This year, however, the two leading manufacturers — Adidas and Nike — have taken a different direction. Instead of focusing solely on traditional coordinated kits with matching shorts, socks and boots, both brands have leaned heavily into streetwear-inspired collections.

Drawing influence from football culture both on the pitch and beyond it, the new lines combine heritage designs with modern street staples.

Nike unveiled its World Cup home shirts through a cinematic short film featuring high-profile players such as Virgil van Dijk, William Saliba and Cole Palmer. Rather than full match kits, the athletes were styled in cargo trousers, denim and trainers, blending sport with everyday fashion.

Adidas pushed the concept even further at its recent away kit launch in Los Angeles. Celebrities including Kendall Jenner and Damson Idris attended as models paired the shirts with flared trousers, distressed jeans and micro-shorts.

According to Adidas’ global football manager, the aim is to show supporters “how to make the kits part of their everyday wardrobe.”

Sam Handy explains that the overlap between streetwear, music, fashion and football has been evident for some time, describing the sport as a shared global passion that naturally connects these worlds.

“It took a few seasons before everyone really recognised it,” he notes.

Streetwear’s connection to football can be traced back to the UK casuals movement of the 1970s.

Rather than wearing full team colours, casuals opted for a more understated look. Polo shirts, denim jackets and flared trousers from brands such as Adidas, Fila, Sergio Tacchini, Lacoste, Slazenger, Stone Island and Fred Perry replaced traditional replica kits.

Over the years, those terrace-inspired styles moved beyond stadiums and into mainstream fashion.

Adidas has referenced this heritage with its £80 Britcore Jersey in the new collection. Marketed as a 90s-inspired piece suited to layering or standing out at weekend events, it clearly targets a wider audience than match-going fans alone.

Meanwhile, Nike has introduced a Jordan and Brazil collaboration ahead of the tournament. An “old-school” goalkeeper shirt, promoted as pitch-ready style reworked for everyday wear, retails at £79.99.

With the 2026 World Cup set to take place across the United States, Mexico and Canada from 11 June to 19 July, several brands have blurred the line between performance wear and street fashion even further by releasing cropped versions of their shirts.

Adidas first rolled out cropped kits for major European clubs including Liverpool, Real Madrid and Bayern Munich in 2025, presenting them as a more dynamic option for female supporters.

Handy says the idea emerged after noticing fans cutting and resewing shirts themselves to achieve a better fit.

He adds that the future of football lies with women, stressing that brands failing to invest meaningfully in them risk overlooking half of the potential fanbase.

For 22-year-old Liverpool supporter Ellie-Ann Prendergast, choosing match-day outfits has strengthened her connection to the club. “Putting together looks for games has made the whole experience more enjoyable,” she says.

She describes herself as passionate about styling and staying updated with the latest releases, and enjoys seeing other fans express themselves through fashion on match days.

“As a newer fan, I’ve felt welcomed straight away because the community feels like a family,” she adds.

Given the strong influence of the NBA and NFL in the United States — leagues long associated with trend-driven fashion — it seems fitting that streetwear features so prominently in North America’s upcoming World Cup collections.

Yet sport and fashion have not always been so closely aligned.

In 2005, the NBA introduced a dress code requiring players to appear “business casual” while representing the league, an effort widely seen as limiting overt streetwear.

Players responded by hiring stylists and creatively interpreting the rules, maintaining elements of their personal style while complying with regulations.

According to British football content creator Tiannah Pedler, many modern footballers grew up admiring basketball players.

She argues that fashion offers footballers a rare opportunity to express individuality. “Those who are genuinely interested in style can build a powerful personal brand,” says the 26-year-old.

David Beckham embodied this in the early 2000s, while more recently players such as Kylian Mbappé, Marcus Rashford and Jude Bellingham have appeared at Paris Fashion Week during their time off.

French players, in particular, have developed a reputation for bold fashion choices, with striking outfits often attracting viral attention.

Streetwear’s formal entry into European football gained momentum in 2018, when Paris Saint-Germain announced a commercial partnership with the Jordan brand.

The collaboration, linked to basketball icon Michael Jordan, is widely credited with accelerating the fusion of high fashion and football across Europe.

Pedler notes that PSG has successfully positioned itself as a lifestyle brand, appealing even to those who may not closely follow the sport.

She also highlights Arsenal as a club embracing this strategy, having worked with several London-based streetwear labels over the past year.

“Arsenal have executed their collections exceptionally well,” she says.

“If they win the league, they might host the best-dressed title parade ever,” she adds with a laugh.

Other teams are following suit. Everton recently partnered with Los Angeles label Anti Social Social Club, while Manchester United’s collaboration with Adidas inspired by The Stone Roses has proven especially popular among supporters.

As clubs continue to recognise the demand for more fashion-forward ways to display loyalty, further streetwear partnerships are likely to become a defining feature of football culture in the years ahead.

