super-bowl-lix-halftime-show-020925-by-elisfkc2-flickr, Decoding Kendrick Lamar’s Super Bowl performance: Experts weigh in on the symbolism, politics and cultural impact, Abolition Now! Local News & Views World News & Views
Kendrick Lamar performs the Halftime Show at Super Bowl LIX on Feb. 9, 2025. – Photo: elisfke2, Flickr
by Donald ‘C-Note’ Hooker
Kendrick Lamar’s Super Bowl LIX halftime performance was more than entertainment — it was a cultural flashpoint rich with symbolism, history and social commentary. With 133.5 million viewers, it became the most-watched halftime show in history, even outdrawing the game itself.
The performance followed a major career high. Lamar had just won five Grammys, including Record and Song of the Year for “Not Like Us,” bringing his total to 22. He also became the first U.S. lead artist to surpass a billion streams in 2025.
The Shade Room’s viral breakdown of the show sparked widespread discussion about its deeper meaning — particularly its political and cultural imagery. This article explores those layers through expert commentary spanning hip-hop, prison reform, art activism and community organizing.
Each section focuses on a key theme — from the symbolism of the streetlight to Uncle Sam’s monologue, Serena Williams’ Crip Walk, and the idea that “The Revolution Will Be Televised” — with insights from voices rooted in lived experience and cultural history.
‘This is The Great American Game’: The double entendre
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At the start of Kendrick Lamar’s Super Bowl LIX halftime show, Uncle Sam (played by Samuel L. Jackson) declares, “This is The Great American Game.” On the surface, it nods to football’s central role in American culture. But Lamar’s framing hints at something deeper.
The phrase acts as a double entendre — referencing not only football but also the larger societal “game” of capitalism and systemic inequality. Just like sports, American institutions are structured to benefit a powerful few while exploiting others.
Uncle Sam symbolizes more than patriotism; he embodies the control systems that shape lives. Lamar’s use of this character and phrase challenges viewers to ask: Who really wins in the so-called American game?
Introducing the expert: Jessica ‘Noonie’ Noble
Jessica “Noonie” Noble, editor-in-chief of Sports and More Sports and Soccer 4 Us, is a leading voice in sports journalism with a background in semi-professional gaming. Her experience calling NBA 2K games gives her sharp insight into how sports and digital culture intersect.
Lamar’s use of gaming symbolism makes her perspective especially timely, connecting themes of control, competition and power. For more of her commentary, visit her YouTube channel Ms. Leo (Sweet’s).
Expert commentary – Jessica ‘Noonie’ Noble
“As I looked at the picture/video of Kendrick Lamar from the Super Bowl and realized that he created a game controller — but a PlayStation controller — what was he saying?
“Some people say it was a prison yard inside of it; some say it was him saying we’re all trapped or locked in the world, and it’s a game. Now honestly, I did not catch that part live, but I saw some of the final moments. And was it a coincidence that PlayStation servers were out before or after that?
“There’s always a message that artists put out. We have to really read between the lines and look and listen.”
Expanding on the takeaway
Jessica “Noonie” Noble’s insight asks — if America is a game, who’s holding the controller?
The PlayStation imagery suggests control and the gamification of Black culture for profit. It also points to how systems like the prison-industrial complex box in Black lives.
PlayStation’s server outage adds intrigue — was it coincidence or commentary on corporate control and digital dependency?
Lamar’s line, “This is The Great American Game,” challenges us to consider who truly holds power — and whether we’re players or capable of changing the rules.
Samuel L. Jackson as Uncle Sam – a layered casting choice
AD_4nXfsBkkaxfLg7E3tYEcZlWdD_T0Ay2djgqr_ZUdSs0YCLfl_CokAEZ_bknenbzgkO96JrwfIFLG0d-g8OPN3wz7oih4MNTzxNAiq5ePSJYT4cqC20tdTQsqH-HL6JHuUSUNrjigTsw?key=a6iCeOJHjcPhWyCaUnuRDtjl, Decoding Kendrick Lamar’s Super Bowl performance: Experts weigh in on the symbolism, politics and cultural impact, Abolition Now! Local News & Views World News & Views
In Kendrick Lamar’s Super Bowl LIX halftime show, Samuel L. Jackson plays Uncle Sam — not as a patriotic icon, but as a symbol of systemic control. This casting reimagines Uncle Sam as an overseer of economic and social power structures, especially as they impact Black Americans.
