The Joe Rogan Experience is easily one of the most popular podcasts out there, and last year, Rogan signed a 100-million dollar multi-year exclusive licensing deal with streaming giant Spotify. It didn’t take long before Rogan’s podcast, which has housed a fair number of controversial guests over the years, was ruffling the feathers of certain Spotify employees.
Rogan was warned that Spotify would not be including certain episodes on their platform — “There were a few episodes they didn’t want on their platform, and I was like ‘OK, I don’t care,’” said Rogan, in a March episode of his podcast with guest Fahim Anwar. Now, a new report has indicated that Spotify has continued to delete several existing Joe Rogan Experience episodes, with most recent deletions including episode #411 with Bulletproof Coffee founder Dave Asprey, who styles himself “the father of biohacking.”
In fact, an additional number of episodes including Asprey has been deleted, though Spotify neglected to provide an explanation. Speculation has ensued that Spotify did not want to promote Asprey’s controversial “bulletproof diet” — a diet that consists of foods high in fat, medium in protein, and low in carbs — which has been targeted by critics as “unscientific.”
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In addition to Asprey’s three JRE appearances, Digital Music News reports that Spotify has also scrubbed “Live from the Icehouse (#149),” a rowdy episode featuring Joe Rogan, Little Esther, Al Madrigal, Josh McDermitt, Brendon Walsh, Felicia Michaels, and Brian Redban. Unsurprisingly, episodes involving disgraced comedian Chris D’Eliia have also been scrubbed entirely, as he joins the ranks of JRE guests to be removed from Spotify’s digital archives: Owen Benjamin, Joey Diaz, Gavin McInnes, Eddie Bravo, Alex Jones, Milo Yiannopolis, and more.
Though Rogan himself appeared unfazed at the prospect of selective deletion, some fans have expressed concern at Spotify’s creative control. It should be interesting to see how Spotify and Rogan’s partnership continues to unfold — stay tuned for further updates on the situation as they occur. Should you be a fan of the podcast, how do you feel about Spotify deleting episodes of The Joe Rogan Experience?
Charles Barkley is easily one of the most opinionated men in the basketball world and when he has a take on something, he usually sticks to it, even if he is brutally wrong. Barkley has had a very obvious distaste for the Los Angeles Clippers, who are a team that always finds a way to disappoint people, no matter what the circumstances are. The franchise always seems to have a great roster but they are never able to put those pieces together and go further than the second round.
Barkley is well-aware of this fact and despite how well the team is playing this season, he still does not care for them. During NBA on TNT last night, Barkley completely ripped the Clippers saying that while he has gone through various personal changes over his life, the Clippers have always remained awful.
His comments seemed to amuse the Inside The NBA crew, who pretty well know how Charles is going to answer a question before he even speaks. For now, nothing will change his mind when it comes to the Clippers although perhaps a championship will finally change his tune.
The family of Earl Simmons, professionally known as DMX, confirmed that the rapper had passed away at the age of 50 on Friday morning. The news comes after DMX spent the last week in the hospital on life support. On Friday, it was reported that his organs were failing before his family confirmed that the legend had taken his final breath.
“Def Jam Recordings and the extended Def Jam family of artists, executives and employees are deeply and profoundly saddened by the loss of our brother Earl ‘DMX’ Simmons,” wrote the label in a statement. “DMX was a brilliant artist and an inspiration to millions around the world. His message of triumph over struggle, his search for the light out of darkness, his pursuit of truth and grace brought us closer to our own humanity. Our thoughts and prayers are with his family and all those who loved him and were touched by him. DMX was nothing less than a giant. His legend will live on forever.”
While he may physically no longer be with us, DMX’s spirit will never die. The rapper built a tremendous legacy over his decades-spanning career, with storytelling chops like no other. Rest in peace to the incomparable DMX.
Regé-Jean Page has been slowly but surely cementing himself as one of the most impressive actors in Hollywood. If you were a fan of Netflix’s Bridgerton, you were able to see the actor in action as Duke Simon Basset. While Page was one of the shining stars in Netflix’s fledgling romance series last December, he has declined to return for the show’s second season.
