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Serif a Was the Spotlight: Super Bowl LIX and a Font-astic Moment
By: Mardline Prevot



Credit: Mark J. Rebilas-Imagn Images


Sunday, February 9th, 2025. A day of touchdowns, triumphs, and.... typography? Super Bowl LIX was more than just a gridiron spectacle; it was a cultural touchstone, a moment where the world's eyes converged. And this year, amidst the electrifying plays and the dazzling halftime show, something unexpected stole a diamond of the spotlight: a font. 

Yes, you read that right. While Samuel L. Jackson celebrate his Gabonese citizenship (congratualtions, Mr. Jackson!), and the echoes of the game reverberated, the design world was buzzing about the use of a serif font during the Apple Music Halftime Show. Forget the plays, for some, the real MVP was Serif A. 

The halftime show, a dazzling display of music and performance art, featured Kendrick Lamar, whose name was displayed in a striking lower-case "a" chain. But it wasn't just any "a." This "a," and likely the accompanying typography, was serif font. In a world increasingly dominated by sans-serif sleekness, the choice of a serif font felt... revolutionary. It was a bold statement, a throwback, a whisper of classic elegance amidst high-octane spectacle. 

The contrast was palpable. Just a few moments later, DJ Mustard appeared sporting a san-serif "M" chain. The juxtaposition was clear: serif versus sans-serif, tradition versus modernity. It was a subtle but powerful reminder of the impact of typography, how a simple font choice can contribute to an overall statement. 

It makes you wonder, doesn't it? Was the serif font a deliberate artistic choice? A nod to history? A subtle rebellion against the ubiquitous sans-serif? Or was it simply a design decision that resonated with viewers on a subconscious level?

Whatever the reason, the "Serif A Moment" at Super Bowl LIX proves that even in the most bombstatic of settings, the details matter. It demonstrates the power of typography to capture attention, spark conversation, and even become a part of the cultural narrative. It reminds us that the revolution, as Gil Scott-Heron so eloquently put it, is televised. And sometimes, its even typeset in Serif a.
Coats of Arms of Gabon


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