Kylie Jenner & Travis Scott Welcome Second Child Together

Congratulations are in order for Kylie Jenner and Travis Scott, who welcomed their second bundle of joy on Feb. 2, Jenner has revealed.

“2/2/22,” she posted Sunday evening (Feb. 6) on Instagram, where she shared a black-and-white photo featuring a sweet newborn baby’s hand. The caption also included a blue heart emoji.

Scott commented on the post with several hearts, while Kris Jenner wrote “Angel Pie” and Kourtney Kardashian wrote “Mommy of two life.”

In September 2021, Jenner announced in a video shared on Instagram that she was pregnant with baby No. 2. The sweet clip began with a closeup on a pregnancy test that says “pregnant,” before moving on to a shot of Scott hugging the Keeping Up With the Kardashians star around the belly.

The reality star simply captioned the video with a silver heart and pregnant woman emoji, and tagged the “Franchise” rapper.

The couple are already parents to four-year-old daughter Stormi, who was born on February 1, 2018 after Jenner kept her pregnancy entirely under wraps from the public.

See Jenner and Scott’s birth announcement on Instagram.

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Spotify CEO Addresses Joe Rogan’s N-Word Use, Doubles Down on Keeping Podcaster on Platform

Spotify CEO Daniel Ek says he “strongly” condemns Joe Rogan’s use of the N-word and other derogatory comments toward Black people but remains firm in his decision to keep the podcaster on the platform in order to “[elevate] all types of creators.”

In a letter sent to staff, obtained by The Hollywood Reporter, Ek acknowledged that Rogan’s comments were “incredibly hurtful” and confirmed that Rogan decided to remove multiple past episodes from Spotify but said he did not believe in removing the podcast from Spotify.

“I want to make one point very clear — I do not believe that silencing Joe is the answer,” Ek wrote. “We should have clear lines around content and take action when they are crossed, but canceling voices is a slippery slope.”

Last Thursday, the musician India.Arie — who has said she will remove her music and podcast from Spotify in protest of Rogan’s comments about race — resurfaced a compilation of video clips showing Rogan using the racial slur and describing being with Black people as akin to “Planet of the Apes.” The podcaster apologized over the weekend, calling his comments “regretful and shameful.”

By Friday, around 70 episodes of The Joe Rogan Experience were removed from Spotify, according to the website JRE Missing which tracks when the podcast episodes are missing from the streaming platform.

In his letter to staff, Ek said he would be committing to an “incremental investment of $100 million for the licensing, development, and marketing of music (artists and songwriters) and audio content from historically marginalized groups” to boost “all types of creators,” including those from underrepresented backgrounds.

“While some might want us to pursue a different path, I believe that more speech on more issues can be highly effective in improving the status quo and enhancing the conversation altogether,” Ek said.

See the full letter below.

Spotify Team,

There are no words I can say to adequately convey how deeply sorry I am for the way The Joe Rogan Experience controversy continues to impact each of you. Not only are some of Joe Rogan’s comments incredibly hurtful – I want to make clear that they do not represent the values of this company. I know this situation leaves many of you feeling drained, frustrated and unheard.

I think it’s important you’re aware that we’ve had conversations with Joe and his team about some of the content in his show, including his history of using some racially insensitive language. Following these discussions and his own reflections, he chose to remove a number of episodes from Spotify. He also issued his own apology over the weekend.

While I strongly condemn what Joe has said and I agree with his decision to remove past episodes from our platform, I realize some will want more. And I want to make one point very clear – I do not believe that silencing Joe is the answer. We should have clear lines around content and take action when they are crossed, but canceling voices is a slippery slope. Looking at the issue more broadly, it’s critical thinking and open debate that powers real and necessary progress.

Another criticism that I continue to hear from many of you is that it’s not just about The Joe Rogan Experience on Spotify; it comes down to our direct relationship with him. In last week’s Town Hall, I outlined to you that we are not the publisher of JRE. But perception due to our exclusive license implies otherwise. So I’ve been wrestling with how this perception squares with our values.

If we believe in having an open platform as a core value of the company, then we must also believe in elevating all types of creators, including those from underrepresented communities and a diversity of backgrounds. We’ve been doing a great deal of work in this area already but I think we can do even more. So I am committing to an incremental investment of $100 million for the licensing, development, and marketing of music (artists and songwriters) and audio content from historically marginalized groups. This will dramatically increase our efforts in these areas. While some might want us to pursue a different path, I believe that more speech on more issues can be highly effective in improving the status quo and enhancing the conversation altogether.