The New Jersey rock icon debuted “Streets of Minneapolis” in late January, during a wave of national protest following the fatal shootings of Renee Good and Alex Pretti by federal officers. On Tuesday night, Springsteen and the E Street Band are expected to perform the song at the Target Center as they open the “Land of Hope & Dreams American Tour.”

“This tour will be political and directly connected to what’s happening across the country,” Springsteen told the Minnesota Star Tribune in an interview published Wednesday. “Minneapolis and St. Paul felt like the right place to begin, and I plan to close it in Washington.”

Speaking to a New York audience on March 23 during a 30th anniversary event for the independent news program “Democracy Now!,” Springsteen said the tour will continue on to Portland, Oregon, and Los Angeles, “two more cities that have had to confront ICE and its tactics.” The run concludes May 27 in Washington, D.C., where he indicated he would address the White House directly.

“Streets of Minneapolis” became one of several tributes released by international and local musicians as thousands of Minnesotans demonstrated in the streets. Springsteen performed a stripped-down solo version Saturday at the major “No Kings” rally held at the state Capitol in St. Paul.

“This past winter, federal forces brought death and fear to the streets of Minneapolis,” Springsteen told a crowd estimated at 100,000 by the Minnesota State Patrol. “But they chose the wrong city. The unity and resolve of Minneapolis and Minnesota inspired the nation. Your determination showed us that this is still America, and that these heavy-handed incursions into American cities will not stand.”

The stark video accompanying “Streets of Minneapolis” portrays a city overwhelmed by 3,000 federal officers in what the Trump administration described as its largest immigration enforcement effort in the country.

“We’ll take our stand for this land / And the stranger in our midst / We’ll remember the names of those who died / On the streets of Minneapolis,” Springsteen sings.

The footage includes masked agents in tactical gear, as well as Greg Bovino, the official overseeing the operation, who was later withdrawn from Minneapolis amid public backlash and is now preparing to retire. It also features 5-year-old Liam Conejo Ramos, wearing a bunny hat and a Spider-Man backpack, encircled by immigration officers — an image that sparked outrage worldwide.

The video further documents the temporary memorials that appeared at the sites where Good and Pretti were killed, interwoven with clips capturing their final encounters with officers. It culminates in scenes of thousands of residents flooding Minneapolis streets, chanting “ICE Out!”

Springsteen and President Donald Trump have had a long-running public feud. During a European tour last year, Springsteen sharply criticized the Trump administration, calling it “corrupt, incompetent and treasonous,” and labeling Trump an “unfit president” leading a “rogue government” disconnected from American ideals.

Trump has responded with personal attacks, once referring to Springsteen as a “dried out prune of a rocker.” In a social media post, he wrote that he never liked Springsteen, his music, or his “Radical Left Politics,” adding that the musician was “not a talented guy — just a pushy, obnoxious JERK.”

Social commentary has long been central to Springsteen’s work, a theme that connects back to Minnesota. In 1984, after releasing “Born in the U.S.A.” — whose title track is often misinterpreted despite its portrayal of a disillusioned Vietnam veteran — Springsteen launched that tour in St. Paul.

According to him, this period occurred more than six years ago. At the time, Yevhen was preparing to participate in a televised dance project alongside Ksenia Mishina and was experiencing intense psychological pressure. Because of this, he began drinking up to two bottles of wine before going to bed and even considered withdrawing from the competition altogether.

“Before the project with Mishina, I was seriously thinking about not entering the season at all. I started having severe panic attacks. I was prescribed tranquilizers and antidepressants, but they didn’t really help. While you’re taking them, you might feel some effect, but once you stop, everything feels three times worse. After finishing the course, I turned to alcohol. For about a month, I was drinking, even though I’m generally not someone who relies on alcohol. In the evenings, I would have one, sometimes one and a half or even two bottles of wine before bed. Eventually, I couldn’t even leave the house because the panic attacks became overwhelming,” Kot recalled.

Later, Yevhen decided to seek professional help and found a specialist who was able to significantly improve his condition.

“I found a psychologist, and we immediately connected. I felt the positive effect right away. She helped me work through my inner struggles so deeply that I regained confidence in myself,” the choreographer shared.

Today, Yevhen emphasizes that he dedicates most of his time to his family and to sports. These two pillars, he says, give him strength, balance, and the energy to move forward.

If Jupe wanted to boast, he could truthfully mention that he took on Hamlet at just 19. Two summers ago, he stood onstage in a replica of Shakespeare’s Globe and delivered “To be or not to be?” in Chloé Zhao’s Oscar-nominated adaptation of Hamnet.

Yet portraying an actor performing Hamlet was not rooted in long-held passion. “Honestly, Shakespeare just wasn’t something that grabbed me,” he admits. At school, the plays left him cold. “They were taught in such a dry, overly academic way that nothing stuck. There wasn’t any sense of excitement.”

