The Game Beyond the Game

Wow. Kendrick Lamar’s Super Bowl performance has sparked a range of reactions, with some people calling it “underwhelming” or quite frankly “terrible”.

However, I believe much of the criticism may stem from a lack of understanding of the deep imagery, symbolism, and intentional storytelling he infused within this performance.

This entry will be dedicated to Superbowl LIX’ halftime show analysis!

This year, Kendrick Lamar was joined by SZA to perform 10 songs. He had special appearances from Samuel L. Jackson, DJ Mustard, and Serena Williams!

Set List:

squabble up (with GNX teaser intro)

HUMBLE.

DNA.

euphoria

Man at the garden (live debut)

peekaboo (live debut)

Luther (with SZA; live debut)

All the Stars (with SZA; first time since 2019)

Not Like Us

tv off

Kendrick Lamar has always been an amazing lyricist and a highly theatrical performer, so it’s no surprise that he used this massive platform (roughly 202 million people) to convey a powerful message about culture and systemic inequities of race and class in the United States. I saw Kendrick perform at Bonnaroo in 2023. So, to say the least, this was a highly anticipated performance.

To me, this performance was the epitome of “the personal is political”. Kendrick used this platform to harp on institutional power, class, and capitalism, Black aesthetics and constrained Black excellence, and the utilization of art as resistance. Follow along with me as I dissect each of these themes that I gathered from the performance. I would love to hear in the comments any additional symbolism or themes you gathered while watching!

Institutional Power and Class on Display

At the start of the performance, Kendrick Lamar is introduced by Samuel L. Jackson, who is dressed in a patriotic suit, embodying the persona of "Uncle Sam". This is a long-standing symbol of the United States government, American authority, and nationalism. The show lasted over 13 minutes and featured a set accompanied by dancers in monochrome outfits of red, white, and blue. The dancers form and deconstruct the American flag several times throughout the performance. Uncle Sam announces, “The Great American Game,” before Kendrick comes out. Now this obviously has literal meaning and serves as and physical metaphor. It refers to Super Bowl Sunday, an unofficial American holiday, as an event that epitomizes American entertainment and capitalist ambition. Another facet of this symbolism is that the “game” operates as a pointed critique of the nation's entrenched class divisions. Beyond the literal football game, a deeper game is being played. In this game, the rules disproportionately benefit the powerful while leaving marginalized communities to navigate a system stacked against them. Kendrick’s presence, along with his choice of songs, could be interpreted as a critique of who truly benefits from the American Dream. In other words, he is directly relating to the elite system and illusion of meritocracy.

The performance incorporated video game imagery, with the stage designed to resemble a PlayStation controller and lights displaying gaming instructions like "START HERE" and "WARNING WRONG WAY." This serves as a powerful metaphor for systemic control, class struggle, and the illusion of choice within society. This gaming construct reminded me of John Scalzi's Straight White Male in which he uses a video game metaphor to explain privilege. Much like a game, the social and economic system is structured around predetermined paths, hidden obstacles, and rigged rules that dictate who can advance and who is forced to restart.

Kendrick Lamar’s references to Compton, Calif. where he grew up, were very noticeable. The imagery of the streetlamps as props serves as a powerful commentary on class struggle, economic disparity, and the systemic barriers that shape the lived experiences of marginalized communities. Compton exemplifies the socioeconomic struggles that many predominantly Black and Brown working-class communities in the United States endure. Older generations often recalled the importance of being home before the streetlights turned on, a precaution taken to avoid the "dangers" that surfaced after dark.

Black Aesthetics

After the first couple of songs Kendrick performs, “Uncle Sam” reappears and echoes the voice of many criticizing and enforcing harmful stereotypes as he interrupts, “Too loud. Too ghetto. Mr. Lamar, do you really know how to play the game? Then tighten up.”

Right after this Kendrick plays HUMBLE. At first glance, the song appears to be a command for others to “sit down” and “be humble.” But Kendrick Lamar is known for playing with irony and duality. Is he calling for humility from others, or is he critiquing the way Black excellence is often policed? The demand for humility can be read as a reflection of how Black artists, athletes, and leaders are told not to be too bold, too outspoken, or too proud of their own greatness. While performing this all the dancers are in color coordination and form the American flag with Kendrick performing right in the center of this (pictured above). I cannot express more how powerful this was!

THEN, for Kendrick to play DNA next was just strategically perfect and feeds into this idea of black aesthetics. This song is a declaration of Black identity, resistance, and cultural pride, while simultaneously exposing how systemic forces attempt to define and control Blackness. The song is a celebration of resilience, and an indictment of the way Black people are perceived, categorized, and oppressed in American society. We could literally just do song analysis for this blog entry. There is just SO much to unpack. DNA essentially captures the intense duality of Black experience.

