By: Emily Dwight, Staff Editor

February 28, 2025

Every year, as millions tune in to watch the Super Bowl Halftime Show, broadcasters face a complex challenge: navigating the Federal Communications Commission’s (FCC) content regulations while preserving artistic expression. This tension between regulation and creative freedom raises important questions about free speech, cultural expression, and the evolving nature of what society considers “offensive” content.

 

This year was no different as many wondered how Kendrick Lamar would approach this challenge. Many anticipated that he would perform his popular song “Not Like Us,”[1] and why shouldn’t he? “Not Like Us” was one of last year’s breakout hits, earning over one billion streams on Spotify and five Grammy Awards, including song of the year.[2] But out of the songs 919 words, roughly 38 likely would raise concerns in dealing with the FCC.[3]

 

To understand this challenge, we must first examine the legal framework. The FCC employs three distinct categories of regulated content: obscenity, indecency, and profanity.[4] Each category carries its own definition and legal standard, creating a complex web of guidelines that broadcasters must navigate.

 

Obscenity represents the most clearly defined category. The Supreme Court established a three-pronged test in Miller v. California: content must appeal to the average person’s prurient interest, depict or describe sexual conduct in a “patently offensive” way, and lack serious literary, artistic, political, or scientific value.[5] Because obscenity falls outside First Amendment protection, it’s prohibited across all broadcast platforms.[6] However, musical performances rarely trigger obscenity concerns.

 

Indecency and profanity present more nuanced challenges. The FCC defines indecent content as material that portrays sexual or excretory activities in a patently offensive manner but doesn’t meet the obscenity threshold.[7] The FCC evaluates indecency through contemporary community standards, a metric that inherently shifts with societal values.[8] The infamous “wardrobe malfunction” during Janet Jackson and Justin Timberlake’s 2004 Super Bowl performance exemplifies this category, generating over 540,000 complaints and resulting in FCC fines for CBS stations (though these fines were later overturned).[9]

 

Profanity occupies perhaps the most ambiguous territory. The FCC characterizes it as “grossly offensive” language that constitutes a public nuisance.[10] This definition encompasses the “seven dirty words” identified in FCC v. Pacifica Foundation, but extends to other terms on a case-by-case basis.[11] This flexibility creates significant uncertainty for broadcasters and performers.

 

The challenge of these regulations becomes apparent when we consider their inconsistent application. For instance, the FCC deemed rock star Bono’s use of “fuck” at the Golden Globes as indecent[12], while the same word in Steven Spielberg’s “Saving Private Ryan” was permitted due to its historical and social context.[13] This disparity raises questions about fairness and artistic freedom.

 

These concerns are particularly relevant in hip-hop, where language serves as a powerful tool for cultural expression and social commentary. As Joycelyn Wilson, a hip-hop studies professor at Georgia Tech, notes, “hip-hop’s language is intentional, whether poetic, confrontational or coded.” This artistic intention deserves the same contextual consideration given to other forms of expression.

 

The Supreme Court’s decision in Cohen v. California offers important perspective on regulating offensive speech. The Court emphasized that states cannot “cleanse public debate to the point where it is grammatically palatable to the most squeamish among us.”[14] This principle becomes increasingly relevant as society’s relationship with language evolves. In an era where the President of the United States discusses grabbing women by the “pussy”[15] and refers to some countries as “shitholes,”[16] the FCC’s approach to profanity regulation may need reconsideration.

 

The current regulatory framework presents several problems. First, its case-by-case approach to profanity leaves broadcasters and artists without clear guidelines. Second, the fluid nature of what society considers offensive makes consistent enforcement challenging. As Cohen wisely noted, “one man’s vulgarity is another’s lyric” – a maxim that resonates even more strongly in today’s diverse media landscape.[17]

 

This vagueness creates real consequences. Broadcasters, fearing FCC fines, often pressure artists to self-censor, potentially diminishing their cultural and social impact. During Kendrick Lamar’s 13-minute Halftime show, he performed eleven songs that spanned his career. Of those eleven songs, Lamar censored every single one in some way. Whether it was not rapping the iconic line of “Bitch, sit down, be humble” from “HUMBLE.”[18] or changing the lyrics in “Not Like Us” to remove phrases like “you not a colleague, you a fuckin’ colonizer.”[19] The sanitized version lost the raw power of the original critique. While this approach makes business sense, it raises concerns about artistic integrity and the role of controversial expression in public discourse.