Jackson’s presence adds complexity. Known for playing both heroes and villains, he becomes the gatekeeper of “The Great American Game,” a system that demands Black contributions yet limits access to its rewards. Rather than resistance, his character reflects compliance — someone who benefits from power and helps maintain the status quo.
Lamar uses this portrayal to question not just government authority, but also how Black public figures may reinforce or challenge the systems that oppress their communities.
Introducing the expert: Anita L. Wills
Anita L. Wills is a historian and author whose work centers on African American and Indigenous resistance. Her research connects past civil rights struggles with modern systemic oppression and economic inequality.
By exploring figures like Nat Turner and the Black Panther Party, Wills offers valuable insight into Kendrick Lamar’s use of Samuel L. Jackson’s Uncle Sam, framing it within a history of resistance and co-optation.
Expert commentary – Anita L. Wills
“Kendrick Lamar’s performance at the Super Bowl has the world singing and dancing to his music. The Matrix settings, dancers in red, white and blue, Samuel L. Jackson, Serena Williams Crip Walking, and the transitions to other artists were spellbinding, to say the least. The ancestors were celebrating the unification and healing our communities experienced worldwide.
“Lamar’s performance was more than just a halftime show — it was a reflection of resilience in the face of horrific oppression. His use of Samuel L. Jackson as Uncle Sam set the tone for the entire performance. It was like Dave Chappelle’s Black Klansman and Uncle Ruckus rolled into one. Jackson’s portrayal represented the sellout figure who worships the white man while hating the face he sees in the mirror. He was the gatekeeper, the one standing between the masses and the white moneyed establishment.
“At one point, Jackson recited excerpts from speeches by Martin Luther King Jr. and Malcolm X, two towering figures of the Civil Rights era. His delivery was impassioned, reflecting the fervor and determination of these leaders. This moment reminded the audience of the enduring relevance of their words and the ongoing struggle for equality.
“I am part of the bell-bottom generation that includes figures like Angela Davis, the Black Panthers, and anyone from the Black Power Movement who stood up against governmental oppression. We fought against the war machine and racism, and during this struggle, drugs were introduced into our communities. Gentrification began transforming our neighborhoods while the needs of our brothers who were drafted and sent to Vietnam — many of whom are homeless and suffer from PTSD — were ignored.
“They used the O.J. trial as a pretext to target Black men, perpetuating the stereotype that all Black men are criminals. In contrast, there has never been a similar blanket characterization of white men, despite the violent actions of individuals like those involved in the Columbine shooting, serial killers, or mass murderers such as Ted Bundy and Jeffrey Dahmer. Meanwhile, entertainers like Diddy and Bill Cosby face prison time, yet Hugh Hefner, whose Playboy Mansion was filled with underage girls, never faced consequences.
“White leaders have convinced poor white individuals that their problems stem from Black and Brown people, and so far, this approach has benefited them. It is worth noting that some Black individuals believe that Black and Brown immigrants are the issue while conveniently overlooking the privileges afforded to Europeans, like Elon Musk, who are often given the ‘keys to the kingdom.’
“The stage design of Lamar’s performance paid homage to historical events, with backdrops that echoed iconic images from the Civil Rights era. Dancers, dressed in uniforms reminiscent of protesters and freedom fighters, moved in choreography that symbolized unity and resilience. The use of lighting and visual effects further highlighted the gravity of Lamar’s themes.
“Kendrick Lamar’s performance reminded us of the Civil Rights Movement, highlighting the ongoing fight for justice and equality. While leaders like Martin Luther King Jr., Malcolm X and Rosa Parks are widely recognized, the government continues to focus on suppressing movements of self-determination within Black communities. The KKK and white nationalist groups remain active, yet Black-led movements for equity are systematically dismantled.
