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As promised, Netflix followed through on its plans to crack down on password sharing, and it appears to be working exactly as planned. Despite a social media backlash, the streaming giant has already seen a boost in subscriber numbers, according to early data. In fact, the numbers of daily sign-ups for Netflix is reportedly higher than during the start of the COVID pandemic when streaming companies had a captive audience thanks to lockdowns and the need for social distancing.

The data comes from the research company Antenna, which claims in a new report that Netflix has had “the four single largest days of U.S. user sign-ups since January 2019.”

Via Variety:

Based on the most current Antenna data available, Netflix saw average daily sign-ups reached 73,000 from May 25-28, a 102% increase from the prior 60-day average. That was more than the spikes in subscriber sign-ups Antenna recorded during the initial U.S. COVID-19 lockdowns in March and April 2020.

However, Antenna reports that Netflix has seen an increase in cancellations, but those were less than the number of sign-ups. “The ratio of sign-ups to cancels since May 23 increased 25.6% compared with the previous 60-day period,” according to the report.

Netflix made the move to limit accounts in late May when it began encouraging to “buy an extra member” for $7.99 that would allow someone who doesn’t live in their household to use the family account. While this initiative created concern over how people wouldn’t be locked out of their accounts while traveling and/or a potential added cost for college students, the password crackdown appears to be working as intended during these first few weeks.

(Via Variety)

Getting tickets for The Eras Tour hasn’t been easy for anyone. Ticketmaster had to cancel the general sale in the US after the pre-sale was flooded by an unexpected amount of users. “The site was supposed to be opened up for 1.5 million verified Taylor Swift fans,” said Liberty Media CEO and Live Nation chairman Greg Maffei. “We had 14 million people hit the site, including bots — another story — which are not supposed to be there.”

It’s not getting any easier. The “Anti-Hero” singer revealed Latin America dates just the other week, kicking off in August in Mexico and ending in Brazil in November. The pre-sale was this morning (June 9), and fans on Twitter are lamenting how difficult the queue was. Specifically for the concert in Brazil, there were over one million people on the website trying to get tickets. Swifties are both praising the pop star for her world domination, and, of course, complaining about how hard it is to see her live.

Find the Latin American tour dates below.

08/24 — Mexico City, MX @ Foro Sol
08/25 — Mexico City, MX @ Foro Sol
08/26 — Mexico City, MX @ Foro Sol
11/09 — Buenos Aires, AR @ Estadio River Plate
11/10 — Buenos Aires, AR @ Estadio River Plate
11/18 — Rio de Janeiro, BR @ Estadio Nilton Santos – Engenhao
11/25 — São Paulo, BR @ Allianz Parque
11/26 — São Paulo, BR @ Allianz Parque

Since the beginning of his storied career, Eminem has been known for his often explicit and/or controversial lyrics. Now, one of his most beloved tunes is at the center of a workplace sex discrimination lawsuit.

As the San Francisco Chronicle reports, eight former employees of S&S Activewear, seven of whom are women, have filed a lawsuit against the company. The suit says the company allowed employees to set up and use speakers in the warehouse. Among the songs played on those speakers, and cited in the lawsuit, are Eminem’s “Stan” and Too Short’s “Blowjob Betty.”

Part of “Stan” tells the story of a man who put a woman in the trunk of his car, with Eminem rapping, “See, Slim — shut up, b*tch! I’m tryin’ to talk / Hey, Slim, that’s my girlfriend screamin’ in the trunk / But I didn’t slit her throat, I just tied her up — see? I ain’t like you / ‘Cause if she suffocates, she’ll suffer more, and then she’ll die, too.”

The suit claims S&S received complaints “almost daily” for nearly two years, but management defended the music, calling it “motivational.”

The lawsuit was previously dismissed by Chief US District Judge Miranda Du, “who said actions offensive to both sexes cannot be considered sex discrimination.” However, the suit was reinstated by the Ninth US Circuit Court of Appeals in San Francisco.

