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Travis Scott, who was removed from a number of festivals’ lineups in the wake of the disaster at his own Astroworld Festival in November, may soon be returning to at least one fest’s big stage in 2022. At least, that’s what fans think after the Rolling Loud Twitter account teased the early-bird presale for the traveling festivals’ upcoming Miami event in 2022. “This early bird presale is for the ragers that trust the process,” read the tweet, purposefully adding the nickname Travis uses for his most enthusiastic fans.

It didn’t take long for those fans to read between the line and begin expressing hopes for Travis’ return to the stage since first being dropped from the Day N Vegas lineup and eventually receiving pink slips to such fests as Coachella, as well as business partnerships with Anheuser-Busch and Dior. Travis has received criticism for his role in the Astroworld disaster and his responses to it after he hired a lawyer with past Trump connections as his defense in the upcoming combined lawsuit against him from over 3,000 plaintiffs.

It wouldn’t be the first time Rolling Loud offered a troubled artist a path to redemption — or at least, revenue, given the unapologetic stances of the previously “canceled” rappers who performed on the festival’s stage. Rolling Loud’s organizers were close friends with the problematic XXXTentacion, who performed there while under investigation for accusations of horrifying abuse, and more recently, Rolling Loud backed DaBaby’s upcoming tour after his homophobic comments onstage got him censured by GLAAD, Elton John, and Dua Lipa — statements that ironically occurred during his Rolling Loud Miami performance earlier this year.

If Travis does perform, it seems there are still plenty of fans who would be delighted, even as at least 10 of his fans’ families mourn their unfortunate deaths at Astroworld. See some of the responses below.

Despite catching COVID earlier in the year, Joe Rogan has continued to refuse to get vaccinated, and now, it’s costing him sold-out comedy shows. On a recent episode of The Joe Rogan Experience, the podcaster revealed that one of his shows in Canada has been canceled because of his unvaccinated status. The 4/20 event had been sold out, but because Rogan refuses to comply with vaccinate requirements or have the venue’s audience be cut in half to meet COVID restrictions, he pulled the plug.

“I don’t even think I can get into the country,” Rogan said. “I don’t think I can go and even if I do go, I don’t trust that Vancouver is not going to follow suit with what Toronto did — where they cut capacity to 50%.”

Never one to skirt controversy, Rogan then touted his natural immunity, which is a debatable protection from COVID particularly as the new Omicron variant becomes the dominant strain. Via Mediaite:

“I’m not vaccinated. I’m not gonna get vaccinated. I have antibodies. It doesn’t make any sense,” he added. Rogan, who has had Covid-19, has been a prominent skeptic of the Covid-19 vaccinations and has endorsed alternative treatments.

However, none of this should be a surprise to the comedian. Back in August, he was already complaining about COVID restrictions affecting his comedy shows, and he was adamant about not forcing his fans to get vaccinated just to see him perform.

“If someone has an ideological or physiological reason for not getting vaccinated, I don’t want to force them to get vaccinated to see a f***ing stupid comedy show,” Rogen said at the time.

(Via Mediaite)

Seemingly every couple of months, Twitter lights up with (very important) conversations about how little artists actually get paid every time their song gets streamed. It varies between streaming services, but according to the RIAA’s 2020 report, Spotify averages $.00437 per stream while Apple Music averages about $.00783. However, the company that pays artists the most per stream is pretty surprising, seeing how it’s oftentimes credited for nearly killing the music industry: Napster.

Thanks to a recent tweet by T-Pain, fans were shocked to learn that Napster still actually exists seeing as the company filed for bankruptcy in 2002 after losing a wave of copyright infringement lawsuits. T-Pain shared a screenshot of a dubious chart originally posted to Reddit which claims how many times a song has to be streamed on a given platform in order for the musician to make $1. T-Pain’s chart shows an artist’s song on Napster has to be streamed 53 times in order to make $1, which is actually accurate per the RIAA’s 2020 report, compared to 315 streams on Spotify (although RIAA’s numbers show it’s more like 229 times).

While it’s fairly well-known that Spotify is one of the biggest streaming platforms with one of the worst artist payouts, fans on Twitter were even more surprised that Napster is still around. T-Pain’s tweet instantly made Napster trend on Twitter, with many people reacting to the news that Napster essentially went from “villain” to the “hero” of streaming.

Others were simply reminiscing on the times they stayed up all night downloading a few songs on Napster.