“Lamar’s performance called attention to the hypocrisy of political leadership. Two former presidents, Joe Biden and Bill Clinton, singled out Black males, calling them ‘predators’ in speeches. Soon after, the policies of the New Jim Crow took hold. These statements did not come from Republican leaders, yet there was no outcry from either side of the aisle. This is long after the debacle of the 40 acres and a mule promise, which is symbolic of the wealth stolen from our community.
“Lamar’s performance linked past and present struggles. He emphasized that police brutality, mass incarceration, voter suppression, and economic inequality remain unresolved issues in America. The Civil Rights Movement’s legacy is incomplete, and Lamar used this moment to remind the world of the work that still needs to be done.
“His halftime performance was not just a musical showcase — it was a profound artistic statement. He reignited the Civil Rights Movement’s spirit on a global scale. With millions watching, Lamar utilized the Super Bowl stage to remind us that the game may change, but the struggle remains the same.”
Expanding on the takeaway
Anita L. Wills emphasizes that Lamar’s Super Bowl show was more than entertainment — it was a historical reflection. Samuel L. Jackson’s Uncle Sam symbolized the gatekeepers of systemic oppression, prompting viewers to consider who benefits from America’s institutions.
Lamar linked the Civil Rights Movement to today’s struggles, highlighting that progress remains incomplete. His performance wasn’t just about music or sport — it questioned power, narrative control, and ongoing injustice.
By delivering this message on the Super Bowl stage, Lamar reached millions. The real question: Will his message lead to action or be reduced to another fleeting cultural moment?
The ‘Warning: Wrong Way’ message
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Kendrick Lamar’s Super Bowl LIX performance included a bold “Warning: Wrong Way” sign. More than a visual, it was a critique of how Black existence has been criminalized in America.
For generations, Black people have been labeled criminal to justify forced labor and mass incarceration. The 13th Amendment’s exception clause allows slavery through criminal conviction, fueling the prison-industrial complex.
Lamar’s message challenges the notion that crime is cultural, highlighting how systemic barriers push Black communities toward underground economies for survival. The warning isn’t just personal — it’s directed at a society that profits from Black labor while denying equity and opportunity.
Introducing the expert: Donald ‘C-Note’ Hooker
Donald “C-Note” Hooker is an American prison artist and writer who advocates for economic empowerment through the arts. Known as the King of Prison Hip-Hop, he pushes for incarcerated individuals to be paid for their creative work.
His essay, “The Untapped Potential of Prison Art” (2016), critiques the Rehabilitative Industrial Complex and emphasizes how the arts can offer real economic pathways for those shut out of traditional opportunities — an idea central to his reading of Lamar’s performance.
Expert commentary: Donald ‘C-Note’ Hooker
For years, I have been advocating on the issue of ‘Warning: Wrong Way.’ Being Black in the United States had to be associated with criminality, as a means to continue to extract its free labor. The 13th Amendment to the United States Constitution did not fully abolish slavery; it had an exception clause. This clause permitted slave labor under the conditions of a criminal conviction. From my understanding, it was based on the California Constitution; California was not a slave state.
In November, voters in my state rejected removing this clause from the Constitution, thus continuing the business-as-usual approach to free and forced prison labor.
You see, Blacks are not criminal. They do not seek criminality as a lifestyle or way to earn a living. However, when forces beyond their communities have implemented policies that make it difficult and impossible to earn standard living wages, this will give rise to an underground or black-market economy to earn money.
I’ll never forget my observations when Snoop Dogg, a Crip from Long Beach, came on the music scene. I saw Long Beach Crips in the early ’90s, who would otherwise pick up a dope sack or pistol to get money, instead picking up ink pens. Snoop wasn’t just a role model; he was a road model, showing how someone from the streets could access a middle-class lifestyle through creativity.
Crime has consequences. It could lead to death on the job or imprisonment. Either of these choices takes fathers away from their kids. Given the choice between committing crimes or earning a real living, that’s not even a debate in the Black community. The high profile of Kendrick Lamar and his ability to earn a living through art is his contribution to this ongoing dialogue in our communities.
