The Brief

The 1994 World Cup kicked off with a sold-out match. On a scorching afternoon in Chicago, some 63,000 spectators — including then-President Bill Clinton and Oprah Winfrey — were packed like sardines at Soldier Field to watch Germany vs. Bolivia. Their cheers and boos, as loud as thunder.

Today, it's easy to imagine a World Cup game drawing such American fanfare. But back then, it was a much different story.

"It was a big question as to how the U.S. would embrace it. Would people come to the games?" Mike Sorber, who played for the U.S. Men's National Team in 1994, told NPR.

Ahead of the 1994 World Cup, most Americans were unaware that the U.S. would be hosting the tournament. A survey from the time ranked soccer 67th among the nation's favorite sports (behind tractor pulling).

Despite this, the 1994 World Cup — the first held in the U.S. — took a surprising turn. Game after game, stadiums were filled to capacity, packed not only with tourists and die-hard fans but also with soccer novices who came out of curiosity and because tickets were relatively affordable, according to soccer historians.

Mike Sorber plays during an exhibition game at the Rose Bowl in 1994.

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" I think all the naysayers were surprised," said Sorber, who is currently an assistant coach for Major League Soccer's New York Red Bulls. "The atmosphere was electric. It was like a big party."

Soccer's momentum in the U.S. has only been growing since then, fueled by the launch of Major League Soccer and the success of the U.S. Women's National Team. When the World Cup returns to the U.S. in June, it will be greeted by a larger and more passionate fanbase than ever before.

How exactly did a sport that struggled to gain traction for decades go on to break the World Cup's record for largest attendance and win over Americans' hearts? To answer that, NPR spoke to Sorber, along with soccer journalists and fans, about the breakthrough World Cup.

Why did it take so long for the U.S. to embrace soccer?

How far back the soccer tradition in the U.S. goes depends on whom you ask and where they're from.

Chicago, Philadelphia, St. Louis and pockets of New York, New Jersey and New England all have deep soccer roots — often brought by European immigrants in the 19th century, according to Brian D. Bunk, who teaches the history of sports at the University of Massachusetts Amherst.

As a result, the sport was largely associated with working-class and immigrant communities, Bunk added. Some also dismissed soccer over the perception that it lacked the physicality of sports like American football.

Colombian soccer fans wave their country's flag during the "Chicago Welcomes the World Cup" parade on June 15, 1994.

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"The argument that was often made against soccer is that it was an inferior form of football," Bunk said.

There were brief bursts of excitement for the sport in the late 20th century — such as when legendary Brazilian player Pelé came to play in the U.S. in the late 1970s — but they never lasted long.

By the 1980s, the future of soccer in the U.S. looked bleak. The North American Soccer League, which began in 1968, folded after the 1984 season. American soccer officials hoped a World Cup tournament at home could resuscitate interest.

" Let's face it: You need to have the product in front of you to see what the heck this is all about," said Michael Lewis, who has covered soccer for five decades. He's the editor of Front Row Soccer, a website that follows the soccer scene in New York and New Jersey.

FIFA also saw an opportunity. Soccer's global governing body viewed the U.S. "as the last and largest uncracked market for its sport," Pete Davies, who has written extensively about sports, told NPR's Fresh Air in 1994.

"And it want[ed] to get into that market," he added.

What led to the tournament's success in 1994? 

What the U.S. lacked in soccer prowess, it made up for with its ability to put on a massive sporting event (thanks to the nation's football stadiums and experience hosting the Olympics) — and a fun one at that.

" We have the sporting infrastructure — the stadiums — we have the hotels, the restaurants, the transportation systems," said Bunk, of the University of Massachusetts. "And so all of that stuff meant that the World Cup could go very smoothly."

Americans also proved they were up for a good time — and World Cup fans knew how to bring the party. Drums, whistles, trumpets, singing, dancing and face paint were the hallmarks of a World Cup game.

A Mexican fan, his face painted with Mexico's national colors, cheers in the stands at the Citrus Bowl stadium in Orlando, Fla., on June 24, 1994, prior to the start of the World Cup match between Mexico and Ireland.

