In this task, you are given news articles and you need to generate a highlight, i.e., a short summary, with a maximum length of 10 lines.

Super Bowl XLVIII started out bad for the Denver Broncos. The Seattle Seahawks made sure it got worse. Seattle romped 43-8 by playing a suffocating defense and taking advantage of four Denver turnovers, including two interceptions thrown by quarterback Peyton Manning, the NFL's most valuable player for the season. The game pitted pro football's best offense, Denver, against the best defense, Seattle, but the drama disappeared early at MetLife Stadium in East Rutherford, New Jersey. On the first play from scrimmage, a bad snap went sailing past Manning and landed in the end zone for a safety, giving Seattle a 2-0 lead without running a play. Denver didn't score until the third quarter, when the game was out of reach. Seattle's defense was so strong that Denver managed only 27 yards rushing, compared with 135 for Seattle. Manning went 34 for 49 to gain 279 yards in the air, but most passes were for short yardage with his receivers quickly taken down. His counterpart, Russell Wilson of Seattle, went 18 for 26 to gain 206 yards and score two touchdowns. Fittingly, a Seattle defensive player, linebacker Malcolm Smith, was named the game's most valuable player. Seattle won its first Super Bowl in franchise history. Manning was thwarted in his quest for a second Super Bowl ring. After the safety, Seattle kicked two field goals, and Marshawn Lynch scored on a 1-yard run for a touchdown. The Seahawks'  Smith intercepted Manning's second interception and returned it for another touchdown. The second half started out bad for Denver, with Seattle's Percy Harvin running the opening  kickoff back for a touchdown. Jermaine Kearse caught a 23-yeard pass from Russell Wilson with 2:58 left in the third quarter for another touchdown. Wilson threw his second scoring strike to Doug Baldwin with 11:45 left in the fourth. Just before the third quarter ended, Denver got onto the scoreboard when Manning threw a 14-yard pass to Demaryius Thomas. Denver went for a two-point PAT to make the score 36-8. Denver, led by the 37-year-old Manning, has the NFL's best offense, statistically, but never got moving Sunday. Richard Sherman, the Seattle defense player who mocked San Francisco after winning the NFC championship, was never really challenged. He left with an injury in the fourth quarter. Balmy conditions on Game Day . Though the game didn't experience the blackout that hit last year's Super Bowl, fans in Los Angeles had their own visual blackout. Some fans lost cable service for a period and missed part of the second half and the halftime show, starring Bruno Mars and the Red Hot Chili Peppers. Time Warner cable said in a tweet that the issue was resolved before the end of the game. A man was shot several times during a Super Bowl party at a residence in Denver, police said. The man was found outside the home, but police spokesman Sonny Jackson did not have additional information, such as what led to the shooting. The man was taken to a hospital in critical condition, and authorities do not have a suspect or a suspect description. The experts' picks . History of the Super Bowl: By the numbers . The secrets of the Super Bowl flyover .
Seattle dominates and takes advantage of Denver's mistakes .
League MVP Peyton Manning throws two interceptions .
This was the first Super Bowl victory in Seattle's franchise history .
No Seattle player has previously played in a Super Bowl .

(CNN) -- A young woman stands against a crisp black backdrop. The photographer walks forward and gently turns her away from the camera. Today the focus is not on her face but on the delicate architectural feat that sits atop her head. It seems to almost defy gravity, with light radiating from the hair tower as it spirals upwards in a conical shape. Hairstyles have long been popular fashion statements for Nigerian women. But over the years, the intricate braiding and eye-catching sculptures have often reflected the country's changing sociopolitical times as well. And for the last six decades, one man made it his life's work to capture the complex refashioning of his homeland. In February, the renowned artist J.D. 'Okhai Ojeikere died at his home in Lagos aged 84. He left behind a remarkable body of work, much of which is largely unknown outside Nigeria. But now, many of Ojeikere's countrymen are putting in a renewed effort to celebrate the life of the beloved artist -- through documentary films, exhibitions and an impressive monograph of work, Nigeria is presenting J.D. 