Now, however, he is wrapping up a day of rehearsals for Romeo and Juliet, seated beside acclaimed director Robert Icke. Even he seems slightly surprised by the twist in his path. Sink – 23 and globally recognised as Max Mayfield from Stranger Things – starts to say she never imagined herself doing Shakespeare, then corrects herself: not this soon, at least. But after meeting Icke, she felt certain. “It was instinctive. I thought, ‘I have to do this. And I have to do it now.’”

Icke recalls telling her, “One opportunity that disappears quickly is Juliet. It’s an extraordinary role, and it only works if she’s truly young. Very few actors get that window.” As for why he wanted to return to the play, he feels there was more to explore.

His 2012 production – just his second professional outing – was praised for capturing the dizzy intensity of teenage love. Still, he looks back and thinks it wasn’t complete. “We were touring, working with almost no budget, and I was very young myself. With Shakespeare, you reach a point where you think you understand it, and then you spot the piece you missed and think, ‘Next time…’”

After meeting Sink and Jupe – whose screen work includes A Quiet Place and Honey Boy – he felt that moment had arrived. Five weeks of rehearsals have reshaped their understanding of the play. “When I think about our initial chemistry read, it’s wild,” Sink says. “We’ve both developed so much since then.”

For Jupe, taking on Romeo in the West End marks his stage debut, and he approaches it with open enthusiasm. “In film, you rarely get long speeches,” he says. “Here, you’re connecting your voice and the language directly to your heart. I haven’t experienced that much before. But when it clicks, it feels like you’re airborne.”

Sink’s background is different. A self-confessed theatre enthusiast, she made her Broadway debut as Annie at 10. By 14, she was filming Stranger Things, and the series defined much of her adolescence. Did it also shape her identity? “Of course,” she says. “It’s such a huge part of my life, and I’m grateful. It gave me stability and a kind of protection during those years.”

Though they had never met before being cast, they were familiar with each other’s careers. Both understand the unusual path of starting young. Sink’s family relocated from Texas to New Jersey so she and her brother could pursue professional acting. Jupe grew up around the industry, with a mother who acts and writes and a father involved in production. Their insight guided him, and now his younger brother Jacobi – who played the title role in Hamnet – is following suit.

“It’s not easy to go through that world and still love acting at the end of it,” Jupe reflects. “So meeting someone your age who’s had a similar experience is rare.” Sink nods. “When I turned 18, something shifted. I’m still passionate, but it means something different now. Everything before that feels like another chapter.”

She marked that shift by returning to the stage for the first time since she was 13 in John Proctor Is the Villain, Kimberly Belflower’s contemporary response to The Crucible. “It was the ideal project to come back with,” Sink says of the ensemble production, which ran for five months on Broadway. By the end, she knew theatre needed to remain central in her life. The play now transfers to London’s Royal Court Theatre, opening just days after Romeo and Juliet. Sink is also attached as an executive producer for its upcoming film adaptation.

Accepting Juliet did raise one concern. “She’s written as very young,” Sink says. “I wondered if I might feel too far removed from that stage of life.” Often described as mature beyond her years, she sits composed and observant as Jupe reflects on love, infatuation and the challenges of modern dating.

“We’re surrounded by dating apps and social media,” he says. “Even if you meet someone amazing, you’re aware there are endless other options out there. Exploring a relationship like Romeo and Juliet’s makes you hope that kind of intensity still exists.”

Sink raises an eyebrow. “They do both die.”

“True,” he concedes. “But acting on that initial spark feels rare now. Even when you think you’ve found something real, there’s this impulse to second-guess it.”

Icke finds that perspective intriguing. His earlier production highlighted how much of the tragedy hinges on timing and coincidence. “People frame it as Montagues versus Capulets,” he says, “but that’s not really the core. If Romeo arrives at the tomb five minutes later, Juliet wakes up and they live. It’s that fragile.”

He contrasts it with Shakespeare’s other tragedies. “In Hamlet, the father is already dead. In King Lear, the unraveling has begun. Here, disaster hasn’t yet taken hold. It could almost be a comedy.”

Revisiting the world’s most famous love story means convincing audiences to feel suspense despite knowing the outcome. Casting two young screen stars with devoted followings adds another dimension. Jupe’s recent awards appearances with his brother are just the beginning; upcoming projects place him alongside major film actors, as well as in the lead of a television adaptation of Sebastian Faulks’s Engleby.

Sink, meanwhile, has sparked widespread speculation with her undisclosed role in forthcoming Spider-Man and Avengers films, which she began filming in the UK last year.

Icke is acutely aware of how different his own life is from when he first directed the play. “I was 25 back then,” he says. “Now I’m a parent, which makes me far more sympathetic to the adults in this story.” As for what he’s picked up from his younger cast? “New vocabulary,” he laughs. Jupe teases him about learning the modern meaning of “hard.” “I had to check if that was positive,” Icke admits. “It is,” Jupe assures him.

“It’s a completely different world from when I was 20,” Icke reflects. “But if we do this well, younger audiences – especially those who might not usually come to the theatre – will be astonished by what they see.”

Romeo and Juliet runs at the Harold Pinter Theatre, London, from 18 March to 20 June.