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A soccer fan supporting Argentina plays a drum at the World Cup match between Argentina and Nigeria at Foxboro Stadium in Massachusetts in June 1994.

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That's what Kevin Tallec Marston, a research fellow at the International Centre for Sports Studies in Switzerland, remembers most vividly from the Belgium vs. Saudi Arabia match in Washington, D.C., which he attended as a teenager.

"It was not the kind of fandom that Americans would associate with going to an NBA game, going to an NFL game," he said. "Seeing these people from all around the world with their own cultures, their own chants, their own songs, their own instruments."

Univision played a major role in attracting both Spanish- and non-Spanish-speaking viewers alike, especially through World Cup announcer Andrés Cantor and his iconic "Goooooooooool!"

"It created this sort of mythical element of what it was to watch the World Cup," said Tallec Marston, who, along with Front Row Soccer's Lewis, is a board member of the Society for American Soccer History.

But perhaps what electrified Americans most was the strong performance of the U.S. Men's National Team. It started with a hard-fought 1-1 tie with Switzerland, followed by a stunning 2-1 upset over powerhouse Colombia. (The victory was later marred by tragedy: Colombian defender Andrés Escobar, who had accidentally knocked the ball into his own team's net, was shot and killed shortly after returning home.)

That match was the first World Cup win for the U.S. men's team since 1950. The team's victory was witnessed by more than 93,000 fans at the Rose Bowl in Pasadena.

Sorber, a midfielder in the starting lineup, said he had played for large crowds before, but never for an audience so enthralled by the U.S. team. It was "euphoria," he said.

" All of a sudden, it really opened the eyes to the whole United States … that wow, this is what the future of soccer could be."

Steve Davis covered the 1994 games as a young sports reporter for The Dallas Morning News. "It sort of lit a fire under people," he said. "I would think some Americans became soccer fans that day."

The U.S. team went on to lose to Romania 1-0 and then to Brazil 1-0. Although the U.S. didn't win, Sorber said, the support and energy from American fans during those matches felt like a victory.

" You had a huge turnout," he said. "So again, that was a big moment in U.S. soccer history … to reestablish soccer, to build that foundation and get more awareness for the U.S. national team."

Post-1994

In total, over 3.5 million people attended the 1994 World Cup — the largest attendance in FIFA history to this day. Despite its success, soccer's American fanbase didn't grow overnight.

"Soccer's growth isn't linear," writer Davis said.

Two years later, the professional Major League Soccer (MLS) launched. Around that time, FIFA's World Cup video game franchise helped introduce soccer to an even broader audience. All the while, the U.S. Women's National Team emerged as a dominating force and accelerated the rise of women's soccer globally. Across the U.S., youth soccer exploded in popularity.

Brandi Chastain celebrates after kicking the winning penalty kick at the 1999 women's World Cup final against China on July 10, 1999.

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The arrival of international superstars to MLS, like David Beckham in 2007 and Lionel Messi in 2023, added fire to the nation's passion for the sport. MLS, which began with 10 teams, has since expanded to 30 clubs.

Together, these moments helped transform the soccer landscape in the United States. The 2022 World Cup in Qatar drew an average of 4.7 million American viewers per game, according to Nielsen. Each year, millions of Americans watch England's Premier League matches on TV and streaming platforms.

When it comes to America's favorite sports, soccer now ranks third, surpassing baseball, according to Ampere Analysis, a data firm focused on entertainment industries.

Davis, who is now the director of legacy programs for the North Texas FIFA World Cup Organizing Committee, said it's validating to see the sport he has loved and played since childhood resonate with more people at home.

"I did have some faith that it was going to grow," he said. "But I would be lying if I said I thought we'd be here in 2026, seeing how big it's become."

The challenges ahead 

Although this isn't the first time that the U.S. has hosted the World Cup, the upcoming tournament is expected to be vastly different.

"One of the key aspects of the '94 World Cup was taking football to the new horizon," said Tallec Marston, who co-wrote Inventing the Boston Game. "So it'll be interesting because we are no longer in a new frontier."

Hosted by the U.S., Canada and Mexico, this year's competition will introduce more teams and matches than ever before. It will also return to a far more diverse United States. In 1994, about 8% of the country's population was foreign-born. As of 2025, immigrants make up 15% of the nation.

