Eminem performs during the Pepsi Super Bowl LVI Halftime Show at SoFi Stadium in Inglewood, Calif., on Feb. 13, 2022. Photo by Rob Carr/Getty Images.

It was an Aftermath reunion, as legends from the ’90s and 2000s took to the stage at the Super Bowl LVI half-time show at SoFi Stadium in Inglewood. The show featured a number of hip-hop icons, including N.W.A founding member and legendary producer Dr. Dre, new Death Row Records owner Snoop Dogg, Mary J. Blige, Eminem and Kendrick Lamar.

This all-star lineup delivered hit after hit, each one that defined an entire era of hip-hop. Those who know these artists understand there was a snowball’s chance in hell that even a fraction of their catalog was going to be performed due to the controversial nature of their repertoires: Eminem’s contentious lyrical content, Dr. Dre with his history of violence against women, Snoop Dogg’s drug use and so on.

So what is the end-game here for the NFL? The league has been embroiled in accusations of racism for decades—from taking decisive action against players expressing solidarity with the Black Lives Matter movement to the recent allegations of racist hiring practices when it comes to coaches.

Was the NFL trying to pander to Black audiences with an exclusively hip-hop-oriented lineup with some of the biggest names in the game? No duh. But hip-hop has never shied away from speaking truth to power. For as safe as the song choices were throughout the show—clean cuts of iconic songs from each artist—two made clear gestures of solidarity with BLM.

The halftime show opened with Dr. Dre sitting at a mixing board as it rose up to the tune of “The Next Episode,” from 2001, with Snoop Dogg joining in for his classic verse on the song that coined the now iconic phrase, “smoke weed everyday,” followed by Dre performing the opening verse to “California Love.” The lack of original Snoop material was one obvious problem. We didn’t get classics like “Gin and Juice” or “Drop It Like It’s Hot.”

As the cameras panned out, choreographed dancers stood atop a birds-eye view of a brightly lit city, with a number of trailers with exposed interiors carrying a number of thematic styles to match the respective artists performing inside and out. The cameras shifted focus inside one with 50 Cent dropping down for a surprise appearance as he recreated his entrance on “In Da Club,” from his debut album, which he performed in a nightclub-style stage.

The show then transitioned to Mary J. Blige as she performed “Family Affair” and “No More Drama,” followed by Kendrick Lamar performing “m.A.A.d city” from good kid, M.A.A.D City, with dancers in formal attire. He followed with “Alright,” from To Pimp a Butterfly, which has become an anthem for the Black Lives Matter movement. You should remember here that the NFL approves what’s being played. Was this a win because Kendrick performed it, or a loss because it could be read as progressive causes being coopted to dodge criticism for the NFL’s transgressions?

Following a verse from “Forget About Dre,” Eminem finally made his appearance, which began in earnest with “Lose Yourself” as a number of dancers in sweatsuits crowded around his stage in an homage to the film “8 Mile.” Anderson .Paak made an announced appearance, drumming enthusiastically behind Eminem. The Detroit rapper took a knee for about 45 seconds, no doubt a nod to Colin Kaepernick. This is the only obvious act rebellion against the NFL.

Dr. Dre returned to center stage to pay homage to Tupac Shakur with a snippet of “I Ain’t Mad at Cha,” before concluding the performance with “Still D.R.E.” with Snoop Dogg.

It was an entertaining show, with plenty of spectacle; one of the better halftime shows in recent years. But the song choices sometimes felt too safe. It would’ve been bonkers had Eminem performed “Role Model” or if Dr. Dre performed his verse from “Express Yourself.” Snoop should have gotten a song of his own.

These artists were held back from performing their more subversive and impactful songs because of a combination of FCC rules and NFL will. But we take wins where we can get them.

Follow editor Tim Hoffman at Twitter.com/hipsterp0tamus.