In a 3-0 ruling, Judge M. Margaret McKeown said, “Sometimes employees placed the speakers on forklifts and drove around the warehouse, making it more difficult to predict — let alone evade — the music’s reach. In turn, the music allegedly served as a catalyst for abusive conduct by male employees, who frequently pantomimed sexually graphic gestures, yelled obscenities, made sexually explicit remarks, and openly shared pornographic videos.”

McKeown also wrote, “An employer’s status as a purported ‘equal opportunity harasser’ provides no escape hatch for liability.” McKeown also noted harassment “need not be directly targeted at a particular plaintiff in order to pollute a workplace” and continued, “Whether sung, shouted, or whispered, blasted over speakers, or relayed face-to-face, sexist epithets can offend and may transform a workplace into a hostile environment” for women and men.

Over the last five years, Janelle Monáe’s brand as a creative force to be reckoned with hasn’t gone unnoticed. However, after dipping her toes into new experiences like acting and writing, she’s getting back to her musical roots. Much like the Kansas City-bred, ATL-cultivated musician herself, The Age Of Pleasure (which clocks in at just over 32 minutes) is sweet and petite. Yet, despite its length, her fourth studio-album serves as a jam-packed, Pan-African-spanning ode to finding pleasure in everyday moments.

Released June 9, The Age Of Pleasure creates a comforting space for Monáe and her beloved “Fandroids” to live out loud. Crafted in response to the pandemic and influenced by “Everyday People,” a globally-recognized cultural gathering and love letter to the Black community, the project showcases the 37-year-old’s evolution as a “free-ass motherf*cker.” Pleasure’s varied yet succinct production traverses the Black diaspora across 14 songs — Afrobeats, Ampiano, Lover’s Rock reggae, and trap-infused tunes showcase the artist’s creative license to do whatever the hell she feels like doing, in the name of artistic and individual gratification.

Though lyrics were crucial to Pleasure’s predecessor, 2018’s Grammy-nominated Dirty Computer, they don’t demand the spotlight here. Instead, the music — and the communal energy it ultimately stands for — speaks volumes. While outside ears may have felt that Dirty Computer’s content wasn’t “for them” for whatever reason, Pleasure makes it clear that anyone — regardless of gender identity or affirmation — is welcome to toast to life’s delights and concede to the rhythms. (“I want all of us (Black and Brown people, specifically) to have a soundtrack to this lifestyle,” Monáe told Angie Martinez in May.)

But this is not to say that Pleasure is devoid of queer moments, which should not come as a surprise considering the mechanisms of Monáe’s catalog and personal life. (The artist uses she/they pronouns, and identifies as non-binary.) For instance, the “Vivrant Thing”-interpolating “The Rush” featuring Amaarae and Nia Long is a call-out to the “pretty girl” who’s caught her eye. The runway-ready “Haute” nods to gender-fluidity. (“A bitch look pretty, a bitch look handsome,” Monáe says.)

The island-tinged single “Lipstick Lover” celebrates queer Black bodies, and the buzz surrounding its “controversial” music video (which showcases those bodies and much more) ultimately forced the multihyphenate to create a censored version for virgin eyes. Despite the new visual’s slight deviation from full-out freedom, the point still stands firm through Pleasure’s music. Monáe urges listeners to give in to enjoyment of self and with others, whether it’s emotionally or sexually.

This could be through Issa Rae-in-the-mirror-style affirmations (“I’m looking at a thousand versions of myself, and we’re all fine as f*ck,” she states in “Phenomenal,” which features TDE’s Doechii), or through commemorations of personal growth. The album opener “Float” finds the artist applauding her wins over an infectious trap beat created by Nate Wonder and Nana Kwabena, and horns provided by Seun Kuti and his band, Egypt 80. (Pleasure largely feels Fela Kuti-esque through grandiose instrumentation, so the sonic support from the legend’s son feels especially apropos.) And obviously, pleasure can also be found through physical self-exploration. (“If I could f*ck me right here, right now, I would do that,” Monáe admits on the aquatic, autoerotic “Water Slide.”)