I deeply regret that you are carrying so much of this burden. I also want to be transparent in setting the expectation that in order to achieve our goal of becoming the global audio platform, these kinds of disputes will be inevitable. For me, I come back to centering on our mission of unlocking the potential of human creativity and enabling more than a billion people to enjoy the work of what we think will be more than 50 million creators. That mission makes these clashes worth the effort.

I’ve told you several times over the last week, but I think it’s critical we listen carefully to one another and consider how we can and should do better. I’ve spent this time having lots of conversations with people inside and outside of Spotify – some have been supportive while others have been incredibly hard, but all of them have made me think.

One of the things I am thinking about is what additional steps we can take to further balance creator expression with user safety. I’ve asked our teams to expand the number of outside experts we consult with on these efforts and look forward to sharing more details.

Your passion for this company and our mission has made a difference in the lives of so many listeners and creators around the world. I hope you won’t lose sight of that. It’s that ability to focus and improve Spotify even on some of our toughest days that has helped us build the platform we have. We have a clear opportunity to learn and grow together from this challenge and I am ready to meet it head on.

I know it is difficult to have these conversations play out so publicly, and I continue to encourage you to reach out to your leaders, your HR partners or me directly if you need support or resources for yourself or your team.

Daniel

This article originally appeared on The Hollywood Reporter.

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Fans Choose Nicki Minaj & Lil Baby’s ‘Do We Have a Problem?’ as This Week’s Favorite New Music

Nicki Minaj and Lil Baby‘s new collaboration “Do We Have a Problem?” has topped this week’s new music poll.

Music fans voted in a poll published Friday (Feb. 4) on Billboard, choosing the blazing new track as their favorite new music release of the past week.

“Do We Have a Problem?” brought in nearly 91% of the vote, beating out new music by Machine Gun Kelly and Willow (“Emo Girl”), Mitski (Laurel Hell), Jennifer Lopez and Maluma (Marry Me soundtrack), Red Hot Chili Peppers (“Black Summer”), and others.

“Do We Have a Problem?” marks the Trinidadian rapper’s first single since “Trollz” with 6ix9ine and “What That Speed Bout?!” featuring Mike Will Made-It and YoungBoy Never Broke Again. The sizzling new track references past elements in her music, while simultaneously showing what the new and improved Minaj is capable of — a possible hint at what fans can expect from the eventual follow up to 2018’s Queen.

Last year, Minaj re-released her 2009 mixtape, Beam Me Up Scotty, with three new bonus tracks and appeared on Jesy Nelson‘s debut solo single “Boyz.”

Placing second on the past week’s tally with 2.84% of the vote was Machine Gun Kelly’s delightful and angsty new single “Emo Girl,” featuring former tween pop star Willow Smith. Singer-songwriter Mitski arrived in a close third with her sixth album, Laurel Hell, which accounted for 2.25% of the vote.

See the final results of this week’s new music release poll below.

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Billie Eilish Pauses Concert to Give Fan an Inhaler

Billie Eilish briefly stopped her show this weekend to help a fan in the crowd who needed an inhaler, according to concert footage captured by fans.

In a video clip that surfaced on social media, the singer, currently on the road for Happier Than Ever, The World Tour, is seen putting safety first as she looks out into the audience with concern. “You need an inhaler?” she asks before addressing her stage crew. “Do we have an inhaler? Can we just grab one?”

“It’s OK, we got one,” Eilish says, pointing to a concert attendee. “Give her some time. Don’t crowd.”

“I wait for people to be OK until I keep going,” she noted in another short video from the show obtained by TMZ, who reports that the moment was from Saturday night’s (Feb. 5) performance at the State Farm Arena in Atlanta.

In another fan clip, as fans cheer her on, Eilish is seen blowing a kiss and asking, “You need to come out or are you OK? Are you sure?” before mouthing “I love you.”

The tour just kicked off last week, on Feb. 3, in New Orleans before heading to Atlanta. Eilish next performs in in Charlotte, North Carolina, on Sunday night. See more about her tour dates here.

Happier Than Ever, The World Tour requires ticket holders to provide proof of full COVID-19 vaccination or proof of a negative COVID-19 diagnostic test within 48 hours prior to entry, in addition to wearing a mask, in an effort to keep fans, Eilish and her band, and the tour crew healthy.