 

The solution may lie in reconsidering how we regulate broadcast content in the modern era. Rather than relying on subjective standards of offensiveness, perhaps we need a more nuanced approach that considers context, artistic merit, and evolving social norms. This would better serve both broadcasters seeking clear guidelines and artists striving to make meaningful cultural contributions.

 

As we continue to grapple with these issues, one thing remains clear: the balance between regulation and artistic expression requires careful consideration. While the FCC’s mission to protect public airwaves is important, it must be weighed against the vital role of artistic expression in our cultural dialogue. Finding this balance may require us to embrace some discomfort, recognizing that meaningful artistic expression sometimes challenges our sensibilities – and that’s not necessarily a bad thing.

[1] Kendrick Lamar, Not Like Us, (Interscope Records 2024).

[2] Janeé Bolden, Kendrick Lamar Dominated Grammys With “Not Like Us,” Cementing His Place as West Coast Royalty, The Hollywood Reporter (Feb. 3, 2025) https://www.hollywoodreporter.com/news/music-news/kendrick-lamar-dominated-grammys-not-like-us-1236125989/.

[3] Artur Galocha, You cannot say that in the $%@! Super Bowl Halftime show!, Wash. Post (Feb. 8, 2025) https://www.washingtonpost.com/style/2025/02/08/super-bowl-halftime-show-lyrics-profanity-kendrick-lamar/.

[4] Fed. Comc’ns Comm’n: Obscene, Indecent and Profane Broadcasts (Jan. 13, 2021) https://www.fcc.gov/consumers/guides/obscene-indecent-and-profane-broadcasts.

[5] Miller v. California, 413 U.S. 15 (1973).

[6] Id.

[7] Fed. Comc’ns Comm’n: Obscene, Indecent and Profane Broadcasts (Jan. 13, 2021) https://www.fcc.gov/consumers/guides/obscene-indecent-and-profane-broadcasts.

[8] Id.

[9] FCC v. CBS Corp. (11-1240). See also, Artur Galocha, You cannot say that in the $%@! Super Bowl Halftime show!, Wash. Post (Feb. 8, 2025) https://www.washingtonpost.com/style/2025/02/08/super-bowl-halftime-show-lyrics-profanity-kendrick-lamar/.

[10] Fed. Comc’ns Comm’n: Obscene, Indecent and Profane Broadcasts (Jan. 13, 2021) https://www.fcc.gov/consumers/guides/obscene-indecent-and-profane-broadcasts.

[11] FCC v. Pacifica Foundation, 438 U.S. 726 (1978).

[12] 19 FCC Rcd. 4975 (2004).

[13] Artur Galocha, You cannot say that in the $%@! Super Bowl Halftime show!, Wash. Post (Feb. 8, 2025) https://www.washingtonpost.com/style/2025/02/08/super-bowl-halftime-show-lyrics-profanity-kendrick-lamar/.

[14] Cohen v. California, 403 U.S. 15, 25 (1971).

[15] Alexander Burns et al., Donald Trump Apology Caps Day of Outrage Over Lewd Tape, N.Y. TIMES, (Oct. 7, 2016), https://www.nytimes.com/2016/10/08/us/politics/donald-trump-women.html.

[16] John Hendel, Trump ‘Shithole’ Coverage Prompted More Than 160 Indecency Complaints, POLITICO (Apr. 3, 2018), https://www.politico.com/story/2018/04/03/trump-shithole-media-coverageindecency-complaints-454928.

[17] Cohen v. California, 403 U.S. 15, 25 (1971).

[18] Kendrick Lamar, HUMBLE., (Top Dawg Entertainment, Aftermath Entertainment, Interscope Records 2017).

[19] Kendrick Lamar, Not Like Us, (Interscope Records 2024).