Two men walk past a mural of a soccer player in Guadalajara, Mexico, on April 29. Mexico will co-host the biggest World Cup in history, along with the United States and Canada, from June 11 to July 19.

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"You're going to have a representation of countries and nations that we will have never seen before. And so that will be very exciting to see," Tallec Marston said.

The current U.S. Men's National Team has far more experience on the World Cup stage compared with the 1994 team. Since then, the team has qualified for every World Cup except one, in 2018. There's much excitement for this group of young players, many of whom are playing for top European clubs.

The controversies leading up to the games are also quite different. In 1994, the uncertainty was whether many Americans would attend the matches. This year, the question is whether they will be able to afford to — with dynamic pricing driving ticket costs sky-high.

The tournament will also take place during a politically volatile period in the United States. The ongoing war with Iran has led to questions about whether the Iranian team will participate.

The Trump administration's travel restrictions and harsh immigration crackdown have also sparked debate as to how many tourists will feel comfortable traveling to the United States. The administration is also requiring a bond of up to $15,000 for travelers from 50 countries that it deemed as having immigration risk factors, such as high overstay rates and screening and vetting deficiencies. Five nations that qualified for the World Cup — Algeria, Ivory Coast, Senegal, Tunisia and Cape Verde — are on the list.

For all these reasons, Lewis, who wrote Around the World Cup in 40 Years, about his experience covering eight men's World Cups, expects that "there'll be magic, but there'll be headaches too."

" I think the games themselves should be exciting and fun," he said. However, putting the problems to rest, Lewis added, will be "easier said than done."
Copyright 2026 NPR

Held by the Los Angeles Review of Books since 2019, LITLIT, or The Little Literary Fair, started out as a way to introduce students from workshops to the publishing industry.

It has since grown into a gathering of independent West Coast publishers from Seattle to Santa Monica. This year’s iteration on June 6 and 7 is the biggest yet, with more than 50 publishers participating in the event at Sci-Arc in Downtown L.A.

People look through a small library of used books from "A Good Used Book," a Los Angeles based book pop-up, during LITLIT 2024.

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It’s ‘small’ lit

The fair aims to get the public in front of books that don’t originate from the so-called “Big Five” publishers — behemoths like Penguin Random House and HarperCollins.

“They really get to control what people get to see, and so we hope LITLIT lets people see more of what is out there and what they can support directly,” said Emily VanKoughnett, public programs and engagement director for LARB.

One of VanKoughnett’s favorite independent publishers will be there. Two Lines Press, the publishing arm of San Francisco’s Center for the Art of Translation, deals specifically in translated works.

Two Lines Press, which specializes in translated works, show off their books to attendees of LITLIT.

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They’ve published authors from across the world, translating books from more than 100 different languages into English.

“ We do our work in quiet rooms, so it's really nice to be able to meet readers and talk to them about what's interesting them. These festivals are really valuable to us in that way,” said CJ Evans, publisher and editor-in-chief of Two Lines.

Pressed locally

Local favorite Angel City Press, which operates under the auspices of L.A. Public Library, will also be there with one of their newly published titles, Los Angeles Central Library POPS, that celebrates 100 years of the Central Library.

People at LITLIT 2024 look through different small presses.

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You’ll also find LA-based Errant Press, which specializes in books that break the traditional form — like a poem printed on measuring tape or a matchbox sized poetry collection.

“It’s really cool to see the kinds of risks that people are able to take, the kinds of communities they’re able to serve and really highlight here on the West Coast,” said Irene Yoon, executive director of LARB.

Panels, printing presses, and workshops

The two-day fair also hosts various panels and workshops, including one on the art of comedic writing and another on how to tell the stories of Los Angeles through archival materials.

“This is, I think, the most panels we've ever done,” VanKoughnett said.

People sit down for a panel discussion at LITLIT 2024.

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Workshops on how to navigate the literary world with a completed manuscript and making your own comics and zines are also on the itinerary.

And Carson’s International Printing Museum will demonstrate how to screen print your own bookmark.

“It's not until we're all in the same room with all our best books literally out on the table that you get to see kind of what a phenomenal publishing culture Los Angeles truly has,” said Terri Accomazzo, editorial director of Angel City Press.