Watch the videos of Eilish helping a fan from the stage below.

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Syl Johnson, Chicago Soul and Blues Singer, Dies at 85

Syl Johnson, a Chicago soul singer and blues artist whose work was sampled by top hip-hop artists, has died at age 85, his family said Sunday (Feb. 6).

“A fiery, fierce, fighter, always standing for the pursuit of justice as it related to his music and sound, he will truly be missed by all who crossed his path. His catalog and legacy will be remembered as impeccable and a historical blueprint to all who experience it,” said a statement from his family, including Johnson’s daughter, Syleena Johnson, a Grammy-nominated singer.

Family members did not give further details on his death, including the cause. His death comes days after his brother, fellow blues artist Jimmy Johnson, died at 93.

Syl Johnson was known for 1960s hits including “Come On Sock It to Me.” His 1967 song “Different Strokes” became one of the most sampled in hip-hop music. Elements of the song were found in music by Jay-Z, Tupac Shakur, the Wu-Tang Clan and Public Enemy, among others.

“One of the most sampled artists of our time, his music served as the soundtrack for some of our most poignant moments in history,” his family said.

Born in Holly Springs, Mississippi, Johnson moved to Chicago’s South Side as a teenager and started playing blues guitar. He was named a Blues Hall of Fame inductee in 2019.

Johnson left the music business for a time in the 1980s and founded Solomon’s Fishery, a fried fish restaurant which later became a largely Chicago-area chain.

Decades later he began working with Chicago-founded archival label Numero Group, which released a retrospective of his work. The 2010 boxed set, Syl Johnson: Complete Mythology, earned two Grammy nominations.

“A lover of music and a Chicago icon, Syl Johnson lived his life unapologetically,″ his family said.

Details on funeral services were not disclosed.

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Awkwafina Addresses Blaccent, AAVE and Cultural Appropriation Criticisms

Awkwafina returned to Twitter after a two-year absence on Saturday (Feb. 5) to address longstanding criticism over her use of a “blaccent” and appropriation of Black culture.

In a statement that also indicated she would be “retiring from Twitter,” the Crazy Rich Asians and Shang-Chi and the Ten Rings star denies that her use of AAVE, or African American Vernacular English, as well as her “blaccent” — a voice that stereotypically imitates forms of Black American dialect — were meant to mock Black people.

Early in her message, the actress acknowledged the sociopolitical and “historical context of the African American community” in the U.S. as one that has been “disproportionately affected by institutionalized policies and law enforcement policies.”

“All the while having historically and routinely seen their culture stolen, exploited and appropriated by the *dominant* culture for monetary gain, without acknowledgment nor respect for where those roots come from, the pioneers of its beginnings and the artists that perfected and mastered the craft,” she continued.

Without outright stating that she has participated in this herself, Awkwafina says that using it in her own language “never was” meant to be derogatory.

“As a non-black POC, I stand by the fact that I will always listen and work tirelessly to understand the history and context of AAVE, what is deemed appropriate or backwards towards the progress of ANY and EVERY marginalized group,” she wrote. “But I must emphasize: to mock, belittle or to be unkind in any way possible at the expense of others is: Simply. Not. My. Nature. It never has, and it never was.”

Later in the lengthy statement, the Chinese Korean American actress pointed to the “fine line between offense and pop culture,” spurred by how AAVE has been appropriated and passed off as part of the “internet Tik-Tok slang generation” amid hip-hop’s shift into becoming a mainstream genre.

She attributes her own use of it to her immigrant background, public school environment, consumption of TV and film, as well as her “respect for hip-hop.”

“I think as a group, Asian Americans are still trying to figure out what that journey means for them, what is correct and where they don’t belong,” she said, “And though I’m still learning and doing that personal work, I know for sure that I want to spend the rest of my career doing nothing but lifting our communities. We do the first by failing, learning, acknowledging, hearing and empathizing and I will continue tirelessly to do just that.”

The actress had previously been asked about her longstanding use of AAVE and a blaccent both in her comedy and dramatic roles in an interview with Reuters Showbiz in September 2021, offering a briefer response at the time.

“Um, you know, I’m open to the conversation,” the Queens native said. “I think it, you know, it’s really something that is a little bit multi-faceted and layered.”