While his decision has left many fans of Bridgerton surprised, it appears that even more shocking news surrounding Regé-Jean Page has recently surfaced. According to Complex, a profile by The Hollywood Reporter revealed that multiple sources claimed DC Films co-founder Geoff Johns had allegedly used racist casting protocols while overseeing the auditions for SyFy’s Krypton series.
It appears that Page has seen the reports that allege that he wasn’t given the role of Superman’s grandfather on Krypton due to his race, as the Roots and Sylvie’s Love star has recently taken to Twitter to address the controversy.
“Hearing about these conversations hurts no less now than it did back then. The clarifications almost hurt more tbh,” the actor says in the tweet. “Still just doing my thing. Still we do the work. We still fly.”
While Regé-Jean Page does reveal that Krypton‘s alleged racist casting “hurts,” he opts to not wallow in the pain that it has caused him. Instead, he concludes his statement with a dose of inspiration, giving hope to actors and actresses who have ever endured similar situations.
Despite hailing from Liverpool in the United Kingdom, an ocean away from the birthplace of rock and roll, The Beatles’ importance in the influence of American popular music can not be understated. But why do they keep getting compared to American rap groups from Atlanta, namely Migos and Outkast? In a recurring social media gag, every so often some prominent figure on Twitter declares a modern rap group “bigger” or “better” than The Beatles, setting off another round of vigorous and — it must be stated — mostly irreverent, tongue-in-cheek debate.
On one side are The Beatles’ defenders — those who believe that even feigning to compare them to newer acts, across genres, generations, and geography, amounts to nothing less than musical sacrilege. On the other, a mass of folks who seem delighted to do nothing more than joyfully impugn the legacy of the most successful rock band of all time by arguing for one group whose biggest breakout involved the repetitious invoking of a luxury design house and another whose most mainstream hit was accompanied by a video that parodied the height of Beatlemania.
Caught in between them are bewildered music fans who can’t help but wonder how the artists being compared even relate to each other and why either side seems so intent on making such a fuss over the others’ opinions. Some may wonder how Migos, barely a decade into their career, or Outkast, more than a decade past their golden years as a respected rap duo, even merit discussion alongside the act that held more Billboard records than any other until very recently. However, the answer is not so simple as comparing plaques, and the motivations of both sides are more complex than they appear.
For what it’s worth, I don’t think anyone takes these declarations all that seriously — and if they do, that’s their prerogative. Art is subjective; one person’s most successful rock band of all time is Quincy Jones’ pick for “worst musicians in the world.” For someone whose tastes run more toward blasting bass-heavy, 808-ridden triplet raps through the streets of downtown Atlanta than dropping the needle on the psychedelic meditations of a groovy quartet of shaggy-haired British misfits, making the claims that “Stir Fry” is greater than “Penny Lane” might seem pretty reasonable.
But for an elder generation who grew up with The Beatles, it’s a slap in the face — which is part of the fun for their disruptive detractors. For many of hip-hop’s formative years, rock-chauvinist music critics and fans denied the nascent movement’s musicality, value, and validity as an art form. Fans of rap endured sneering comments that dubbed rap “crap” (haha, so clever) and demeaned the poetry in its often blunt, plainspoken lyrics. Used to lofty, esoteric references to walruses and thinly veiled references to the wonders of LSD — you know damn well that’s what that song is about — rap’s tendency to drive home its points with the force of a nail gun rubbed them the wrong way.
By the same token, their criticisms got under rap fans’ skin, but all rap fans could do was rankle privately and defend the value of the form publicly, through multiple waves of indecency witchhunts led by the likes of Barbara Bush all the way up to Bill O’Reilly. Even today, Cardi B has to defend herself from the Tucker Carlsons of the world almost weekly. But now that rappers like Cardi and Migos are the best-selling acts in the country (an easily quantified claim to make thanks to the advent of streaming), their legitimacy is already assured and all that’s left is to return four decades’ worth of grief one trollish tweet at a time.