In 2021, we did our best to cover the newest and best bottles of whisk(e)y as they dropped throughout the year. Considering that the world of whiskey is international and oh so vast, we found the task to be… pretty much impossible. There are just so many expressions produced that even when we release our 50 or 100 favorite whiskeys of the year, a few choice bottles of the good stuff are sure to slip through the cracks. This post aims to amend that (as best we can).

The ten bottles of Scotch whisky below are bottles that I think need a little boost before 2021 winds down. There are no real parameters here, it all really comes down to whether or not the whisky tastes good and whether we covered it previously. That said, these picks happen to all be relatively accessible and not particularly expensive.

Also Read: The Top 5 UPROXX Scotch Whisky Posts of 2021

• The 50 Best Scotch Whiskies Of 2021, Ranked
• A Blind Ranking Of Affordable Blended Scotch Whiskies
• Our Favorite Scotch Whisky At Every Price Point From $30 To $500
• We Blind Tested Blended Scotches In The $40 Range And A Clear Winner Emerged
• The Best Bottles Of Scotch Whisky Between $50-$60

Speyburn Bradan Orach

ABV: 40%

Average Price: $27

The Whisky:

This entry-level single malt is named after the Golden Salmon that swims the River Spey. The juice is a no-age-statement marrying of malts that leans into the honeyed hues of the region.

Tasting Notes:

The nose on this is pure honey dropping over fresh and very green apples with a hint of lemon oils and a touch of bourbon vanilla lurking deep in the background. The palate harnesses that vanilla for a creamy texture that helps the stewed apple vibe pop with plenty of dark spice, buttery notes, and a touch of lemon drop candy. The finish allows space for that candy note to drive towards a short and sweet end that’s just touched with cinnamon spice warmth.

The Bottom Line:

This is a great entry-point single malt that’s pretty damn enjoyable. It’s also a wonderful base for any single malt cocktail.

Highland Park Viking Heart 15

ABV: 44%

Average Price: $135

The Whisky:

Highland Park’s Master Whisky Maker Gordon Motion hand-picked sherry seasoned American oak barrels of single malt to create this new expression. The whisky is then decanted/bottled in a throwback ceramic bottle from Wade Ceramics, which has been making bottles like this since the early 1800s.

Tasting Notes:

Even though this is a peated whisky, the nose is all about bright notes of orange and lemon oils with a deep vanilla sauce vibe, a touch of dried heather, and old sticks of cider-soaked cinnamon. The palate lets the smoke sneak in via grilled pineapple that turns towards smoked plums, soft and moist Christmas cake with plenty of dried fruits, and a sense of cinnamon-flecked tobacco leaves that have just been singed around the edges. The peat sneaks in late via an almost sea salt element that lets the orange oils, vanilla, and cinnamon-tobacco all mellow towards a silky finish.

The Bottom Line:

This is deliciously complex while still feeling very accessible. It’s peaty, yes, but that smoke is tied to sweet fruits and mild spice, meaning that it never overpowers your senses.

Springbank 21

ABV: 46%

Average Price: $265

The Whisky:

This 21-year-old whisky, released in 2021, was crafted with help from old Port, sherry, and bourbon barrels. The peated Campbeltown whisky (a region I plan to cover more in 2022) is built to highlight the unique and very fruity notes of the style.

Tasting Notes:

The nose is all about the malts with a vibe that’s halfway between an oatmeal cookie and a Graham cracker with rich vanilla pudding notes, a touch of buttery toffee, and a final burst of deep red strawberries. The fruitiness takes on a savory note that’s kind of like smoked watermelon before heading back towards those cookies with plenty of cinnamon warmth and nutty depth on the palate. The finish arrives slowly with a nod towards peat as a passing fancy that’s buried beneath a vanilla cream laced with cinnamon, oats, raisins, and bitter over-roasted coffee beans.

The Bottom Line:

This is a phenomenal peated malt. The peat is so drawn back and nuanced that it’d be easy to miss it the first time around on this dram. Still, add a little water or a rock and this will bloom beautifully in your glass.

Glengoyne Cask Strength

ABV: 58.8%

Average Price: $99

The Whisky:

This whisky is all about the blend of casks involved in the mix. The majority (55 percent) comes from refill oak casks, 29 percent is from first-fill Olorosso sherry, and 16 percent comes from first-fill bourbon casks. That whisky is then vatted and bottled as-is without any filtering or fussing.

Tasting Notes:

There’s a clear fruitiness on the nose that’s all gree apple and peach skins that have taken on a little patina next to eggnog, apple crumble made with plenty of cinnamon, and almost fatty white chocolate squares. The palate stews all those fruits while adding in hints of buttered popcorn, salted caramel drizzled over ginger cake, a hint of banana bread with plenty of walnuts, and a fleeting touch of orange oils. The finish mellows dramatically as the stewed fruits take center stage with a slight savory fruit vibe (think kiwi) and a touch of malt biscuits with a hint of nutmeg and clove.