Awkwafina — whose given name is Nora Lum — has been challenged on her use of AAVE and her blaccent by online critics as far back as her Tawk With Awkwafina show on the mobile-orientated social entertainment platform Go90. More recently, she’s faced backlash around her performances in Ocean’s 8 and Crazy Rich Asians, as well as during press for Shang-Chi, when old clips of her using a blaccent — as well as her statement in a Vice interview that “I refuse to do accents” when it comes to Asian characters — resurfaced.

Another wave of criticism followed the star of Comedy Central’s Awkwafina Is Nora from Queens after she was nominated for a 2022 NAACP Image Award for character voice-over performance in television or film for her work on Raya and the Last Dragon.

This article originally appeared on The Hollywood Reporter.

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BTS’ Jimin Discharged From Hospital After Appendicitis Surgery and Has Recovered From COVID-19

BTS‘ Jimin has been discharged from the hospital, Big Hit Music confirmed in a notice released on fan community platform Weverse on Saturday (Feb. 5).

Jimin (born Park Ji-min) had been hospitalized on Jan. 30 with abdominal pain and a mild sore throat, and on Jan. 31 he underwent surgery for acute appendicitis. At that time, it was revealed that he’d also tested positive for COVID-19. On Feb. 2, Jimin checked in with fans to tell them he was “recovering well.”

Big Hit’s latest statement released to the BTS ARMY gave another reassuring update on Jimin’s health.

“Hello. This is BIGHIT MUSIC. We would like to inform you that BTS Member Jimin’s quarantine has concluded after his surgery for acute appendicitis as of this early morning (February 5). Jimin was tested positive for COVID-19 and diagnosed with acute appendicitis on Sunday, January 30 and underwent surgery on Monday, January 31. He has since received inpatient care and tested negative on his PCR test before being discharged from the hospital,” said the company that manages BTS.

The update also offered further detail about Jimin’s COVID-19 symptoms and appendicitis surgery.

“Jimin showed no extraordinary symptoms during his hospital stay,” Big Hit wrote. “He had a mild sore throat at the time of his admission but has since completely recovered.”

“We also received word from the medical staff that his surgical site is quickly healing without any issues. Jimin is currently recuperating after being discharged from the hospital,” the notice said.

Jimin is believed to be the fourth member of BTS to contract COVID-19, following reports in December that RM, Jin and Suga tested positive and recovered.

“We would like to express our gratitude to all the fans who have shown concerns for the artist’s health as well as those in the medical field who are doing their best to overcome COVID-19,” said Big Hit. “We will continue to place the health of the artists as our top priority, and to vigilantly follow the health care guidelines.”

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Lizzo Shares New Song Clip While Posing in the Nude

Lizzo posted an empowering message on social media that was soundtracked by what seems to be a new song, along with a video clip of herself in the nude.

“If you love me, you love all of me/ Or none of me at all,” Lizzo can be heard singing in an update shared on Instagram Saturday afternoon (Feb. 5).

The accompanying sensual visual features Lizzo naked and giving the camera an intense stare, while strategically covering parts of her body with her arms to make the clip safe to upload to social media.

In a caption for the short video, Lizzo wrote, “If you love me… you love all of me. You dont get to pick and choose. We should be unconditionally loving of one another, starting with being unconditionally loving to ourselves. Take a moment today and think about the conditions we hold so tightly to that keep us from the freedom of true love. Do you really wanna be so tightly wound? Free yourself in love. You deserve it.”

Lizzo recently played a new song called “Special” for her mother, and shared a clip of that moment with fans; the song was featured in a Logitech campaign. Her last single was the Hot 100 top 10 hit “Rumors” (featuring Cardi B), which dropped in August.

Watch Lizzo’s latest video below.

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Joe Rogan Responds to Viral Clip Showing Him Use N-Word, Calls It ‘Regretful and Shameful’

Joe Rogan has responded to resurfaced clips of him repeatedly using the N-word, stating in a lengthy video posted to his Instagram account on Saturday (Feb. 5) that he hopes this can be a “teachable moment.”

“I’m making this video to talk about the most regretful and shameful thing that I’ve ever had to talk about publicly,” he began. The podcast host, who has recently been the subject of a protest led by musician Neil Young following the spread of COVID-19 misinformation on his show the Joe Rogan Experience, said his clips were taken out of context from 12 years of conversations and “all smushed together and it looks f—ing horrible, even to me.”