SZA then appears to perform of All the Stars with Kendrick. After this set ends

Uncle Sam reassures the artists and says “that’s what American wants! Nice and calm… Don’t mess this up-“

Don’t get me wrong, All the Stars is still an anthem of Blackness. The song was created for Black Panther, a film that redefines Black power and agency through the lens of Afrofuturism. It serves as a fusion of Black culture and symbolizes Black people reaching beyond the constraints of systemic oppression and colonial narratives. The difference between HUMBLE and DNA in regard to All the Stars from Uncle Sam’s perspective is that All the Stars is softer, more melodic, and dreamlike in its delivery. Whereas the songs before are a direct and an unapologetic assertion of Black identity. It can be argued that the American public or in this case Uncle Sam would appreciate songs wrapped in a palatable more commercially friendly sound and something that doesn’t directly call out the system of oppression. This contrast is a brilliant artistic example on how America commodifies Black culture while suppressing Black resistance.

This tension speaks to the broader constraints on Black culture, where authentic expressions of Black identity are frequently criticized and policed unless they align with dominant expectations. The shift from the raw, disruptive energy of Kendrick’s early performance to a more polished collaboration with SZA mirrors how Black artistry is often molded to fit mainstream acceptability. This moment is a perfect example of how Black art is both celebrated and controlled. The choreography and movements resembled policing and militarization.

Black aesthetics is a philosophical and artistic movement that centers Black culture and life. Black aesthetics is a response to racism and marginalization, and it's a way to create new forms of identity and resistance. It's a response to the need to challenge white Western aesthetics and the erasure of Black people's humanity. The black aesthetic is a cultural ideology that developed in America alongside the civil rights movement in the 1960s and promoted black separatism in the arts.  

I am reflecting on a piece by James Baldwin’s The Black Boy Looks at the White Boy. Baldwin's work touches on the idea that Blackness has been historically defined in contrast to whiteness. This is consistently done through systemic oppression and cultural exclusion. This dynamic suggests that Black people are often seen through the lens of whiteness rather than for the fullness of their own existence. Baldwin critiques this structure and emphasizes how whiteness exerts power over how Blackness is perceived and represented. This directly connects to Kendrick Lamar’s performance and Uncle Sam’s role as a policing force. Uncle Sam represents the expectation that Black artists must present themselves in a way that is digestible to white audiences.

This is the exact reason Kendrick called Serena Williams up to perform with him. Aside from the Drake shade, Kendrick wanted to bring Serena out to crip walk during They Not Like Us. The context with this is that Serena was highly criticized for crip walking at the 2012 Olympics after winning the gold medal. So, Kendrick brings her out to make another appearance to do it again, on an even larger stage.

Art as Resistance

All throughout this performance we can see how calculated each song, each movement, each word played into the overall theming and message! Kendrick is an absolute artist and his mode of resistance to systems of oppression can most definitely be described through his art!

From the very start of the show, Kendrick says, “The revolution’s about to be televised. You picked the right time, but the wrong guy”. He signaled that this performance was a statement. The NFL may have covered the costs of the show, but Kendrick’s agreement to not take an appearance fee creates a deeper layer of resistance.

Let’s repeat that: Kendrick did not make a single cent.

The art can be a form of protest without needing financial compensation or approval from those in power. Kendrick makes it clear that this is about more than money. This is about reclaiming agency and using his platform to challenge systems of oppression.

When Kendrick closes the performance with the song tv off, it’s a powerful invitation for the audience to disconnect from the media-driven narratives that often shape public opinion around race, class, and power.

Turning the TV off carries layered significance and can be interpreted as both a critique of capitalistic interests and the NFL, as well as a bold statement aimed at those who reject his message.

Turning the TV off directly challenges the media’s control over narratives, especially those that commercialize and commodify Black culture. The NFL, as a corporate entity, profits from the spectacle of Black athletes.

On the other hand, turning the TV off can also be interpreted as a dare to those who didn’t like his performance. This is a challenge to dismiss him if they want to. It’s also a rejection of external approval or validation, especially from those who might feel uncomfortable with his political and cultural messages. Kendrick is basically saying, “If you don’t want to hear this truth, you can turn it off”. But by doing this, they are not just turning off his performance, but essentially turning off the game itself. He’s saying that if you silence my message, you are complicit in silencing the entire movement.

Kendrick is essentially challenging the audience to stop engaging with the game of oppression.

p.s. the Drake feud conclusion was wild.

With gratitude,

Olivia