'Okhai Ojeikere to the world one last time. "He started taking images of a nation that was in the throes of development [and] independence in 1960," explains Bisi Silva, the founder and director of the Centre for Contemporary Art, Lagos. "We discovered oil, money... modern buildings were going up. So he documented that process, that transition into a modernizing nation." A final wish for a departed friend . Over the last five years, Silva has been working tirelessly to complete an extensive monograph on Ojeikere. This has not been yet another project for the art curator -- Ojeikere was a close friend, and the duo had been collaborating on the monograph up until his untimely passing in February. "I had a very close relationship with 'Pa Ojeikere,' as we call him here," says Silva, who turned to crowdfunding platform Kickstarter to raise funds for publishing the book. "I used to speak to him at least once a week." Silva recalls Ojeikere's passion and enthusiasm for the project and, holding it close to her heart, she says she's determined to finish what they had started together. "He was really dynamic, really passionate about photography and there was so much to learn in his archive. Over the last five years, we became friends. He was like a father to me. "It was just such a big shock that he passed away. That he wouldn't see the book he was extremely excited about." Documenting independence . Born in a small rural village in West Nigeria in 1930, Ojeikere would become one of Nigeria's most celebrated artists. For over 60 years, the master photographer fastidiously immersed himself in capturing his homeland, documenting every facet of daily life. His many photographs would come together to create a striking anthropological study of Nigeria. The 1950s saw a young Ojeikere searching for a vocation. Rejected by the army, it was an uncle who inadvertently put him on a lifelong journey by suggesting photography. Starting small, the untrained amateur would photograph women in his village as they donned their Sunday best and headed to church. Later on, Ojeikere got a job as a darkroom assistant at the Nigerian Ministry of Information. When he wasn't working, he was often found at the local university, snapping moments between students, staff and events on campus -- once again capturing daily life on film. The country was moving toward a time of social change and political upheaval and Ojeikere explored this through his lens. "You're getting a sort of history of Nigeria at a very important, transitional period, just on the cusp of independence," says Silva. "And just after independence [in 1960], when there is a feeling of euphoria, feeling of liberation, the sense of 'now we can conquer the world, we can develop the nation; we are free, we are independent.' "And this all comes out in the way in which individuals and people presented themselves. It's like: 'Look at me. I'm fashionable, I'm modern, I'm confident, I'm educated. I'm a professional.' All these images amount to a visual image of Nigeria in the 50s, 60s and 70s." Not just hair . Ojeikere's next job was working for the national television station, a career move that enabled him to rub shoulders with other creative minds. This is when he started to take photographs with more artistic intent, explains Silva. "He started coming into contact other artists, filmmakers, writers and that's why as he developed, the artistic intent as opposed to the anthropological intent began to develop. When we finally get to 'Hairstyles,' they are actually done in a very specific manner. It wasn't someone on the street. It was in a studio with a specific lighting, with a specific position." The "Hairstyles" series, for which he is so critically acclaimed, features over 1,000 photographs of Nigerian styles since 1954. But for Silva, his work documenting traditional Nigerian headgear and the country's architecture, as well as his studio portrait work, must be examined alongside "Hairstyles" to fully comprehend Ojeikere's legacy. The images communicate a transition from the normal photographs depicting Africa, says Silva. "The images we are used to seeing of Africa -- they gave a one dimensional perspective of a race, of a nation, of a people. It's been a herculean work to bring this publication together." Final tributes . Silva's monograph is just one tribute to Ojeikere. Nigerian filmmaker Tam Fiofori recently released "J.D. 'Okhai Ojeikere: Master Photographer," a documentary capturing the final year of the artist's life. Elsewhere, an exhibition of "Hairstyles" is currently shown across the UK. Curated by Gillian Fox, it is the first time audiences in the country are having the chance to view Nigeria from this perspective. "As a Nigerian, he wanted to document that moment in Nigeria when it was a time of colonial rule changing over to democracy," says Fox. "He was keen in the wake of modernization to capture something that was quite intrinsic to his culture, his nation and he saw the rate of change that was happening and he thought hairstyles were fascinating and an art form in their own right," she continues. "They were something that should be preserved because the thing about a hairstyle is that they are really ephemeral." She adds: "I think it was a love letter to his country. He used photography which is a very modern medium to document these moments of social change." Click through the gallery above to explore some of Ojeikere's iconic photographs.
Ojeikere was a Nigerian photographer who passed away in February .
Throughout his life, he took thousands of pictures cataloging the changing times of his nation .
Monograph from Centre for Contemporary Art, Lagos will showcase the work .

