By Eden Omari
Half of white America lost its mind, incensed and outraged over Kendrick Lamar’s February Super Bowl half-time performance. Lamar’s first words were ominous and prophetic: “They chose the right time but the wrong guy,” as he proceeded to unapologetically televise the revolution without care or discernment of white perception.
The performance, rich in symbolism and political commentary, explored themes of Black identity in contemporary American history and the unending struggle for equality while also addressing his feud with nemesis, Canadian rapper Drake. Drake, who had, for the first time in hip-hop culture history, sued another artist over beef rap lyrics. Culturally appropriated aggravated insult.
The field, set in lights as a changing PlayStation game board, illustrated the complex history of oppression through which Blacks in particular must learn to navigate to win. At the top, mention of the 40 acres and a mule that was promised to freed Black slaves but never granted by the U.S. government, further illustrating a game/system that is rigged against them and promises unfulfilled.
All Black dancers, designed for white America to glean what it feels like to never see yourself — indignant at the 13 minutes of white-out on their screens. The dancers, some professional, many recruited from the streets and the Bay Area turf dance community, highlighted their ingenuity and overlooked contributions to hip-hop culture in the stadium of about 80,000 and 133 million worldwide. These dancers and their families were instantaneously lifted out of generational poverty. The dancers, represented by SAG-AFTRA union, now command the daily fee of $1,100 for rehearsals and performances and virtually guaranteed successful dance careers and are already coveted by the best choreographers.
Fanked in red white and blue, dancers gyrating and crotch grabbing on the game board will be indistinguishable to them. They form the American flag and bend over, representing the backs upon which America was built and when the flag separates down the middle… well. The dancers in black hoodies writhing silently but violently in the shadows with their lighters drawn. Those are the angry dead Black bodies forgotten and still unknown and the lighters are the police bullets that killed them.
The bell bottom jeans with the tear up the front is the Liberty Bell and the street lamp with the threatening looking, to them, urban thugs hanging out with smiling grills, are creating the music now cemented in the American music history book. Music produced on a street corner, not a million dollar recording studio. The bomber jacket, the “a” minor medallion and the Super Bowl red button will be indistinguishable to “them.”
Samuel L. Jackson as the minstrel Uncle Sam and anti-Black antagonist, deems them too loud, too ghetto, too Black, prompting the dancers how to act and when to act and subsequently imploring the game keeper to “deduct one more life,” turning the stadium into a funeral because he was winning the game and he had to be eliminated (any assassinated Black revolutionary other than Dr. King or Malcolm X, please).
Serena Williams. That crip walk alone was worth the watch. She mimed that very same crip walk after winning Wimbledon’s gold medal in 2012 and was castigated and scourged for that cultural display deemed inappropriate by the AELTC (All England Lawn and Tennis Croquet Club) and subsequently called every kinda word. Serena is from Compton and an ex of Drake, crip walking on his pop icon grave as Lamar smashes him up. Post haste she has finally and truly been given her flowers. An urban queen. The Crips gang members formulated this dance as a means of self expression in Compton in the 1970s. It involves intricate and elaborate foot work spelling out the letters C-R-I-P.
The costumes, baggy pants and baggy T’s are milestones of urban culture and easily read by his target audience. Not Us.
Each song hit its mark throughout. “Squabble Up,” “Humble,” “DNA,” “Euphoria,” “Man At the Garden,” “Peek-A-Boo,” “Luther” w/ Sza, “All the Stars” and “Not Like Us,” performed in succession in response to Uncle Sam’s demands. The teasing of the main title throughout the performance was explosive once released.
There is a bereavement for the many self segregating adults unaware of the cultural revolution happening right now (it’s historic) because of this one performance. Our Black and Brown and white youth are studying truths firsthand with each other through their phone screens. They are mad as hell and they’re not gonna take it anymore as they dance that Kendrick shuffle with firm intention, listening on repeat “They’re Not Like Us.”
Kendrick Lamar is a Pulitzer Prize recipient and a multi Grammy winner — Harvard University offered courses exploring his music (they can distinguish that).