Running a small business is tough under normal circumstances. Running one in a wildfire burn scar can feel nearly impossible.

That's the reality many Altadena business owners are still navigating nearly a year and a half after the Eaton Fire destroyed the community and the local economy. Businesses are grappling with how do you stay open when so many of your customers are gone?

At Wet Paws, a pet grooming business along Lake Avenue, that question recently came to a head.

The shop reopened in January but business remained slow. Wet Paws co-owner Stephanie Trujillo estimates the fire had displaced up to 90% of their customers.

Marley, a Cane Corso from Pasadena, went for her first grooming session at Wet Paws in more than a year.

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Then came a conversation with their landlord several months ago that forced a decision.

"He reached out and said, 'Are you going to re-sign your lease?'" Trujillo recalled.

The answer wasn't obvious.

"I said, unfortunately, we're not even making it. We're paying out of our own pocket," she said. "So he said, 'I'll give you until June 1.'"

The deadline meant Trujillo and her mother, Linda Alashti, who have owned the business together since 2023, had only a few months to figure out whether Wet Paws had a future in Altadena.

Wet Paws is hardly alone. As businesses struggle, Los Angeles County recently launched a program offering free marketing assistance and storefront improvements to fire-affected businesses. The deadline to apply is June 8.

A flag banner and sandwich board on the sidewalk outside Wet Paws advertises its services.

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The county also operates a gift card program to encourage residents to spend money at fire-impacted businesses.

But relief has not arrived quickly enough for many businesses.

One particularly slow April Sunday at Wet Paws drove home how dire the situation had become, when they had only one customer.

As she drove home to Fontana, Trujillo began composing a social media post.

"So this isn't easy for us to share," the post began, "but I wanted to reach out with an open heart and hope."

In the message, Trujillo asked the community to book appointments and spread the word to help their business survive.

Before posting it, Trujillo showed it to her mother.

Wet Paws groomer Elizabeth Ranes takes care of a basset hound client.

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"We're very prideful, and it's very hard to ask people for help," she said. "I felt embarrassed that we had to ask the community for help."

Her mother's advice was simple. "Just post it," she told her. "The worst that's going to happen is nobody sees it or nobody cares."

Instead, the opposite happened. By the next day, the post had been viewed and shared hundreds of times across Instagram and Facebook.

The phone started ringing, said Wet Paws groomer Elizabeth Ranes.

"I got well over 50 calls," Ranes said. "We booked out for the last three weeks of the month when we made that post.”

Customers told Alashti that they “didn't know you were back, because they don't come this way anymore.”

Decor inside Wet Paws embraces a playful canine motif.

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Among those who returned was Penny Dahlstrom, a Pasadena resident whose 113-pound Cane Corso Marley had been a Wet Paws regular before the fire.

Dahlstrom had tried taking Marley to a large pet store chain while Wet Paws was closed.

"My husband went in to pick her up, and he hears crying, and it was her," Dahlstrom said. "That's not just her nature."

The social media appeal didn't just bring back former customers. It also introduced the business to new ones, Trujillo said.

But recovery remains uneven.

Some days are still slow. And the shop continues to deal with lingering fire-related electrical damage in the back of the building.

Wet Paws is operating on a temporary electrical system, limiting how much power it can use at any given time.

"If we run our AC, and the neighbors run their AC, we lose power," Trujillo said.

As the June 1 lease deadline approached, Trujillo and her mother weighed their options. They could walk away and cut their losses. Or they could commit to rebuilding alongside a community they had come to love.

Ultimately, they thought about the response to their post and the customers who had shown up when the business needed them most. And they had faith that Altadena would rebuild to its full strength.

They chose to renew the lease for another three years.

"I can't imagine what the community is going through, losing their homes and losing everything that they had," Trujillo said. "Yet they're still coming back."

And as long as they do, she said Wet Paws will be there for them and their fur babies.

On a recent Monday, students at Breed Street Elementary in Boyle Heights started their day like no other — with a tour of the murals hand-painted over the weekend across the playground.