Funding creative training should not be minimized. Private-public partnerships are one way to support this, but the philanthropic community has a role too. Too many times, I’ve observed our newly riche become global citizens, detached from the pressing needs of the communities from where they came. The philanthropic dollars going overseas could be deployed here at home.
I’ve been preaching this message ever since I dropped my essay, “The Untapped Potential of Prison Art” (2016). The Rehabilitative Industrial Complex (RIC), born from the Prison Industrial Complex (PIC), heavily relies on the prisoner’s voice to fund their operations. These funds are generally raised through local, state and federal grants or philanthropic foundations.
But just like L.A.-based rap artists Snoop Dogg, Nipsey Hussle and Kendrick Lamar have elevated their game from street-corner rappers to multimillionaire business moguls, the same elevated content creation could be happening voluntarily inside prisons.
“When you can get a prisoner interested in the arts,” I wrote in 2016, “you get a man or woman seeking a deeper meaning. The imprisoned poet or writer wants to know the etymology of words. The imprisoned visual artist studies the geometry of shapes. Learning English or math because you want better outcomes in your craft — so that readers, seers, or hearers understand you better — is transformative.
Rewarding this type of behavior incentivizes other prisoners to model this behavior. I know from experience — trying to get other prisoners to participate in art or contribute works for fundraising — I am commonly asked, ‘Why should I?'” — excerpt from “The Untapped Potential of Prison Art
Expanding on the takeaway
Donald “C-Note” Hooker frames Lamar’s “Warning: Wrong Way” as a critique of how Black criminalization has long served economic interests. Crime isn’t a choice, he argues — it’s often a response to systemic barriers that block legitimate opportunities.
C-Note highlights how hip-hop offers a viable path to stability, if supported. Lamar’s message is a call to stop punishing Black ambition and start funding Black creativity.
He asks: if art can change lives in prison, why not invest in it? The real wrong turn is ignoring economic opportunity as the true solution to crime.
The Streetlight Scene: Racial profiling and surveillance
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One of the most powerful visuals in Kendrick Lamar’s Super Bowl LIX performance was the streetlight scene — a symbol of Black urban life.
Young Black men stood beneath a streetlight, wearing white tees, jeans and Nikes — a look tied to both hip-hop and survival. The image evoked racial profiling and the constant surveillance of Black youth.
The streetlight symbolizes both community and control, a place where Black men are highly visible to police yet invisible to systems of justice and opportunity. With Uncle Sam watching, Lamar underscores the government’s role in sustaining poverty and criminalization.
The scene reflected unity, struggle and the painful reality that systemic forces often pit Black men against one another for survival.
Introducing the experts: Porshe Tiara Taylor and Scandoe
Porshe Tiara Taylor is the founder of Prison From-The-Inside-Out, Inc., advocating for prison reform and reentry support. Her experience with the justice system brings crucial insight into Lamar’s themes of racial profiling and surveillance.
Scandoe, a rapper and former gang member, now promotes gang truce and unity through hip-hop after serving over 15 years in prison. His perspective highlights how Lamar’s imagery reflects the real struggles faced by Black men navigating systemic injustice.
Expert commentary – Porshe Tiara Taylor
“My perspective saw white shirt, blue jeans and Nikes — the outfit that generally rides the backs of Black youth and men as they hustle on the corner under the streetlight.
“All together, fighting for the same dollar to feed their families.
“Uncle Sam was just that, out loud forever — an oppressor, a fuel to ongoing poverty.
“This image highlights Black street culture, Black youth experiences, and Black unity all at once. But one thing it didn’t capture is that these same young men sometimes end up killing each other.
“It was a full acknowledgment of systemic oppression.”
Expert commentary: Scandoe
“The entire performance was literally Kendrick sending a message to the United States of America (and Drake😭)
“That our culture will stand for something different and be positive about it.”
Expanding on the takeaway
Porshe Tiara Taylor and Scandoe highlight the depth of Lamar’s streetlight scene.
