In a reflection on the evolution of Super Bowl halftime shows, a recent article details how the 1986 performance by Up with People laid the groundwork for contemporary acts like Bad Bunny, who is set to headline Super Bowl LX. The piece, published today, draws parallels between the past and present, highlighting the NFL’s shift from ensemble groups to global superstars.
Up with People, a song-and-dance ensemble of 600 college students, headlined Super Bowl XX in New Orleans with a show called ‘Beat of the Future.’ Featuring pastel outfits and positive messages, the performance was part of a series by the group that aimed to promote multiculturalism and harmony. Despite its enthusiastic delivery, the show faced criticism and marked the end of Up with People’s Super Bowl era, as then-commissioner Pete Rozelle reportedly vowed never to use them again.
The 1986 halftime was ambitious, with futuristic props that encountered technical difficulties, such as a planet catching fire during rehearsals. Performers like Jill Johnson and Pat Murphy recalled the intense preparations and the pressure of performing on a global stage. The show included songs like ‘Talkin’ With My Feet,’ which, while catchy, was seen as filler by some cast members, and ‘Room for Everyone,’ which evoked emotional responses with its message of inclusion.
Following Up with People, the NFL revolutionized halftime entertainment in 1993 with Michael Jackson’s performance, which drew higher ratings than the game itself. This shift responded to counterprogramming by Fox and established a new standard for attracting top-tier artists. Over the years, halftime shows have grown in scale and controversy, from the Janet Jackson incident in 2004 to recent debates over political statements.
Bad Bunny, the Puerto Rican rapper-singer, is scheduled to perform at Super Bowl LX in Santa Clara, California, amid a tense political climate. His selection has sparked discussion due to his criticisms of U.S. immigration policies, with President Donald Trump expressing disapproval. This contrasts with the apolitical nature of Up with People’s shows, reflecting how halftime entertainment has become a platform for broader cultural and political dialogues.
The article notes that Bad Bunny’s performance is part of a trend where halftime acts generate significant viewership, with ten of the past fifteen shows drawing over 110 million viewers. Despite controversies, such as those involving Kendrick Lamar and others, the NFL continues to prioritize star power to engage audiences, moving away from field-filling ensembles to TV-friendly spectacles.
Historical context is provided by former NFL exec Jim Steeg, who oversaw halftimes from 1979 to 2005. He explains that early shows focused on in-stadium entertainment, but technological advances and competitive pressures led to the current model. Up with People’s legacy, while often mocked in retrospect, paved the way for this evolution by demonstrating the potential for halftime to be a major broadcast event.
In conclusion, the journey from Up with People to Bad Bunny underscores the transformation of Super Bowl halftime into a cultural phenomenon. As Bad Bunny prepares to take the stage, the article reflects on how past performances, however cheesy or controversial, have shaped the present, ensuring that halftime remains a highlight of the Super Bowl experience.