Swift’s 12th studio record, The Life of a Showgirl, ranked as the most popular album worldwide, topping the annual global chart issued by the IFPI.

At the same time, Blackpink member Rosé delivered the year’s biggest international single. Her collaboration with Bruno Mars, APT, surpassed two billion streams globally.

This marks the first occasion that a track featuring non-English lyrics has led the annual global singles chart.

The second-largest hit of 2025 was Golden, performed by Huntr/x, the fictional girl group from Netflix’s breakout series KPop Demon Hunters.

See below for the full top 20 singles and albums rankings.

The success of APT also represents the first time the IFPI singles chart has been topped by an artist from outside North America or Europe.

Although the majority of the song is in English, it begins with spoken Korean words that translate to: “Chaeyoung’s favorite random game. Random game. Game start.”

The chorus prominently repeats the word “아파트,” pronounced “apateu,” which means “apartment” in English.

IFPI CEO Victoria Oakley described the achievement as a “landmark moment.” The organization has published its annual global rankings since 2007.

Bruno Mars appeared again in the top five, with his duet with Lady Gaga, Die With A Smile, finishing in fourth place.

American singer Alex Warren earned the third-biggest single of the year with Ordinary, while Benson Boone’s Beautiful Things completed the top five. Boone’s track had previously topped the chart in 2024.

Notably, much of the singles chart was dominated by older releases, with eight of the top 10 songs originally released before 2025.

For the second year running, no British acts appeared in the year-end global top 10.

However, Lola Young came close, placing 11th with her breakthrough hit Messy, which surpassed one billion streams.

Another track from KPop Demon Hunters, Soda Pop by fictional rival boy band Saja Boys, also secured a spot in the top 20.

Earlier in the week, the IFPI confirmed that Taylor Swift was the overall top global artist of 2025.

She appears once in the year’s leading singles list, with The Fate of Ophelia, the lead release from The Life of a Showgirl, landing in 19th position.

Swift also features at the lower end of the albums ranking, as her 2024 release The Tortured Poets Department placed 20th for the year.

Oakley noted that Swift’s continued dominance “clearly reflects the powerful connection she maintains with fans worldwide.”

The Life of a Showgirl is joined in the albums top five by releases from Morgan Wallen, Bad Bunny and Sabrina Carpenter.

K-pop had a strong showing in the album rankings as well, with projects by Stray Kids and Seventeen making the top 20, and the KPop Demon Hunters soundtrack finishing third overall.

• Rosé and Bruno Mars - APT

• Huntr/X - Golden

• Alex Warren - Ordinary

• Lady Gaga and Bruno Mars - Die With A Smile

• Benson Boone - Beautiful Things

• Billie Eilish - Birds of a Feather

• Teddy Swims - Lose Control

• Kendrick Lamar and SZA - Luther

• Gracie Abrams - That's So True

• Kendrick Lamar - Not Like Us

• Lola Young - Messy

• Bad Bunny - DtMF

• Saja Boys - Soda Pop

• Sabrina Carpenter - Espresso

• Chappell Roan - Pink Pony Club

• Sombr - Back to Friends

• The Weeknd - Timeless

• Shaboozey - A Bar Song (Tipsy)

• Taylor Swift - The Fate of Ophelia

• Ravyn Lenae - Love Me Not

Source: IFPI

• Taylor Swift - The Life of a Showgirl

• Morgan Wallen - I'm The Problem

• KPop Demon Hunters - KPop Demon Hunters

• Bad Bunny - DeBÍ TiRAR MáS FOToS

• Sabrina Carpenter - Short n' Sweet

• Stray Kids - Karma

• SZA - SOS

• Billie Eilish - Hit Me Hard and Soft

• Lady Gaga - Mayhem

• Mrs. GREEN APPLE - 10

• Kendrick Lamar - GNX

• Seventeen - Happy Burstday

• Tate McRae - So Close To What

• The Weeknd - Hurry Up Tomorrow

• Sabrina Carpenter - Man's Best Friend

• Enhypen - Desire: Unleash

• Chappell Roan - The Rise and Fall of a Midwest Princess

• Gracie Abrams - The Secret of Us

• Rosé - Rosie

• Taylor Swift - The Tortured Poets Department

Source: IFPI

Amid the weathered brick buildings of an industrial district in eastern Leipzig, Germany, an enormous white globe seems to float above a historic boiler house. Its appearance stirs the imagination — is it a cosmic satellite, a futuristic structure, or an oversized celestial orb?

This impressive 12-meter structure, known as the Niemeyer Sphere, is the final project envisioned by acclaimed Brazilian architect Oscar Niemeyer. It’s a remarkable addition to his portfolio, embodying his passion for innovation and modernist design. Located in a modest, working-class neighborhood surrounded by car lots and construction businesses, the Sphere feels as if it were beamed in from another world.