Taylor sees both resilience and tragedy — Black unity amid cycles of systemic oppression. It’s a portrait of survival under pressure.
Scandoe views it as a cultural shift, with Lamar signaling that hip-hop is reclaiming its identity. His mention of Drake underscores how top artists shape that narrative.
Lamar’s use of Uncle Sam watching over the scene sends a clear message: America monitors Black life but still refuses to truly see it.
‘40 Acres and a Mule’ – Kendrick’s demand for reparations
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During Kendrick Lamar’s Super Bowl LIX performance, he interrupts Uncle Sam and declares, “40 acres and a mule; this is bigger than the music.” This references the unfulfilled post-Civil War promise of land and independence to freed Black Americans.
The phrase stems from Special Field Order No. 15, which aimed to grant land to freed slaves. President Andrew Johnson later reversed the order, returning land to white plantation owners — setting the stage for generations of Black economic disenfranchisement.
By invoking it on the Super Bowl stage, Lamar spotlights the ongoing struggle for reparations. He challenges the system where Black creativity generates wealth, yet historical injustices remain unaddressed.
Introducing the expert: Gary Jake
Gary Jake is the founder of Love Right UNTD, a nonprofit focused on empowering underserved communities through art, education and social services. He also runs Choice 1 Printing Services, offering design and printing solutions.
Jake’s work in economic development informs his perspective on reparations and the unfulfilled promise of 40 acres and a mule. His insight connects Kendrick Lamar’s message to today’s struggle for economic justice.
Expert commentary: Gary Jake
“Forty acres and a mule was a promise to give land and resources to formerly enslaved African Americans after the Civil War. It was a key part of Special Field Order No. 15, issued by Union Gen. William T. Sherman in 1865. The promise was never fulfilled, and it symbolizes the ongoing struggle for reparations and economic justice.
“How did the promise come about? The promise was based on a meeting between Sherman and 20 Black leaders in Savannah, Georgia. It was the first systematic attempt to provide reparations to newly freed slaves and one of the most significant promises made to African Americans.
“Why was the promise broken? The promise was broken because most freed slaves did not have property, money or education. Without these resources, they had no clear path to economic independence.
“By June 1865, 40,000 freed slaves had been allocated land. Some estimates suggest that this land could be worth $640 billion today, highlighting the enormous economic potential of the 40 acres promise. The present-day value of 40 acres and a mule helps form the foundation for calculating the magnitude of reparations owed to Black Americans.
“Three objectives can be ascribed to a reparations program: acknowledgment, redress and closure. The primary historical source for 40 acres and a mule is Sherman’s Special Field Order No. 15, which designated land along the South Carolina, Georgia and northern Florida coast for Black settlement. It promised each family 40 acres and a mule to farm the land.
“By June 1865, around 40,000 freed slaves had been allocated land under this order. However, the promise was short-lived. The land was taken back and returned to white Southerners, many of whom were recent European immigrants, while Black Americans were left with nothing. If that land had remained in Black hands, it could have produced generational wealth comparable to the farming empires built by white landowners.
“Instead of economic stability, Black Americans were denied land and left to struggle without the promised resources. The denial of 40 acres and a mule wasn’t just about land — it was about keeping Black Americans at a systemic disadvantage. The government actively ensured that Black people would not gain economic autonomy. The land was taken and handed to white settlers for free, reinforcing the racial wealth gap that persists to this day.”
Expanding on the takeaway
Gary Jake highlights the power of Lamar referencing “40 acres and a mule” on the Super Bowl stage — a reminder of long-denied economic justice for Black Americans.
The estimated $640 billion in lost wealth represents more than land — it’s lost generational opportunity. That legacy still drives racial gaps in wealth and stability.
Lamar’s line, “This is bigger than the music,” challenges an industry that profits off Black culture while ignoring the roots of inequality. By spotlighting reparations during such a high-profile moment, Lamar asks: Will justice ever be served, or will the system stay rigged?