But The Age Of Pleasure is best represented through songs illustrating the importance of community — the hallmark of “Everyday People” bashes. Monáe has been open about her past experiences living with a perfectionist complex. Through healing, she’s learning to enjoy the present without edits or filters, and she encourages others to do the same. (“I’m working on the balance of knowing that some things are just beyond your control and you’ve got to be in the moment and roll with the punches,” she said of her journey back in 2018.)

The dropping of this shield is most evident during The Age Of Pleasure’s trifecta of tracks: the CKay-assisted “Know Better” (which samples a hip-hop favorite: “Darkest Light” by the Lafayette Afro Rock Band), the bouncy “Paid In Pleasure,” and “Only Have Eyes 42,” a cheeky nod to polyamory that concludes with a euphoric string outro. This particular trio amplifies the notion of loosened inhibitions, forcing us to surrender to the moment and just have fun soaking up the company of others.

Given the internet discourse surrounding Monáe’s expression of her autonomy after years of donning (and shedding) her iconic tuxedo uniform, the growth of her individual freedom and self-understanding feels affirmed through The Age Of Pleasure. It can be anxiety-provoking to let your guard down, let people in, or to show up completely as yourself, but it can also be liberating to be exactly who you want to be in a world that doesn’t want you to do so.

The album captures what we all aim to experience at the end of the day. In this mid-to-post-pandemic era, it amplifies a new definition of freedom for many. The attacks on Black, Brown, and queer Americans is a daily concern. (A centuries-long one for all, but especially within the last several years.) Considering the constant diversions from the real national issues at hand, art celebrating the euphoria of authentic humanity, even with the threat of Right-winged erasure congregating in the distance, is resistance at its finest.

Throughout history’s most unsavory moments, music has always been there for minorities in particular to feel safe and seen. As someone who has never been a stranger to creating art reflective of The Times, Janelle Monáe’s The Age Of Pleasure maintains the musician’s crusade of using her work to allow any and all “dirty computers” to remember that there is indeed a place for them in the world, and on the dancefloor.

Janelle Monáe is a Warner Music artist. Uproxx is an independent subsidiary of Warner Music Group.

Despite accusing the Department of Justice of being “weaponized” following the news that Donald Trump has been indicted on federal charges for mishandling classified documents, Ron DeSantis is once again being torn apart by his own party.

The Florida governor fired off a statement blasting the DOJ for unfairly targeting the former president and vowed that, if elected president, he would remove “political bias” from the country’s top law enforcement apparatus.

“The weaponization of federal law enforcement represents a mortal threat to a free society,” DeSantis tweeted. “We have for years witnessed an uneven application of the law depending upon political affiliation. Why so zealous in pursuing Trump yet so passive about Hillary or Hunter? The DeSantis administration will bring accountability to the DOJ, excise political bias and end weaponization once and for all.”

If the statement to DeSantis was meant to be an olive branch to Trump voters, it didn’t work. The governor’s replies begin filling up with GOP infighting as MAGA voters accused DeSantis of capitalizing on the indictment to overtake Trump in the Republican primaries.

You can see some of the reactions below:

This is the second time this week that DeSantis has been called out by his own party. His campaign used AI images of Trump hugging Dr. Fauci in a recent ad, and it did not go over well with a Republican base that’s still intensely loyal to the former president.

“Smearing Donald Trump with fake AI images is completely unacceptable,” Senator J.D. Vance tweeted. “I’m not sharing them, but we’re in a new era. Be even more skeptical of what you see on the internet.”