Rogan was referencing a video compilation that features him in various contexts using the racial slur. It also includes him comparing being in the presence of Black people with the film Planet of the Apes. The video has gone viral online and was highlighted by musician India.Arie in an Instagram Story she posted Thursday.

The Grammy-winning singer-songwriter published the clips to clarify that her decision on Jan. 31 to publicly support Young and other musicians pulling their music from the streamer was about more than just “his COVID interviews” on the Spotify exclusive podcast (a licensing deal worth a $100 million), but was also about Rogan’s history of “language around race.”

In his nearly six-minute video, Rogan said he hasn’t used the racial slur “in years” and that he only used it within certain contexts. That includes quoting someone, such as Redd Foxx saying it on TV in the 1970s or its repeated use in Pulp Fiction. He also pointed to him saying it when repeating the title of Richard Pryor’s third comedy album.

“Now I know that to most people there’s no context where a white person is ever allowed to say that word, never mind publicly on a podcast. And I agree with that now,” he said. “I haven’t said it in years. But for a long time when I would bring that word up, like if it would come up in conversation, instead of saying the N-word I would just say the word. I thought as long as it was in context, people would understand what I was doing.”

Rogan went on to say that these were the only contexts in which he used the word and defended himself, stating that he’s “not racist.”

“It’s a very unusual word, but it’s not my word to use. I’m well aware of that now. But for years I used it in that manner. I never used it to be racist because I’m not racist. But whenever you’re in a situation where you have to say ‘I’m not racist,’ you’ve f—ed up. And I clearly have f—ed up.”

Addressing his Planet of the Apes statement, which he says he made 11 years ago in a since-deleted podcast, Rogan stated that the comment was around him and his friends being dropped off in a Black neighborhood and seeing the Planet of the Apes movie.

“I was trying to make the story entertaining … I did not nor would I ever say that Black people are apes, but it sure f—ing sounded like that and I immediately afterwards said that’s a racist thing to say,” Rogan said in his Instagram video. “But then I went on to talk about what a positive experience it was and how much fun it was to go to see this movie in a Black neighborhood. It wasn’t a racist story but it sounded terrible.”

Towards the end of the video, Rogan described his statement as a “f—ing idiotic thing to say” and that he wishes he could change it.

“Obviously, that’s not possible. But I do hope that this can be a teachable moment for anybody that doesn’t realize how offensive that word can be coming out of a white person’s mouth in context or out of context,” he said.

“My sincere and humble apologies,” he added. “I wish there was more that I could say but all of this is just me talking from the bottom of my heart. It makes me sick watching that video. But hopefully, at least some of you will accept this and understand where I’m coming from.”

Rogan’s apology comes on the heels of a growing boycott around his spread of COVID misinformation, with artists like Joni Mitchell, longtime E Street Band member Nils Lofgren and writer Roxane Gay also joining Young in pulling their content from the platform after a letter signed by 270 physicians and scientists criticized Spotify’s lack of policies prohibiting misinformation. The letter pointed specifically to an episode of Rogan’s podcast featuring virologist and vaccine skeptic Robert Malone.

In his initial public letter, which was posted to his website, Young expressed, “I am doing this because Spotify is spreading fake information about vaccines — potentially causing death to those who believe the disinformation being spread by them.”

Rogan’s latest response also follows comments from Jon Stewart and Spotify CEO Daniel Ek defending Rogan. In a transcription obtained by The Verge, the platform’s CEO originally cited the company’s “mission to get to 50 million creators and a billion users” as part of why it’s not “dictating the discourse that these creators want to have.” Spotify has since announced it will add a content advisory and updated its platform rules around COVID-19 misinformation.

Before Rogan posted his apology, more than 70 episodes of the Joe Rogan Experience had been quietly pulled from Spotify, according to Rolling Stone. The Hollywood Reporter reached out to Spotify for comment.

This article originally appeared on The Hollywood Reporter.

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Holy Wars Deconstruct the Draining Sensation of Success in New Video ‘Battery Life’

L.A. rock duo Holy Wars are partially charged and ready to power past the energy vampires with their new video “Battery Life,” dissecting how 24/7 social media and the pressure to keep followers impacts an artist’s own creative output and the way they see themselves. Lead singer Kat Leon has never shied away from drawing upon her own personal struggles for inspiration, and in “Battery Life,” fans see the ambitious singer as she sees both herself and her audience.