(CNN) -- A young woman stands against a crisp black backdrop. The photographer walks forward and gently turns her away from the camera. Today the focus is not on her face but on the delicate architectural feat that sits atop her head. It seems to almost defy gravity, with light radiating from the hair tower as it spirals upwards in a conical shape. Hairstyles have long been popular fashion statements for Nigerian women. But over the years, the intricate braiding and eye-catching sculptures have often reflected the country's changing sociopolitical times as well. And for the last six decades, one man made it his life's work to capture the complex refashioning of his homeland. In February, the renowned artist J.D. 'Okhai Ojeikere died at his home in Lagos aged 84. He left behind a remarkable body of work, much of which is largely unknown outside Nigeria. But now, many of Ojeikere's countrymen are putting in a renewed effort to celebrate the life of the beloved artist -- through documentary films, exhibitions and an impressive monograph of work, Nigeria is presenting J.D. 'Okhai Ojeikere to the world one last time. "He started taking images of a nation that was in the throes of development [and] independence in 1960," explains Bisi Silva, the founder and director of the Centre for Contemporary Art, Lagos. "We discovered oil, money... modern buildings were going up. So he documented that process, that transition into a modernizing nation." A final wish for a departed friend . Over the last five years, Silva has been working tirelessly to complete an extensive monograph on Ojeikere. This has not been yet another project for the art curator -- Ojeikere was a close friend, and the duo had been collaborating on the monograph up until his untimely passing in February. "I had a very close relationship with 'Pa Ojeikere,' as we call him here," says Silva, who turned to crowdfunding platform Kickstarter to raise funds for publishing the book. "I used to speak to him at least once a week." Silva recalls Ojeikere's passion and enthusiasm for the project and, holding it close to her heart, she says she's determined to finish what they had started together. "He was really dynamic, really passionate about photography and there was so much to learn in his archive. Over the last five years, we became friends. He was like a father to me. "It was just such a big shock that he passed away. That he wouldn't see the book he was extremely excited about." Documenting independence . Born in a small rural village in West Nigeria in 1930, Ojeikere would become one of Nigeria's most celebrated artists. For over 60 years, the master photographer fastidiously immersed himself in capturing his homeland, documenting every facet of daily life. His many photographs would come together to create a striking anthropological study of Nigeria. The 1950s saw a young Ojeikere searching for a vocation. Rejected by the army, it was an uncle who inadvertently put him on a lifelong journey by suggesting photography. Starting small, the untrained amateur would photograph women in his village as they donned their Sunday best and headed to church. Later on, Ojeikere got a job as a darkroom assistant at the Nigerian Ministry of Information. When he wasn't working, he was often found at the local university, snapping moments between students, staff and events on campus -- once again capturing daily life on film. The country was moving toward a time of social change and political upheaval and Ojeikere explored this through his lens. "You're getting a sort of history of Nigeria at a very important, transitional period, just on the cusp of independence," says Silva. "And just after independence [in 1960], when there is a feeling of euphoria, feeling of liberation, the sense of 'now we can conquer the world, we can develop the nation; we are free, we are independent.' "And this all comes out in the way in which individuals and people presented themselves. It's like: 'Look at me. I'm fashionable, I'm modern, I'm confident, I'm educated. I'm a professional.' All these images amount to a visual image of Nigeria in the 50s, 60s and 70s." Not just hair . Ojeikere's next job was working for the national television station, a career move that enabled him to rub shoulders with other creative minds. This is when he started to take photographs with more artistic intent, explains Silva. "He started coming into contact other artists, filmmakers, writers and that's why as he developed, the artistic intent as opposed to the anthropological intent began to develop. When we finally get to 'Hairstyles,' they are actually done in a very specific manner. It wasn't someone on the street. It was in a studio with a specific lighting, with a specific position." The "Hairstyles" series, for which he is so critically acclaimed, features over 1,000 photographs of Nigerian styles since 1954. But for Silva, his work documenting traditional Nigerian headgear and the country's architecture, as well as his studio portrait work, must be examined alongside "Hairstyles" to fully comprehend Ojeikere's legacy. The images communicate a transition from the normal photographs depicting Africa, says Silva. "The images we are used to seeing of Africa -- they gave a one dimensional perspective of a race, of a nation, of a people. It's been a herculean work to bring this publication together." Final tributes . Silva's monograph is just one tribute to Ojeikere. Nigerian filmmaker Tam Fiofori recently released "J.D. 'Okhai Ojeikere: Master Photographer," a documentary capturing the final year of the artist's life. Elsewhere, an exhibition of "Hairstyles" is currently shown across the UK. Curated by Gillian Fox, it is the first time audiences in the country are having the chance to view Nigeria from this perspective. "As a Nigerian, he wanted to document that moment in Nigeria when it was a time of colonial rule changing over to democracy," says Fox. "He was keen in the wake of modernization to capture something that was quite intrinsic to his culture, his nation and he saw the rate of change that was happening and he thought hairstyles were fascinating and an art form in their own right," she continues. "They were something that should be preserved because the thing about a hairstyle is that they are really ephemeral." She adds: "I think it was a love letter to his country. He used photography which is a very modern medium to document these moments of social change." Click through the gallery above to explore some of Ojeikere's iconic photographs.

Ojeikere was a Nigerian photographer who passed away in February .
Throughout his life, he took thousands of pictures cataloging the changing times of his nation .
Monograph from Centre for Contemporary Art, Lagos will showcase the work .