(Via Ron DeSantis on Twitter)

Kenneth Edmonds, professionally known as Babyface, is one of the most sought out songwriters in modern times. So, it was only fitting that when the NPR Tiny Desk Concert series wanted to kick off Black Music Month, they called the musician. Babyface didn’t hold back, giving the series one Black-ass musical family reunion showcasing his impact across nearly fifty years.

Outside of his solo catalog, as a producer, he’s worked with some of the biggest names in music, including the late Whitney Houston, Mariah Carey, Beyoncé, Usher, and recently Ari Lennox. His setlist offered a tasting of those past collaborations. With backing support from fellow vocalist Tank, Chanté Moore, and Avery Wilson, Babyface opened up with his classic 1987 song “Two Occasions,” recorded as part of the group The Deele. The entertainer followed that up with his solo 1989 song, “Whip Appeal.”

Known as the woman whisper, when transitioning to Karyn White’s “Superwoman,” which he wrote and produced, Babyface shared how he’s been able to create music from the women’s perspective. “When I was a kid, I was always falling in love and getting my heart broken,” he said. “So when that would happen, I would write these really sad songs. Then I realized I probably was feeling the same hurt women were feeling.”

The remainder of the set included a cover of Madonna’s “Take A Bow,” Mary J. Blige’s “Not Gon’ Cry,” Tevin Campbell’s “Can We Talk,” “Change the World,” Fall Out Boy’s “Thnks fr th Mmrs,” Boyz II Men’s “I’ll Make Love To You” and “End Of The Road,” and closed with Whitney Houston’s “Exhale (Shoop Shoop)” off of the Waiting To Exhale movie soundtrack that Babyface produced.

The band consisted of Babyface on both the keys and, at times, the guitar, musical director Erskine Hawkins II as additional support on the keys, Antoine Porter on the guitar, Walt Barnes Jr. on bass, and Reggie Regg on drums.

Although the series features Black artists throughout the year, this subsegment is dedicated to celebrating their contributions to the art form on a much grander scale. The outlet said, “Together, these artists represent the past, present, and future of Black music.”

Watch the full performance above.

Some artists covered here are Warner Music artists. Uproxx is an independent subsidiary of Warner Music Group.

At the end of the series premiere of HBO’s Idol, pop star Jocelyn, played by Lily Rose-Depp, plays her new song to a sleazy, rat-tailed nightclub owner named Tedros (Abel Tesfaye, aka the Weeknd). It’s called “World Class Sinner / I’m a Freak” and the chorus goes: “I’m just a freak, yeah / You know I want it bad (I want it bad).” Tedros doesn’t believe she wants it bad, however, so he ties a robe over Jocelyn’s head and stabs a hole through it with a knife once she begins to panic. The Idol is its own form of parody, but kudos to SNL star Chloe Fineman for stepping in with a killer impression of Jocelyn.

“My audition for THE IDOL (must have got lost in the mail) @theidol,” she wrote on Instagram, along with two cigarette emojis. “(@lilyrose_depp is a GODDESS of talent).” Fineman nails Jocelyn’s general mental-illness-is-sexy vibe; when an off-screen “Tedros” tells her to sing like she can f*ck, she begins to belt out “Believe” by Cher. Fineman also perfectly apes the show’s dialogue, saying, “Music should sound like a slut, or a whore.”

To her credit, Rose-Depp found the video amusing. “I’m loling ….. and ur makeup looks bomb,” she wrote in the comments of the video, which you can watch below.

Yesterday (June 8), J Hus and Drake teamed up for “Who Told You,” a track that quickly stirred up conversation. The Her Loss rapper didn’t seem resentful anymore; on the song, he hints at a new relationship, rapping, “You’re the one, girl, stop rollin’ eyes / I find love and it slowly dies / So Lilah Pi, don’t make my eye cry.”

It doesn’t stop there. For Lilah’s birthday, Drake posted a thoughtful Instagram Story for her, writing, “More life to the gyal that’s impossible to duplicate. My inspo my confidant my best mate my heart @lilahpi happy birthday.”