Although the Niemeyer Sphere officially opened its doors in June 2020, its birth was a lengthy one, spanning 20 years from concept to completion. German photographer Margret Hoppe followed the development throughout, capturing its transformation over time. Her photographic series, featured in the exhibit “The Spirit of Past Future” at the site, also includes contributions from Armenian artist Nvard Yerkanian.

The exhibition explores modernist architectural themes, displaying arresting images of notable Bauhaus structures — which Niemeyer often found too rigid — alongside works by Le Corbusier, with whom the young Niemeyer once collaborated as a draftsman. The Sphere marks the culmination of Niemeyer’s visionary career.

The story dates back to 1994 when East German state-owned companies were being sold off, often for symbolic prices. West German businessman Ludwig Koehne acquired a heavy machinery plant for just one Deutsche Mark and renamed it Techne Sphere.

“We had an excellent chef in the workers’ cafeteria,” Koehne recalls. “It was always my goal to create a space where his talents could shine in events and fine dining.” He imagined placing a rooftop restaurant above the industrial canteen, using its kitchen for convenience.

In 2007, a business trip to Brazil left Koehne captivated by Niemeyer’s eye-catching works in Brasília — from the Presidential Palace to the stunning Cathedral. Inspired, he wrote to Niemeyer four years later and traveled back to Brazil to meet him. Upon returning, he asked the canteen chef, Tibor Herzigkeit, to stay for another decade. Herzigkeit agreed.

Niemeyer was 103 when he drafted the original design — a floating orb with panoramic windows. Though he passed away in 2012, his initial sketches laid the groundwork. “It felt like a responsibility to realize his vision,” Koehne said of receiving the design from such an esteemed architect.

To develop the project, Koehne teamed up with architect Harald Kern and Niemeyer’s long-time collaborator Jair Valera. By 2017, construction began. Each phase presented unique challenges: from structural complexities to the issue of excessive sunlight penetrating the south-west-facing windows. The team pursued a discreet and design-consistent solution.

The window technology, developed by Merck, wasn’t finalized until 2019. They produced 144 custom-made triangular panes using liquid crystal glass that could transition from light gray to a deep, almost black shade, blending both function and aesthetics seamlessly.

Niemeyer, when accepting the Pritzker Prize in 1988, declared that architecture should combine beauty, imagination, and surprise — and be liberated by technology, not constrained by straight lines and rules.

Curves were Niemeyer’s hallmark. Throughout his career, he drew inspiration from nature, creating flowing forms like the monumental Cathedral of Brasília, with its gracefully arched concrete columns supporting a soaring glass dome.

Concrete and glass were his chosen mediums, yet Niemeyer achieved a remarkable sense of airiness. Inside his buildings, colored glass created rivers of light, casting bursts of green and blue, lending tangible weightlessness to otherwise solid materials.

The Niemeyer Sphere continues this legacy. Its white concrete exterior and dark glass contrast during the day, while at night, the glowing windows stand out. The innovative window panes prevent overheating and manage glare. “They function like a giant pair of sunglasses,” Koehne notes. “As your eyes adjust, you begin to notice cloud details that you’d normally miss. It’s a visual experience designed to heighten your senses.”

Niemeyer had long embraced new technologies. In the 1930s, he designed a Rio de Janeiro nursery with movable panels — an early example of climate-responsive architecture. Valera and Kern believe he would have appreciated the modern crystal-glass innovation used in the Sphere.

The former factory complex now includes two additional galleries and occasionally hosts open-air concerts. The Sphere’s grand opening was marked by a cello performance of a Bach suite, honoring the city’s most iconic composer.

Inside the Sphere, the design spans three levels. The bottom floor houses technical systems, while visitors access the middle floor — a cozy bar serving drinks like kombucha and gin. The panoramic curved window starts beneath the floor and uses cutting-edge technology to control light — much like the systems used in aircraft cabins today.

The upper level invites guests into a refined lounge with designer seating, offering sweeping views across Leipzig. One wall bears a red-lined sketch by Niemeyer, a stylistic signature that adorns many of his buildings. This final work brings together all of Niemeyer’s lifelong passions — form, function, and delight.

“What Oscar aimed for here,” Valera remarked at the unveiling, “was simplicity — not through fewer elements, but through grace and a feeling of effortless elegance, true to his unique style.”

"The Spirit of Past Future" is on view at Techne Sphere Leipzig until 22 March.

Just before that, Too $hort electrified the stage with old-school Bay vibes, running through classics such as “Gettin’ It” and “Blow the Whistle,” songs that continue to bump in cars, clubs, and arenas across generations.

Though they performed separately, their influence was undeniably collective.

As longtime pillars of West Coast hip-hop, both E-40 and Too $hort brought the voice and style of Northern California to one of the biggest NFL stages outside of the Super Bowl. Their performances were part of a larger celebration of Bay Area culture during the action-packed week leading up to the big game, where artists from Kehlani to LaRussell showcased the region’s vibrant music scene.