Serena Williams’ Crip Walk: Reclaiming a cultural moment
AD_4nXeqDm_kQgvlvrME_dk2T1cJoOygOpq8m6wmqeFU24Nbqhgjx72bQ6bcyDEtDI7UBxp-GSy3iij8dhdXR1e3JwLnuujSjyfLmYeXho06NQh36_HN18uxhMlxBRiObsO8cskq46w_pQ?key=a6iCeOJHjcPhWyCaUnuRDtjl, Decoding Kendrick Lamar’s Super Bowl performance: Experts weigh in on the symbolism, politics and cultural impact, Abolition Now! Local News & Views World News & Views
During Kendrick Lamar’s Super Bowl LIX halftime show, Serena Williams performed the Crip Walk — a dance rooted in 1970s Los Angeles street culture. While it may appear celebratory, its presence on such a grand stage carries deep cultural meaning.
Originating with the Crips gang, the C-Walk has evolved from a symbol of affiliation into a global dance trend — demonized at first, then commercialized and often stripped of its context. Williams is the first woman to perform it at both the Australian Open and the Super Bowl, highlighting questions around who controls and defines Black culture.
Her performance pushes back on a long history of media scrutiny over Black expression, reaffirming that only Black communities can shape the narrative of their cultural legacy.
Introducing the expert: Craig A. Ross
Craig A. Ross is an author, activist and former Crips member who spent 37 years on Death Row at San Quentin. He co-authored “The Architect,” a guide for self-transformation and gang reform inspired by Stanley “Tookie” Williams.
A PEN Prison Writing Award winner, Ross uses essays and poetry to challenge narratives about gangs and incarceration. His lived experience with the Crip Walk’s origins and cultural evolution gives weight to his analysis of Serena Williams’ C-Walk at the Super Bowl.
Expert commentary – Craig A. Ross
“Once upon a time, anyone who was not a Crip caught C-Walking would have been viciously Crip stomped, maybe to death. This was the brutal truth of a bygone era, one that also highlights just how much cultural attitudes have changed since the birth of the Crip Walk in 1972 South Central L.A.
“Today, no one is getting a beat down, much less criticized for C-Walking. The fact is, the intricate, syncopated, and improvisational steps of the C-Walk are being taught on YouTube and Instagram. This is a definitive testament to its appeal and longevity. It has transcended the streets and hoods of South Central to imprint its presence on some of the biggest stages in sports and entertainment — the Grammys, MTV, and now the Super Bowl halftime show.
“So, how did a dance created by gang members garner such interest and attention? Serena Williams is most certainly not the first person to C-Walk at the Super Bowl. Snoop Dogg owns that distinction, and years ago, Coolio C-Walked on the Grammy stage. But Serena is definitely the first woman to C-Walk at two major events, the Australian Open and the Super Bowl.
“Yes, the media had something to say about that, as if Serena needed their seal of approval, as if they are the gatekeepers of what is and what isn’t acceptable Black culture. Remember, Blues, Jazz, Soul, Rap and Hip-Hop were all attacked by the media at some point. But since Black culture is long past the minstrel shows, we, Black people, are the only ones who get to define our reality. The media, and the rest of the world, has to respond to our definition.
“For this writer, Serena Crip Walking is a shout-out to her origins, to everyone in those urban communities that struggle to be heard, to be seen. And let’s be honest — the C-Walk is one cool dance. It’s no wonder why it has been acculturated by different cultures and people around the world.
“The C-Walk, like the Blues, Jazz, Soul and Rap, was born from the Black experience in America. It is rebellious, creative, (showing) love, independence, bravado, pain and pride. I only hope Serena C-Walks knowing its history, its origin, and continues to elevate the art form.”
Expanding on the takeaway
Craig A. Ross explains how the Crip Walk evolved from a gang symbol into a global dance, reflecting the broader pattern of Black culture being policed, then co-opted by the mainstream.
Serena Williams’ C-Walk at the Super Bowl wasn’t just celebration — it was cultural reclamation. While media often sets the rules, Ross insists Black culture defines itself.
The Crip Walk, like Hip-Hop, has grown beyond its roots but still carries the weight of its history. Williams’ performance honors that legacy of resilience and transformation.