It’s the latest of seven elementary schools in and around L.A. to get the treatment. Over 70 murals in the last 13 years, brought by a collective of artists to students in under-resourced neighborhoods with little access to art education.

“The kids were so excited,” said Stefanie Barbee, a math teacher at Breed. “Just pure joy.”

The students snaked through the paintings on handball courts and school walls: cartoon animals, bright orange flowers, a circle of meticulously painted lines. The works span genres and sensibilities.

Mural by artist hi-dutch.

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“It's grassroots. We're not getting money from anyone,” said Erik Caruso, the fifth-grade teacher in Paramount who's the group glue. To them, they are just an assembly of like-minded friends — and friends of friends — who spend one weekend out of the year hanging out and painting murals for school kids.

But the collective is anything but typical. It includes artists like the late Rich Jacobs, who died from leukemia this year; Tim Kerr; pro skater Ray Barbee; and Japanese artists Yusuke Hanai and hi-dutch. The vibe's always low-key, and somehow they've managed to stay under the radar.

Mural by artist Yusuke Hanai.

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Mural by artist Yusuke Hanai.

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“The kids have no idea that they show in huge galleries or have pieces hanging in museums,” said writer Martin Wong, co-founder of the pioneering Asian pop culture magazine Giant Robot. "Or they're famous in the skateboarding scene or surf or music."

Their reward is the Monday morning after, seeing the happiness on the kids’ faces.

“The artists are waiting all weekend — it’s that moment,” Caruso said.

Mural by artists Sandy Yang and James Hamblin.

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James Hamblin was at Breed for the meet-and-greet earlier this month. He painted a mural designed by his partner Sandy Yang on one of the handball walls.

“Sandy's design is pretty abstract, so it was interesting because the kids were [asking], you know, ‘ What is it?’” Hamblin said. “It was great because I could tell them I had no idea and like, ‘What do you guys think it is?’"

Bring the art museum to the school

Erik Caruso.

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The idea came to Caruso in 2011, after he took about two dozen students from his Paramount school to MOCA and discovered that only four had ever been to an art museum.

“I wonder if there's a way we can bring the art museum to the school,” he said.

Caruso, a 24-year veteran, was no stranger to bringing art — and artists — directly to his students. In 2009, he launched a monthly art project for fifth-graders that culminated in a year-end show where they met and shared work with living contemporary artists.

Caruso's 5th grade art project, featuring works by artist Tim Kerr.

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The murals were next.

They painted their first ones at his school in 2012. Soon, the project expanded to the rest of Los Angeles.

Crew at work

Mural by artist Chris Johanson.

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Mural by artist Chris Johanson.

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The painting takes place between Friday and Sunday, but planning takes months.

At Breed, the connection was made through math teacher Barbee — wife of Ray — who is on a two-year stint at the Boyle Heights school to help students catch up on the subject.

“I had sort of planted that seed that at some point I would love for a school I was working at to be the recipient of the beautiful work,” she said.

Breed Street Elementary in Boyle Heights.

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She brought Caruso out for a site visit last September.

“He has a really amazing kind of vision about where to place the artists … based on just their artwork and where it is in relation to the street view,” Barbee said.

Next came an introduction to the principal and the approval process.

“One of the biggest challenges with what we are doing is, you know, they want flipping dolphins and stuff like that,” Caruso said. “But we want to cross over into fine art pieces.”

Mural by artists Lookout & Wonderland

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Mural by artists Lookout & Wonderland

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Paying it forward

Caruso estimated that as many as 40 artists and musicians have joined the effort.

The core group now, he said, is about 11 people, and friends and families often tag along to help out, given they have just 16 hours over three days to finish the job.

Mural by artist Oitama.

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Mural by artist Lori Damiano.

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Among the regulars: Wong and his wife, Wendy Lau, who once organized DIY punk shows to fund music education at their daughter's Chinatown school. In Caruso, they saw a kindred spirit.

Caruso later brought the collective to paint at that school and eventually invited their daughter, Linda Lindas bassist Eloise Wong, to join his fifth-grade art and music project.

“All of these kids on the blacktop were all just screaming their hearts out,” Eloise said. “It's cool how Erik — Mr. Caruso to them — shows them, like, raw ways to express themselves through cool art.”