“This Super Bowl week is a major moment for us because it's happening right here in the Bay Area,” said E-40 during his pre-show rehearsal on Thursday, where he performed fan favorites like “Choices (Yup)” and “Tell Me When to Go.” “It’s an amazing platform, and I’m glad to be a part of the NFL celebrations.”

For Too $hort, the experience marked a shift in how the NFL recognizes the Bay Area’s musical contributions.

“Ten years ago, the Super Bowl was hosted nearby and I wasn’t involved at all. I didn’t even hear from the NFL,” he shared. “So this means a lot. It’s not the halftime show, but to me, it’s still a huge deal.”

Bay Area Sound Steals the Spotlight on the World Stage

Apart from E-40 and Too $hort’s moments, Bay Area music has made its presence felt throughout Super Bowl week, attracting guests from across the country. Performers include Grammy-winning artist Kehlani, rapper Larry June, and soul singer Goapele. Multiple shows by LaRussell are on the schedule, along with performances by punk icons Green Day, who will kick off Super Bowl 60 with a tribute to MVP legends and also play at a special party with Counting Crows at Pier 29.

“It feels good to be appreciated in your hometown and to represent that for everyone visiting,” said LaRussell, who is scheduled for about 10 shows over four days, including an event for Jordan Brand and a game-day tailgate performance outside Levi’s Stadium. According to him, the exposure highlights the unique identity and character of Bay Area music.

“It’s the energy,” he explained. “That beat, that speed, that vibe that makes you smile and start moving when you hear Bay music — it’s something special you won’t find anywhere else.”

For LaRussell, the week isn’t just about exposure — it’s about honoring roots.

“This is where I’m from,” he said. “This is my culture. That’s why this matters so much.”

The Independent Spirit of Bay Area Music

For years, the Bay Area has maintained a self-sufficient music scene. Local artists have thrived by pressing their own records, selling music from their car trunks, and winning over listeners from city to city in the absence of major label connections.

The region's sound has evolved over time — from Oakland’s early rap innovation and heavy bass of mob music, to the high-tempo energy of the hyphy movement, and now to a dynamic era where artists blend soul, street, pop, and punk — all while staying true to their voice.

This spirit of independence extends beyond music creators. San Francisco-based Empire, started by Ghazi Shami, has grown into one of the nation's leading independent labels. During Super Bowl week, the label shared its 15-year journey in a public museum exhibit, showcasing how Bay musicians have thrived outside the mainstream industry.

Empire also teamed up with Levi’s to organize an immersive experience that combined Bay Area music, style, and culture into one regional highlight.

“The Bay Area has a unique synergy. When we come together, we’re powerful,” said E-40, who has watched generations of local artists succeed without stepping on each other's paths.

“Everyone’s doing their thing. Larry June is in his own zone. Kehlani is bringing home Grammys. We all support each other, and that unity makes the dream work.”

For E-40, success isn't about trends or handoffs — it's about shared progress and creative drive.

“As long as I’m breathing and healthy, I’ll keep making music,” he said. “It’s my passion — it’s who I am.”

Lasting Legacy of the Bay on the Global Stage

LaRussell found deep inspiration in watching E-40 and Too $hort command the NFL Honors show. Seeing veteran artists still innovate in their 50s gave him perspective on the long game of success.

“Watching those guys still pushing the culture forward at their age reminds me that consistency matters,” he said. “If you stay committed, your time will come.”

Too $hort hopes that those visiting during Super Bowl week walk away with a deeper respect for the region.

“If someone came here with a closed mind and tried to make it into something it's not, they'd be missing out,” he said. “This is one of the most celebrated places in the world. People travel from everywhere to see this. Don’t overlook it.”

• Купецька гречка з фаршем

• Картопля тушкована з м’ясом

• Запіканка картопляна з фаршем

• Перець, запечений із начинкою

Купецька гречка з м’ясним фаршем

Ця страва — чудове рішення для поціновувачів гречки. Її насичений смак ідеально гармонує з м’ясними інгредієнтами.

Для приготування використовуйте:

• 200 г гречаної крупи;

• 400 г фаршу;

• 1 цибулину;

• 1 моркву;

• 2 ст. ложки олії;

• 50 г томатної пасти;

• 1 зубчик часнику;

• сіль, перець, улюблені спеції та зелень.

Цибулю та моркву очистіть, наріжте дрібними кубиками та обсмажте на олії близько 5 хвилин. Додайте фарш і смажте ще 5 хвилин, перемішуючи й подрібнюючи грудочки. Приправте спеціями, додайте пасту, часник та тримайте ще кілька хвилин на вогні.

Промийте гречку та перекладіть у сковороду до м’яса. Додайте 450 мл окропу, накрийте кришкою і тушкуйте на мінімальному вогні, поки гречка стане м’якою (приблизно 25 хвилин). Готову страву посипте свіжою зеленню перед подачею.

Тушкована картопля з фаршем

Ще один чудовий варіант з фаршем — ароматна і ситна страва з картоплею.