The high-energy anthem is the newest single to drop in advance of their debut album, Eat It Up, Spit It Out.  Leon leads the group with co-founder and Holy Wars lead guitarist Nick Perez and fronts several side projects and works as an accomplished sync vocalist, composer and instrumentalist for a number of film and television projects, while Perez spends part of his time touring and performing with Poppy.

Billboard recently sat down with Leon to discuss her new single and the making of the video (seen below), which was directed by Erin Naifeh, with director of photography Horacio Martinez and editor Fre Pacheco.

Everyone can relate to the feeling of having their energy sucked out of them, but “Battery Life” takes it a step further, breaking the fourth wall with audiences to critique an artist’s relationship with their fans. At the beginning of the video, you even open with this facial expression that indicates a very deep type of sadness. What’s happening here?

Well, you see me dressed as a clown, and before the curtain goes up I say to myself, “Oh god, here we go again.” I wanted to convey that feeling because as a musician and an artist and in the public eye, I’ve always felt pressure to keep proving myself. Since I’ve started Holy Wars I’ve had people ask me, are you signed yet? Are you famous yet? Who are you opening for? And it always seems like whatever I have is never enough. It’s draining, especially since most people’s understanding of success is based on old ideas and dinosaur concepts.

What does success mean to you?

It means I actually think I’m really f—ing successful. I’m holding down. I’m living full-time off of music. And granted, I do a few different projects that fulfill the success I desire. But for some people, if the Holy Wars are not opening for Imagine Dragons, then who am I? Wait, what? Like, there’s so many people that are successful in music but there’s this pressure that you have to be Lady Gaga or you’re not doing it right. I’ve even had people tell me, “I love that you’re chasing your dream.” And I’m like “What? Chasing? I’m living my f—ing dream.”

You seem like you are making music on your own terms. “Battery Life” is one of your most punk-leaning tracks yet from Holy Wars. What does it tell us about where you are musically right now?

Musically, I really love the feeling that I’m conveying in “Battery Life,” and I really want it to be a blend between what Nick’s doing and what I’m doing. We support each other. Whereas in a lot of pop songs, it’s vocal first and everything else is in support of that. This song is sung like I’m talking and having an intimate conversation with people. I really love that in music — when the audience doesn’t know what an artist is going to do next.

The vocals on the song are heavily distorted. How did you fine-tune the sound to make it perfect for you, especially when performed live?

I love distortion when done right. For this song, we ran my vocals through Nick’s guitar pedals, meaning that the distortion is coming from a more natural sound versus a computer plugin that a lot of people would use. In terms of playing it live, the song is written for a live audience and I hope it becomes a sing-along anthem. That’s why we started the chorus at the top. We wanted people to immediately feel like they’re a part of it. And the video hits you over the head with it. In “Battery Life” during the pre-chorus, I literally have people throwing pies in my face. What people watching the video don’t see is that the pies had all kinds of roasted rotten tomatoes in them. It was terrible but perfect because it made me feel like a joke, which I feel like half the time anyway.

Was writing this song and shooting the video therapeutic for you?

Yes, because it helped me realize I’m not alone. So many of us have imposter syndrome. Not just artists, but executives too. Even some super successful people feel like a clown half their life, but never show it. ‘Cause it’s the fake it ’til you make it mentality. I have Stockholm syndrome too. I’m the kidnapper and the victim. Social media has artists put a cage around ourselves. Look at TikTok – sure it has a big user base, but to grow on the platform you have to do what they tell you — the more followers an artist gets, the more pressure they have to not lose followers. It’s all so draining and toxic, like being back in high school, trying to break into a clique that I didn’t give a f— about.

Especially in the digital era with the algorithm picking winners and losers, there’s not even a wizard hiding behind the cloth. There’s nothing. Where do we go from here?

It will always go back to the human. We are the ones who have the power. We are the ones who put ourselves in this cage. And that’s really what this song is about, it’s about understanding that you can empower yourself and get yourself out of a bad situation. It’s about understanding that you don’t have to accept the algorithm or TikTok challenge or whatever other toxic s— is the trend right now. You have the power to put the phone down, turn if off and free yourself.

Catch Holy Wars on tour with Night Club, March 19-April 23. Find more information here and under the “tour” tab at holywarsmusic.com.

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