The unreleased GNX track: ‘The Revolution Will Be Televised’
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A standout moment in Kendrick Lamar’s Super Bowl LIX performance was his delivery of an unreleased GNX track featuring the line, “The revolution is about to be televised, you picked the right time but the wrong guy.” It’s a direct nod to Gil Scott-Heron’s 1971 classic, “The Revolution Will Not Be Televised.”
Scott-Heron warned that true change wouldn’t come through media spectacle. Lamar flips the phrase to reflect today’s reality — where activism unfolds across screens and platforms. By performing it on the Super Bowl stage, Lamar underscores a paradox: in the digital age, revolutionary messages are broadcast, but often repackaged and commodified.
His question is clear: Does visibility lead to progress, or has the revolution been absorbed into entertainment?
Introducing the expert: Minister King X (Pyeface)
Minister King X, also known as Pyeface, is a revolutionary thinker and prison abolitionist. As a former political prisoner and key organizer of the Agreement to End Hostilities (AEH), he has led efforts in street organization reform and Black liberation.
Through prison theater and art, he’s bridged cultural production with political action. His experience makes him uniquely suited to analyze Kendrick Lamar’s televised revolution and hip-hop’s role in resistance.
Expert commentary – Minister King X (Pyeface)
“When the Panther died, he became an ancestor and gave the biggest vibe for the new rise.
“While in prison, we coordinated a show with No Joke Theatre titled ‘Lost and Found*.*’ At first, I thought Leah Joki just wanted to water down our lived experience as hood journalists and incarcerated artivists when she asked our cadre to perform Shakespeare.
“My response was, ‘Look, we need to write plays about the prisoners’ human rights movement, the fight against racial injustice, and the oppression imposed upon our elders who spent decades in solitary confinement. We need a scene on fatherhood in prison.’
“Leah Joki said, ‘Give me Shakespeare, and we’ll do ‘Lost and Found Part One and Two.’
“What I learned from Leah was how to create a script that would display my political views without imposing them on others who may not share the same worldview. Just like when we wrote articles for the San Francisco Bay View newspaper and California Prison Focus newsletter during our historic hunger strike against CDCR (California Department of Corrections and Rehabilitation), I learned that we could really bolster our message through creative writing and strategic storytelling — the same way Kendrick Lamar is doing with his music.
“When the Panther died, he came from the grey skies and told Kendrick:
‘Yes, the revolution will be televised, because we are in the Information Age — where we found out that white magic and Black magic were part of a chessboard, and power is that puppet string pulling lies. Art is the key to exposing the truth.’
“We couldn’t allow our minds to function too high without an artistic filter, or else we would be stigmatized and our circumstances ossified. Art — whether visual art, music, literature, photography, digital media, poetry, spoken word or mediums yet to be manifested — is the embodiment of a people’s culture.
“New Afrikan people in Amerika have employed art as an apparatus of liberation to resist the annihilation of our culture and collective identity since we arrived on these shores in 1619. As a New Afrikan Revolutionary Nationalist (NARN) practitioner, I’m honored to see artists such as Kendrick Lamar echoing my New Afrikan culture on the Super Bowl stage.
“These rappers have an issue with feeding the homeless, pumping gas with CRC, and passing out Clipper Cards so people can get on BART and get to school or wherever they need to be. Why? Because there’s a Black Nazi mentality going on, to the point that it’s transforming into menticide.
“So on national television, the revolution was televised — but in a way that spoke to true freedom, justice and equality being the topic of discussion.
“The revolution was televised when BOSS Talk aired Minister King X Pyeface of K.A.G.E. Universal/Artivist Kadre; Ras Kass of Artivist Kadre, a longtime political activist/artist; Sitawa, the lead principal thinker of the New Afrikan Think Tank; and Jamilia Land, an activist and political official who wrote policy surrounding the revolution against involuntary servitude.
“The revolution is always being televised when Naru, who has been educating the masses with his hip-hop curriculum, is out on the frontlines.