Інгредієнти:

• 4 великі картоплини;

• 200 г м’ясного фаршу;

• 1 головка цибулі;

• 1 морква;

• 2 ст. ложки томатної пасти;

• 1 зубчик часнику;

• 3 ст. ложки олії;

• 1 лавровий лист;

• спеції і сіль — за смаком.

Овочі почистіть, цибулю наріжте дрібно, моркву півкільцями, а картоплю скибочками. На гарячій сковороді спершу обсмажте моркву з цибулею близько 5 хвилин. Додайте м’ясо, ретельно розділіть його лопаткою й тушкуйте ще 10 хвилин. Потім додайте картоплю, натертий часник, томатну пасту, лавровий лист і приправи. Влийте воду так, щоб вона покривала всі інгредієнти, і тушкуйте на малому вогні до готовності — близько 25 хвилин.

Картопляна запіканка з фаршем

Ця страва універсальна: її можна готувати не лише з картоплі, а й з макаронів чи додаванням грибів чи інших овочів.

Для традиційного варіанту з картоплею використовуйте:

• 6 великих картоплин;

• 400 г фаршу;

• 80 г твердого сиру;

• 1 яйце;

• сіль і перець;

• масло або олію для змащування форми.

Спочатку натріть сир і змішайте з яйцем. Картоплю очистьте та натріть на великій тертці, посоліть і відіжміть зайву вологу. Духовку розігрійте до 180°С та змастіть форму жиром.

На дно покладіть половину картоплі, посипте сіллю. Зверху розкладіть ароматний фарш зі спеціями. Змішайте сирно-яєчну суміш з другою частиною картоплі та рівномірно викладіть зверху. Готуйте в духовці 70–90 хвилин залежно від її особливостей.

Половинки фаршированого перцю

Звичні фаршировані перці готуються набагато швидше, якщо розрізати їх на половинки. Прекрасне рішення коли мало часу, а хочеться чогось апетитного.

Підготуйте:

• 5 великих болгарських перців;

• 400 г фаршу;

• 4 ст. ложки вареного рису;

• 1 яйце;

• 1 цибулину;

• 1 помідор;

• 150 г твердого сиру.

Розігрійте духову шафу до 200°С. Рис зваріть до напівготовності. До фаршу додайте яйце, дрібно нарізану цибулю, рис, сіль і перець. Перці промийте і розріжте навпіл, видаліть насіння.

Начиніть половинки фаршем і викладіть у форму з невеликою кількістю води на дні. Зверху покладіть кружечок помідора та натертий сир. Випікайте приблизно 40 хвилин, а перед подачею прикрасьте зеленню. Подавати можна зі сметаною чи кетчупом.

WASHINGTON (AP) — Melania Trump concludes her first year back as first lady with the premiere of a documentary she produced, chronicling the 20 days leading up to former President Donald Trump’s return to the White House.

Known for her private nature, Melania Trump has maintained a relatively low profile during her husband’s second term. The film, titled “Melania,” debuted Thursday evening at the Kennedy Center and is set to release globally in over 1,500 cinemas on Friday.

“I want to give people a look into my life and what it means to become the first lady again, including the shift from a private life back to a public one,” she shared with reporters as she walked the event’s charcoal carpet, accompanied by her husband. Guests included government officials, lawmakers, and conservative media figures.

In the film, she said audiences would witness how she juggles her philanthropic efforts and business interests, her White House responsibilities, and life with her family.

“It’s stylish, touching, visually stunning, and I’m very proud of what we’ve done,” she added.

The documentary was created by AmazonMGM Studios, with an estimated budget of $40 million. It will be available exclusively on Amazon Prime Video after its box office run.

Director Brett Ratner mentioned that the success of the project wouldn’t be judged by box-office numbers alone.

“Documentaries don’t typically dominate theaters,” he said before the premiere. “That’s never been their purpose.”

President Trump watched the nearly two-hour film for the first time during a private White House viewing and praised it as “really great.”

“It brings back a kind of glamour that’s been missing,” he said. “And maybe our country needs a little bit of that.”

‘Melania’ Announced After Months of Preparation

Financial specifics regarding Melania Trump’s earnings from the project remain undisclosed. While it’s unusual for a first lady to initiate such a venture from the White House, the Trumps have consistently pushed traditional boundaries.

“To my knowledge, she’s the first in her role to receive significant compensation for a documentary about her, and that’s in line with how the Trumps often defy past conventions,” noted Katherine Jellison, a history professor emerita at Ohio University.

When asked about comparisons to big book deals, Trump cited the high-profile publishing arrangements made by Barack and Michelle Obama after his presidency.

Traditionally, presidents and first ladies avoid financial pursuits while in office to avoid any appearance of impropriety or conflicts of interest.

However, both Donald and Melania Trump have continued various commercial activities—she sells items like jewelry and holiday merchandise, while he offers branded products ranging from fragrances to religious items.

Marc Beckman, a senior adviser to the first lady, defended the financial arrangement, stating that Melania was a private citizen when the project was first announced in early 2025. “She isn’t elected and doesn’t receive a government paycheck,” he said. “There’s no reason to restrict her.”

