On Feb. 9th, Super Bowl LIX featured the Philadelphia Eagles (NFC) dramatic comeback versus the Kansas City Chiefs (AFC), at the Caesars Superdome in New Orleans. Eagles fans filled the streets with chants, colors and pride after the 40-22 win, but for millions of viewers, the Super Bowl LIX was all about the halftime.
Kendrick Lamar, a Pulitzer Prize-winning lyricist, was announced as the Apple Music halftime headliner in the “Big Easy”. On his second Super Bowl Halftime appearance, Lamar became the first solo hip hop act to ever perform. His selection was met with some debate—critics dismissed him as a “sudden success” famous for his musical feuds while others found him unable to meet the standards needed on the field. Nonetheless, Kendrick Lamar, with CELINE boot-cut flared jeans and diamond necklaces, delivered a historical halftime show. The performance featured guest appearances from SZA, Mustard, and Serena Williams and an incredible set list that blended classics such as “HUMBLE.” and “DNA.” with his most anticipated track of the year, “Not Like Us”. Kendrick Lamar, one of the most influential voices in modern music, made more than a musical statement but a reflection on racial tensions and systemic oppression in America, all while President Donald J. Trump (R), was in attendance. The Super Bowl LIX was redefined by Lamar’s music as a medium for political critique and cultural commentary. Here are four standout moments from the halftime show that transcended mere entertainment:
- Samuel L. Jackson as “Uncle Sam”
The halftime performance introduces the audience to Uncle Sam, portrayed by Samuel L. Jackson. Historically, Uncle Sam has served as a national personification of the United States, featured in World War I and II recruitment posters. In this context, Jackson’s Uncle Sam assumes a more critical and confrontational role that deems Lamar’s act as “too loud, too reckless, too ghetto”—connotations that reflect racial stereotypes often associated with Black communities. His character’s comments are intended to entertain rhetorical statements such as, “Mr. Lamar, do you really know how to play the game? Then tighten up.” The actor’s characterization seems to nod to his previous role as Stephen Warren, a senior house slave loyal to his racist owner, Calvin Candie, in Quentin Tarantino’s Django Unchained. Jackson’s character in the performance explicitly identifies as “Uncle Sam,” but some online commentators have debated whether his role relates more to Uncle Tom. Uncle Tom, based on a character from Uncle Tom’s Cabin, a novel by Harriet Beecher Stowe, is a term that references Black individuals who distance themselves from their communities for approval from white society. This interpretation is reinforced by Jackson’s admonition to Lamar: “That’s what America wants—nice, calm, you’re almost there. Don’t mess this up.” Moreover, Samuel L. Jackson, beyond his on-screen performances as a Hollywood icon, is a committed civil rights activist and even served as an usher at Martin Luther King Jr.’s funeral.
- “The revolution is about to be televised. You pick the right time but the wrong guy.”
On the top of a 1987 Buick Grand National GNX, Kendrick transitions to “Squabble Up” with, “The revolution is about to be televised. You pick the right time but the wrong guy.” The line references The Revolution Will Not Be Televised, the seminal spoken-word piece by Gil Scott-Heron, a jazz poet, musician, and author. Scott-Heron’s works critique corporate control and mass media narratives’ failure to understand the realities of Black people. He insists real change stems from individuals, not institutions. Kendrick Lamar reframes Scott-Heron’s message within a modern context as he refuses the labels or roles set by America—personified as Uncle Sam. His statement, “You pick the right time but the wrong guy,” resists the system that confines and dictates Black individuals to conform to the social norm centered on Western ideals, that often exploits and suppresses Black communities. Lamar concludes his halftime performance with tv off, the seventh track from his recent album GNX, once again referencing Gil Scott-Heron. He sings, “This revolution has been televised,” and “Turn the TV off, turn the TV off”, as calls to action that echoes Scott-Heron’s influence.
- America divided
In “HUMBLE.”, Kendrick Lamar stood at the center of an all-Black ensemble of dancers, dressed in red, white, and blue, that moved in unison. The divided formation served as a visual metaphor for the current political fractures within the United States, a theme Lamar addresses with the line, “It’s a cultural divide.” The performance struck online users who discussed that the all-Black dancers serve as a statement on the foundational role of Black labor in shaping the nation. Moreover, the discussions online believed that the presence of red and blue bandanas in the performance was beyond the national colors. The users understood this as a reference to the Bloods and Crips, historical rival gangs. Lamar, a Compton native, first unified both in The Pop Out: Ken & Friends held at the Kia Forum in Inglewood, California. The one-night-only event was a celebration of Juneteenth and Black Music Month that marked Lamar’s comeback after he feuded with Drake. “The Pop Out”, featuring various West Coast artists like Steve Lacy, Tyler, the Creator, and others, became the stage where Kendrick Lamar brought together members of both the Bloods and Crips in Los Angeles.
- “Forty acres and a mule, this is bigger than the music”
As the beat for his award-winning song, “Not Like Us”, filled the Caesars Superdome, Kendrick stated, “Forty acres and a mule, this is bigger than the music.” This is a direct reference to the historical promise of land distribution to former enslaved African Americans after the Civil War.
On January 16, 1865, Union General William T. Sherman issued Special Field Order No. 15, which promised each formerly enslaved household 40 acres of land. This order set aside 400,000 acres of confiscated Confederate land across the Southeast coast for redistribution. The initiative considered newly freed individuals with the means to build self-sufficient lives in post-Civil War America. The phrase “40 acres and a mule” became emblematic of this commitment. Nonetheless, after President Abraham Lincoln’s assassination, his successor, Andrew Johnson, rescinded the order and returned the land to former Confederate owners. The broken promise further disenfranchised Black Americans, which limited their opportunities for economic stability and liberation.
Decades later, in 1979, acclaimed director, producer, and revolutionary of Black cinema, Spike Lee reclaimed the term with 40 Acres and a Mule Filmworks as a tribute in 1979. On Instagram, Lee celebrated Lamar and Jackson, both featured on his projects and shared the historical context of the phrase. He wrote, “The term ‘40 Acres and a Mule’ was a proposal for reparations to formerly enslaved African Americans in the aftermath of the Civil War. The proposal was intended to provide land and resources to help freed people achieve economic independence. This promise was ultimately broken. HAPPY BLACK HIS-HERSTORY.” Lamar understands music as a medium that transcends entertainment. His statement, “This is bigger than the music,” underscores how his artistry addresses more than his narratives but rather confronts the embedded systemic issues that impact Black communities.
Kendrick Lamar’s Super Bowl halftime show embraced the beautiful culture and rich history of New Orleans. The most-watched halftime show in history, with 133.5 million viewers, set a before and after on the field. The moments are endless, from tennis icon Serena Williams’s crip-walk to the fearless dancer’s call for liberation of Sudan and Palestine, every moment carries meaning. Lamar redefined the standards for future artists and illustrated a broader narrative. There is no doubt about it, Super Bowl LIX will be remembered as a transformative moment in American culture.