-comedian Gus Heagary pretending to be an NPR staffer watching the performance. Reimagining Old Favorites It isnt just emerging acts that totally revamp their sound for a Tiny Desk opportunity. Established artists like Usher, Justin Timberlake, and Cypress Hill have followed T-Pains lead and used NPRs offices to showcase reimagined versions of some of their most popular songs. When Juvenile recorded his installment in June 2023, he was backed by horns and saxophones, a violin and cello, and John Batiste on melodica. The New Orleans rapper played an acoustic version of Back That Azz Up twice at the audiences requestthe first encore in the series history. I love what has happened with hip hop [on Tiny Desk], Carter says. He explains that artists now approach the concert with the mindset: I have to really rethink what Ive been doing for however long Ive been doing it, and present it in a whole new way. Tiny Desk has also helped musicians like Juvenile, gospel artist Marvin Sapp, and percussionist Sheila E to reach new audiences while reminding listeners theyre still making music. Were helping artists to re-emerge, Carter says, tapping into legacy acts and evergreen artists [to help] breathe new life into their careers. In many ways, Tiny Desk now occupies a niche once filled by MTV Unpluggedbut for the generation that has replaced cable with YouTube and streaming. Maybe 10, 15, 20 years ago, all of our favorite artists had this watershed moment in terms of a live performance, Carter says. Back in the day it was MTV Unplugged. SNL is still doing their thing. But when you think about the generation now that lives on YouTube, some of these Tiny Desk performances are going to be the milestone that people point to when it comes to live performances. Building a Diverse Audience When Carter talks about Tiny Desk concerts reaching a new generation of listeners, its not conjecture. He notes that the NPR Music YouTube channels 11 million subscribers are as young and diverse as it gets. Its almost half people of color [and] much younger than the audience that listens to NPR on air, which is an audience NPR has been trying to tap for a long time, he says. That diversity informs some of the special series that Tiny Desk produces. The Juvenile video was part of Carters second run of concerts recorded for Black Music Month, in June. Ca7riel & Paco Amorosos video was tied to El Tiny, a Latin-focused series that debuts during Latin Heritage Month (from mid September to mid October) and is programmed by Tiny Desk producer and Alt.Latino host AnaMaria Sayer. Ca7riel & Paco Amoroso’s tour manager, Izquierdo, has worked with artists featured in the series before. He says Tiny Desk is crucial for Latin American artists trying to break through. I’ve realized that for U.S. radio, Latin music benefits from Tiny Desk, he says. The Tiny Desk audiences broad demographics are also increasingly reflected in its broader programming. Bad Bunnys April installment took his reggaeton-inspired songs from recent album Debi Tirar Mas Fotos to their acoustic roots, using an array of traditional Puerto Rican, Latin American, and Caribbean instruments, such as the cuatro puertorriqueo, tiple, güicharo, and bongos. [Our] audience informs a whole lot of what we do, Carter says. I get so many pointers from YouTube comments like Have you heard of this artist? Were watching all that stuff because it helps us stay sharp. Tiny Desk heard round the world With a strong global audience, Tiny Desk has been expanding into Asia. In 2023, NPR struck a licensing deal with South Korean Telecom LG U+ and production company Something Special to produce Tiny Desk Korea for television. Last year, NPR inked a deal with the Japan Broadcasting Corporation (NHK) to launch Tiny Desk Concerts Japan. Were really expanding in terms of global reach, Carter says. Here in the States, Carter and Sayer recently launched Tiny Desk Radio, a series that will revisit some of the series notable installments, sharing behind-the-scenes stories from their productions and playing the audio from the concerts Our engineers put a lot of time and effort into making sure that we sound great, Carter says. I hear it a lotpeople tell me they prefer an artists Tiny Desk over anything. That’s something Ca7riel & Paco Amoroso clearly have on their mind as they navigate the Tiny Desk effect and a new level of recognition (their daily streams haven’t dipped below 50,000 a day since the beginning of the year). The duo released an EP in February, Papota, which features four new songs, plus the recorded versions of their pared-down Tiny Desk performances. They also released a short film that recreates their Tiny Desk performancethis time in a Buenos Aires diner. One of the themes of the EP is the pair wrestling with the implications of their viral success. On the song Impostor, Ca7riel asks Y ahora que vamos hacer?/El tiny desk me jodio” (What do we do now? Tiny Desk fucked me up.) It’s an overstatement, but an acknowledgment that the path theyre now on ran directly through the NPR offices.
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