Furthermore, The Beatles are no longer a group that defines youth culture. Where once they shocked the world, sent teen girls into hysterical paroxysms, and made concerned mothers clutch their pearls even as they tapped their feet, they’re beyond tame by today’s standards — they’re lame. Furthermore, The Beatles’ prime was a long time ago. We’re in an era where most news items, hit singles, and viral discoveries have a shelf life of about 18 months. For younger millennials and Generation Z, a group that had their own “mania” 50 years ago and no new hits in the last 30 would barely register against the non-stop deluge of new content we’re asked to consume just to keep up these days.
And while The Beatles ruled radio in their day, the average 13-year-old today has probably never even willingly turned one on for their own benefit — if they even know what radios are (again, thanks to the advent of streaming). Many can likely only name a handful of songs — songs that, to them, probably sound how the tunes Captain America was listening to sound to elder millennials and Generation X. It’s their grandparents’ music, and while grandparents can be cool, their taste usually isn’t. So while older hip-hop heads — and it’s usually members of the aforementioned “X-ennial” generation who actually post the tweets in the first place (see: Ron Funches and Donald Glover) — plot to torment their own elders as a means of resistance and revenge for all the pestering of their formative years, for the zoomers, it’s a way to assert their own tastes and identities, as well as indulging in their generations’ unique taste for digital chaos (see: Lil Nas X).
However, that alliance is mostly one of convenience and circumstance and there are already signs of it fracturing. Consider this: Outkast’s last major hit came out almost 20 years ago. That’s just long enough to be retro — which is only a few more years away from being terminally uncool. Time marches on, and Father Time remains undefeated. So while Migos and Outkast may be better than The Beatles today, tomorrow, they might just be inferior to the Polo Gs and Lil Nas Xs of the world. And The Beatles? Well, you know what they say: Everything old is new again. Maybe in another 10 years, they’ll be back in fashion after some 17-year-old samples “Hey Jude.”
In news that the music world hoped would not arrive, it’s been reported that DMX has tragically passed away at the age of 50. The news arrives less than a week after he suffered a reported drug overdose at his home. According to TMZ, the incident occurred at 11 p.m. last Friday and resulted in him being rushed to a White Plains, New York hospital.
Upon his arrival, the rapper was reported in “grave condition” and placed in the facility’s critical care unit. TMZ also reported that the overdose triggered a heart attack. After some conflicting reports about his status, it was clarified that he remained on life support with little brain activity. The rapper then spent days in the hospital with family, friends, and supporters hoping he would pull through. But on Thursday night, word of his passing was reported by his family in an official statement.
DMX’s passing is a sad ending to his long-documented battle with drug addiction. It’s one that began when the rapper was tricked into smoking crack by his rap mentor at just the age of 14. In recent years, his battle landed in the eyes of the public through multiple trips to rehab — one in 2017 and another in 2019. In both situations, he was forced to cancel concerts in order to get a grasp on his addiction.
In 2019, his rehab announcement was made through an Instagram post. “In his ongoing commitment to putting family and sobriety first, DMX has checked himself into a rehab facility,” the caption read. “He apologizes for his canceled shows and thanks his fans for their continued support.”
Despite these past bumps, DMX seemed to be heading toward a better path and was preparing to release his upcoming album, one he said would arrive with features from Griselda Records, Pop Smoke, and U2’s Bono.
As the world awaits news about the condition of rap icon DMX, who remains on life support in a coma after suffering a heart attack reportedly caused by an overdose, a new song featuring the rapper surfaced on streaming services, courtesy of Cleopatra Records. Titled “X Moves,” the new track is a collaborative effort featuring Parliament-Funkadelic bassist Bootsy Collins, as well as Asia guitarist Steve Howe and Deep Purple drummer Ian Paice. A fusion of funk, rap, and rock, it highlights DMX’s ferocity and versatility at a time when the icon’s fate hangs in the balance.
Meanwhile, the rapper’s actual label, Def Jam, is facing backlash after releasing a pair of compilations highlighting his prior work, with some fans finding the timing disrespectful and exploitative. However, some defenders applauded Def Jam for underscoring X’s importance to so many music fans at a time when younger listeners might be curious about why his predicament has had such a widespread effect.