The film also represents a new chapter in the evolving relationship between the Trumps and Amazon founder Jeff Bezos, with whom ties have softened in recent years.

Melania Trump emphasized that Amazon was chosen through a competitive selection process, particularly because of their agreement to distribute the film in theaters.

The documentary also marks the first major directorial project by Brett Ratner following earlier allegations of misconduct, which his legal team has denied.

‘Here We Go Again’ — A Return to the Public Eye

In one trailer for the film, the scene shows Melania Trump on Inauguration Day inside the Capitol. Before being led to the Rotunda, she looks into the camera and quietly says, “Here we go again.”

She revealed in her 2024 memoir that her privacy is incredibly important to her. Unlike some of her predecessors, she is less visible in the media, something that likely shapes how the public perceives her. But Melania prefers to follow her own path.

She explained that her motivation for producing the film was to offer a window into the preparations and pressures that come with being first lady.

According to a CNN poll from January 2025, public opinion on Melania Trump is mixed — with about 40% of adults having no impression or knowledge about her. Around 30% held a positive view, with a similar portion expressing dislike.

Among Republican voters, her support was stronger — roughly 70% had favorable views, although about 25% remained neutral.

“It seems to be an effort to shape or refine her public image,” said Katherine Sibley, a historian at Saint Joseph's University. “She still holds a bit of mystery for many Americans.”

Highlighting a Busy First Year in the Second Term

At 55, Melania Trump expressed her appreciation for overseeing traditional first lady duties—such as organizing official dinners, leading holiday activities, and hosting public events like the Easter Egg Roll. Still, she mentioned wanting to make her own distinctive contributions.

She spent significant time outside of Washington over the past year to complete the film and was highly involved in every phase of its production, according to adviser Beckman.

Her recent initiatives center on safeguarding and promoting the welfare of children.

She played a leading role in advocating for the “Take It Down Act,” which criminalizes non-consensual online sharing of intimate images. The president signed it into law and included her in the signing ceremony.

The “Fostering the Future” program was also launched via executive order, building on her earlier “Be Best” campaign, and aims to support children in the foster care system.

In a diplomatic effort, Melania drafted a letter to Russian President Vladimir Putin requesting help to reunite Ukrainian families separated by conflict. Her husband delivered the letter during a summit in Alaska, and later she reported that eight children had successfully reconnected with their families.

The first lady now plays a key role in the administration’s initiatives on artificial intelligence and education policy. Recently, she expanded her foster care program to an international scale.

At the White House Christmas reception, she revealed she is working on new legislation planned for 2026, though she has yet to disclose what the proposal involves.

___

Report by the Associated Press, with contributions from Linley Sanders.

• Чи варто додавати сіль у воду та за якої температури краще класти сосиски

• Чи потрібно знімати оболонку перед варінням і як полегшити її видалення

• Як визначити, що сосиска вже готова

Чи варто додавати сіль у воду та за якої температури краще класти сосиски

Найкраще класти сосиски у теплу, але не киплячу воду. Це дозволяє уникнути розриву оболонки через різкий температурний стрибок. За бажанням можна обережно проколоти оболонку в кількох місцях перед варінням.

Поставте каструлю на помірний вогонь і почекайте, поки вода не почне майже закипати. Потім додайте сосиски і варіть їх 3-5 хвилин. Тонкі варіанти, як правило, достатньо готувати 3 хвилини, щільніші — до 5, максимум 7 хвилин.

Не варто довго кип’ятити сосиски, оскільки при цьому жир може вийти назовні, що погіршить смак страви.

Солі додавати не потрібно — сосиски вже містять достатньо солі. Також зайві спеції можуть змінити смак і зробити текстуру сухішою.

Чи потрібно знімати оболонку перед варінням і як полегшити її видалення

Якщо оболонка сосиски натуральна (наприклад, зі свинячої чи яловичої кишки), її краще залишити під час варіння. Така оболонка утримує сік та захищає сосиску від пересушування. Після варіння поверхню можна швидко змочити холодною водою — оболонка зніметься дуже легко.

Якщо ж використано штучну оболонку, краще зняти її перед готуванням, щоб уникнути неприємного гумового присмаку.

Як зрозуміти, що сосиска вже готова

Щоб перевірити готовність, проколіть сосиску виделкою, витягніть з води і подивіться на сік. Прозорий і безбарвний сік свідчить про готовність.

Добре зварена сосиска на дотик пружна, без сірого кольору всередині. Звертайте увагу не тільки на те, чи вона спливає, оскільки це не завжди точний показник готовності. Краще орієнтуватися на час варіння та зовнішній вигляд.

• Щоб омлет став повітрянішим і ніжнішим: простий прийом із яйцями

• Щоб рис не зліплювався — як правильно готувати розсипчасту крупу

• Старий шар гару на каструлі зникне за лічені хвилини: простий метод очищення