Also, when Drake dropped “Search & Rescue,” fans questioned who was on the artwork. They assumed it was Kim Kardashian, but it’s now confirmed to be Lilah.

Kim Kardashian recently called out Kanye West for starting the rumor that she cheated on West with Drake. “He was the one that started a rumor that said I was hooking up with Drake, having an affair our whole marriage,” she said. “He accused me of that publicly. So the person that’s supposed to protect me the most publicly would accuse me of having an affair throughout our whole marriage. I really can’t wrap my head around how he is a protector.”

The GOP had a rough day on Thursday. The MAGA puppet master who proudly “lock her up” chants has a fresh criminal indictment on his hands. The Supreme Court upheld the Voting Rights Act while ruling on a case about racial gerrymandering. And uber-televangelist Pat Robertson passed away. This doesn’t even touch the far-right’s perpetual grousing over Pride Month, which has now thrown them a curveball from a down-home restaurant beloved by many who swing by after the Sunday church visit.

Cracker Barrel decided that the right-wing Bud Light and Target boycotts weren’t enough to scare them away — nor were the eatery’s own third-quarter missed earnings — from Pride Month. Not everyone will be surprised by the Old Country Store’s perspective after it previously banned an anti-gay pastor, but the restaurant chain threw down with a series of social media posts that have freaked out the far right. First up, on Instagram, the company wrote, “Our mission of ‘Pleasing People’ means welcoming and caring for ALL people, this month, and every month. Happy Pride!”

On Facebook, a rainbow-painted rocking chair led the way with the chain declaring that they “are excited to celebrate Pride Month with our employees and guests. Everyone is always welcome at our table… Happy Pride!”

That wasn’t all. Over on Twitter, Cracker Barrell responded to a “[q]uite shocked” user with a cheery air: “Thanks for sharing! Our teams take pride in creating a welcoming, safe atmosphere where people can enjoy time with family and friends the moment they walk through our doors.”

This was too much for some. The Texas Family Project, which has raged against “woke teachers exposing children to LGBT ideology,” quickly went into mourning: “We take no pleasure in reporting that @CrackerBarrel has fallen. A once family friendly establishment has caved to the mob.”

The organization swiftly added Cracker Barrel to the same fearsome category where they relegated Drag Shows.

The entirely serious tone of “we take no pleasure in reporting” was similarly too much for people to handle without laughter.

Make no mistake, though, some Cracker Barrel patrons are apparently patrons no more. Their reactions are growing a bit hyperbolic.

June 8 was a day that shall not be forgotten anytime soon.

Last week Steven and Ian had to bank an episode because Steven was on vacation. Which is why we did our first all “Yay Or Nay?” episode rather than address possibly the most annoying music story of the year (and maybe decade?) so far — the short-lived dating relationship between Taylor Swift and The 1975’s Matty Healy, and the insane online reaction it sparked. Sadly, we do touch on this kerfuffle briefly this week, but only to note that in terms of annoying music stories, this thing is basically Everything Everywhere All At Once, an unstoppable juggernaut that can’t possibly be topped in the field of irritation.

Speaking of annoying stories: Steven and Ian also address the recent takedown of Hannah Gadsby‘s “It’s Pablo-matic” art exhibit in the New York Times, and whether the cathartic reaction to the review speaks to a larger backlash against the “therapeutic” and prescriptive art of the Trump era, and how that might translate to the indie world.

Finally, Steven and Ian set about sharing their favorite albums of the year so far. While Steven shared an unranked list of 15 favorites this week in his column, here he and Ian each share their ranked top five lists for the first part of 2023. Incredibly, there were zero overlaps in our picks!

New episodes of Indiecast drop every Friday. Listen to Episode 142 here and subscribe wherever you get your podcasts. You can submit questions for Steve and Ian at [email protected], and make sure to follow us on Instagram and Twitter for all the latest news. We also recently launched a visualizer for our favorite Indiecast moments. Check those out here.