Although erroneous rumors about the rapper’s condition circulated late last night, his manager Steve Rifkind, posted an Instagram video imploring fans to hold off and wait for an official statement. However, the outlook isn’t great; a critical test of DMX’s brain function Wednesday reportedly found little improvement.
We’ll see if fans receive “X Moves” better than they did the Def Jam compilations. You can check out the track below.
DMX has been the talk of the hip-hop world in recent days as things seemingly aren’t looking good for the rapper following a reported overdose. Today, Def Jam decided to release a pair of new compilations, DMX: The Ruff Ryder and A Dog’s Prayers, a move that some fans believe is in bad taste. Some see these releases as a money-grab, thrown together to capitalize on DMX being in the news.
The Ruff Ryder features some of DMX’s biggest hits like “X Gon’ Give It To Ya,” “Party Up,” and “Ruff Ryders’ Anthem,” while A Dog’s Prayers features some of the “Prayer” tracks the rapper has released throughout his career.
In a tweet announcing The Ruff Ryder last night, Def Jam wrote, “As we continue to pray for DMX’s recovery, let’s take a look back at some of the gifts he’s dedicated so much of his life to give to the world.” About 40 minutes later, they shared A Dog’s Prayers and wrote, “Nothing comes close to the feeling you get when you hear DMX start praying. Every word hits deep. Even if you don’t believe, you’re inspired and encouraged. Send some of the same energy back out for him while he’s fighting his way back to us all.”
As we continue to pray for DMX’s recovery, let’s take a look back at some of the gifts he’s dedicated so much of his life to give to the world.
Nothing comes close to the feeling you get when you hear DMX start praying. Every word hits deep. Even if you don’t believe, you’re inspired and encouraged.
Following the releases, the label faced some backlash. One Twitter user wrote, “dmx isnt even dead and def jam is already trying to profit…” Another wrote, “F*ck off stop using the situation to make as much money as you can.”
dmx isnt even dead and def jam is already trying to profit…
Not everybody feels the same way, though. One Twitter user noted, “There’s literally nothing wrong with this. His label re-released a small Greatest Hits album and are promoting it so that people hearing about DMX for the first time have a good starting place. You guys are just so desperate to hate labels even when they do something good.”
There’s literally nothing wrong with this. His label re-released a small Greatest Hits album and are promoting it so that people hearing about DMX for the first time have a good starting place. You guys are just so desperate to hate labels even when they do something good.
— MR. BEAN IS LISTENING TO ROADRUNNER (@beanvillainy) April 9, 2021
Check out some more tweets about the DMX compilations and stream both releases below.
So Def Jam tonight just released a DMX Compilation, a new single, and a spoken word EP. Not even waiting for his death to start exploiting him eh? pic.twitter.com/DQmEA8emAh
— Kevin D. Grüssing (pronounced Grew-Sing) (@KevDGrussing) April 9, 2021
You really have to give CJ credit; the kid hit it big with “Whoopty” and he’s been running with the ball ever since. While releasing his NYC Remix with French Montana and Rowdy Rebel and a Latin Mix with Anuel AA and Ozuna, he’s also kept up a steady stream of videos from his debut EP Loyalty Over Royalty. Today, he released a deluxe edition of the project containing the above-mentioned songs, as well as two new tracks. One, “Lil Freak” featuring fellow New Yorker DreamDoll, got the video treatment as well, and hallelujah, CJ finally changed locations for this one.
Removing himself from the dreary warehouse location of the “Real One” and “Set” videos, CJ lands in sunny Miami, where his tendency to rock his shirts unbuttoned fits right in. Here, he’s surrounded by bikini-clad women poolside at a hotel, where he professes his appreciation for — ahem — sex-positive women as his video vixens twerk around him. DreamDoll pops up halfway through the video to spit a high-speed verse while showing off her own gluteal tactics (“backward in heels” continues to hold true in the rap world).
Watch CJ’s “Lil Freak” video featuring DreamDoll above.
Loyalty Over Royalty (Deluxe Album) is out now on Warner Records. Get it here
. CJ is a Warner Music artist. Uproxx is an independent subsidiary of Warner Music Group.
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