Reggae star Ziggy Marley has spent decades carrying one of music’s most celebrated legacies. But until now, he had never written a song directly about his father, Bob Marley.

That’s changed with “Many Mourn for Bob,” a track on Marley’s ninth solo album Brightside, his first release recorded in his new studio in North Hollywood.

Marley was just 12 when his father died of cancer in 1981. Now 57, Marley says the song instinctually emerged after years of life experience and producing the biopic One Love, which revisited his father’s struggles like an assassination attempt amid political violence in Jamaica.

“He went through some things that was really tough on a human being – and just understanding him in that light is to have a little bit more emotional, deeper connection to his experience,” Marley said in an interview at his studio.

Searching for the bright side

The deeply personal track is part of a splashy return for Marley, who's touring behind Brightside and will perform at the Hollywood Bowl on June 21.

The new album blends political themes, optimism and musical experimentation.

Its lead single, “Racism Is a Killa,” featuring Big Boi, pairs the heavy topic with an upbeat groove that he hopes will make the song more accessible to young people.

“We just wanna come out straightforward, like I never want to come out tiptoeing,” Marley said. “I want to say something that can catch your ears or catch your thoughts.”

That tension between darkness and hope runs throughout Brightside. Marley described the album as a reflection on enduring difficult periods – from the pandemic to the Los Angeles wildfires – without losing sight of optimism.

“Sometimes we get lost in that so much that we don't realize that there is always a bright side,” Marley said.

The 432 Hz experiment

The album also experiments sonically: Marley recorded Brightside using 432 hertz tuning instead of the standard 440 hertz in most mainstream music. Advocates of 432 hertz believe it produces a warmer, more meditative sound better synced to the natural world. (You can hear the difference for yourself here.)

“It's a lower musical frequency, but it's a higher frequency in a next sense of your spirituality and emotion,” he said. “So even though the numbers go down, the frequency actually go up.”

Marley sees the move as part of a larger search for new creative approaches.

“I'm very open-minded and always trying to evolve and just experiment with life and music,” Marley said.

The Grammy winner, who joins James Blake and Ed O’Brien of Radiohead as the most high-profile artists to record at the lower frequency, floated the idea of a larger movement among artists.

“Let's just have a revolution in the music industry,” he said. “Let's change the frequency.”

Building a dream

Marley works out of his Rebel Lion Studio in North Hollywood, its name a nod to his 2018 album Rebellion Rises while also a play on the word “rebellion.”

He described the studio as an extension of the independent spirit his father built with Tuff Gong Studio in Jamaica.

Musicians set up for rehearsal ahead of the next leg of Ziggy Marley's tour.

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“My father had a dream, and I had a dream too,” Marley said.

Like with Tuff Gong, Marley also plans to expand the studio operation to include vinyl pressing as records continue their resurgence in the streaming era.

“There’s always gonna be a vinyl present going on,” Marley said. “A thousand years from now, people that we're still gonna need vinyl records to listen to music.”

Ziggy Marley in the hallway of his new studio in North Hollywood.

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For years, Marley said, he worked out of smaller home setups and rented facilities before deciding to build a larger permanent space in L.A.

Marley said the city has become central to his own creative evolution over the last two decades of living and working here.

Drawn initially by music, friends and the city's small but tight-knit Jamaican community, he says being surrounded by creatives from different backgrounds helped push his artistry in new directions.

“I left my safety and my community, my tribe, and come out by myself to L.A.,” he said. “But it's a great experience. It really helped my growth as a human being being here.”

What’s next

Fresh off the release of Brightside, Marley says he’s already working on another album – a notably quicker turnaround since his last album, the family-music release More Family Time in 2020,

“We're doing back to back,” he said.

Ziggy Marley will be performing at the Hollywood Bowl on June 21 as part of a tour supporting his new album Brightside.

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He’s also busy writing a children’s book based on his feel-good hit anthem “True to Myself” and eyeing opportunities in front – or behind the camera – inspired by his time working on One Love and making the video for “Racism Is A Killa.”

“Same philosophy, same message, but within visuals, you know?” Marley said excitedly. “I want to create some stories and try out. I feel it coming. I can feel it.”