“There are those who have access to bolster our story, our activism, and say we are one — even though the unity of humanity is often leveraged for monetary benefit.
“The revolution now has a camera and its own Cash App.
“Let’s see if we can get the Super Bowl artists to highlight the works of our United Front to liberate our elders or bring youth offenders cell therapy — from cell block to city block.
“Let’s televise the Agreement to End Hostilities (AEH) and talk about how art and therapy can help unhoused artists, those labeled ‘three times crazy,’ or artists battling cancer, struggling just to turn the television on because their hands are too swollen.
“Or we can pick up a Revolutionary Armed Struggle Zine, turn off the television and engage with a political education group to discuss how to combat liberalism.
“Because while the Department of Education is being defunded, their white supremacy curriculum ain’t like us.
“We have freed the land with our own Liberation Scholars and vocational schools in Oakland.
“The revolution is on Soul Beat. The revolution is on Poor Magazine, TikTok.
“Oh, and someone tell my brother Kendrick: ‘They think I’m Gil Scott … could it be that 2Pac was an artivist?’”
Expanding on the takeaway
Minister King X pushes the conversation past media and into lived struggle. He questions if televising the revolution marks progress — or just repackages it as spectacle.
Lamar’s use of the Super Bowl stage forces us to ask: Does visibility mean real change, or deeper control?
King X’s challenge is clear: If the revolution is televised, it must move beyond performance and become real action for the people.
Conclusion
Kendrick Lamar’s Super Bowl LIX halftime performance was more than art — it was a bold cultural statement. Through vivid imagery, music and symbolism, Lamar used America’s biggest stage to spotlight systemic oppression, racial profiling, and the ongoing fight for Black liberation.
Each moment carried weight:
The streetlight scene evoked both community and surveillance.
Uncle Sam symbolized government control over Black lives.
Serena Williams’ Crip Walk reclaimed a once-feared expression of Black identity.
The “Warning: Wrong Way” sign called out the criminalization of Black existence.
Lamar’s final line, “The Revolution Will Be Televised,” questioned whether visibility equals real change or just commodification.
Hip-Hop, activism and the media
Lamar confirmed hip-hop’s power as political discourse on a global stage. Like Public Enemy and N.W.A., he brought uncomfortable truths into a commercial space. But it raises the question: Can these messages survive when filtered through corporate interests?
The future of politically conscious art
Experts agree that art is a tool for truth-telling:
Porshe Tiara Taylor highlighted Lamar’s reflection of street unity and struggle.
Scandoe saw a shift toward purpose in hip-hop.
Donald “C-Note” Hooker emphasized investing in art as a path out of poverty.
Minister King X (Pyeface) warned that visibility must be paired with real action.
Lamar’s performance continues the legacy of Gil Scott-Heron, Tupac, and Nipsey Hussle. It’s more than entertainment — it’s resistance.
Final thoughts
Will Lamar’s message drive change — or be lost to spectacle?
Corporate media often dilutes revolutionary messages. While brands will echo Lamar’s themes, the real question is whether it leads to policy shifts, reinvestment in Black communities, or a deeper appreciation of Black art.
Lamar delivered a powerful message. Whether it becomes a moment or a movement is up to us.
For more, read our article by Dave Zirin, sports editor at The Nation magazine, “How the ‘subversive genius’ of Kendrick Lamar sent Trump home a loser.”
donald-c-note-hooker-1400x914, Decoding Kendrick Lamar’s Super Bowl performance: Experts weigh in on the symbolism, politics and cultural impact, Abolition Now! Local News & Views World News & Views
C-Note is known as the King of Prison Hip Hop and the world’s most prolific prison artist, who has written for CalMatters, the Los Angeles Tribune, John Jay College of Criminal Justice, Mprisond Thotz, Inmate Blogger and more. He has been featured in Flaunt Magazine, Elucid Magazine, PEOPLE Magazine and more. Send our brother some love and light: Donald “C-Note” Hooker, K94063 (A2-150), P.O. Box 4430, Lancaster, CA 93539. And visit his website:https://www.c-note.org.