The Bottom Line:

There’s a ton going on in this dram but it all makes sense. There’s a build to the taste that crescendos and then fades very nicely on your senses. Just make sure to add a little water or a rock to really let it bloom.

Benromach Cask Strength Vintage 2009 Batch 4

ABV: 58.5%

Average Price: $80

The Whisky:

There are several releases of this cask-strength whisky that are worth calling out. Last year’s Batch 4 was a highlight. The juice was sourced from only 29 first-fill bourbon and sherry casks. That small grouping of barrels was vatted and the whisky was bottled as-is.

Tasting Notes:

Deep orange oils mingle with dark chocolate notes on the nose that have just been burnt around the edges as caramelized sugars mix with a dusting of dark spice. The palate takes on a stewed fruit note that’s more red/ tart berries than orchard fruits as hints of fresh honey lead towards peppery spice and a hint of smoked applewood. The finish ties to the sweeter notes of the red berries to a smoked plum vibe as that slightly burnt dark chocolate makes a final nod on the velvet finish.

The Bottom Line:

The peat in this is so attached to the fruit and chocolate that you’ll probably miss it. This is a great dessert whisky that’s bright yet lush.

Bruichladdich The Biodynamic Project

ABV: 50%

Average Price: $132

The Whisky:

This whisky is the first of its kind in Scotland. The whisky is distilled from unpeated barley from a single farm. It goes beyond that though. The farm is regenerative and pulls more carbon into the soil than it emits, meaning this is a carbon-negative whisky from the jump. The whisky then ages for ten years in ex-bourbon barrels and is bottled at cask strength.

Tasting Notes:

This whisky is a fruit bomb on the nose with peach syrup from the can, stewed apples with plenty of spice, butter, and pie crust, hints of vanilla pods, a touch of orange oil, and the faintest hint of apple, cherry, and apricot Turkish Delights. The palate has real peaches-in-cream vibes that lead towards dark chocolate-covered toffees with a flake of salt and a few petals of dried nasturtium and lavender. The finish leans into the malt to the point that feels like a warm bowl of Cream of Wheat cut with brown sugar and cinnamon with a dash more of orange oil, toffee, and vanilla.

The Bottom Line:

This is a bold and delicious whisky. Make sure to add some water or a rock to let this one explode with more flavors and textures.

The Glenallachie 21 Cask Strength

ABV: 51.4%

Average Price: $265

The Whisky:

Glenallachie’s Master Distiller Billy Walker hand-selected just five casks for this release. The barrels were ex-Pedro Ximenez and Oloroso sherry puncheons (a large barrel that’s around 100 gallons, give or take). Those whiskies were vatted and bottled as-is.

Tasting Notes:

There’s a note of grapefruit pith when you nose this dram that leads towards honeyed chocolate truffles with a touch of cinnamon and orange. The palate goes full Christmas cake with plenty of dried nuts, candied and dried fruits, rich wintry spice, and a touch of chocolate maltiness next to candied ginger, more orange, and a note of golden corn syrup. That sweetness attaches to the fruit and spice to create a stewed plum vibe on the finish that luxuriates in mild spice, sweet and meaty stone fruit, and a touch more of that chocolate.

The Bottom Line:

This is like drinking silk. It’s pure wintry vibes and soft as velvet. I can’t overstate how easy-drinking this beautiful whisky is.

Craigellachie 17

ABV: 46%

Average Price: $179

The Whisky:

Craigellachie is the other main whisky that helps make Dewar’s (the other base spirit being Aberfeldy). This expression is made with old-school stills and stored in old-school warehouses. The juice is aged in ex-bourbon casks for 17 long years and vatted to highlight the uniqueness of the brand.

Tasting Notes:

You’re drawn in by that familiar and deep vanilla note with some apple pie in there next to a dried and salted pineapple candy, a touch of smoked oats, and a savory fruit (almost a honeydew melon). That pineapple note holds on and intensifies to a pineapple and vanilla pudding on the palate as dry and woody spices arrive next to a hint of dry tobacco, cedar, and a billow of dry smoke. The end embraces the smoke through the filter of that pineapple pudding as it slowly fades out.

The Bottom Line:

If you’re looking for the perfect bridge between smoked and fruity scotch, this is the bottle for you. It’s subtle yet very vibrant and fruity. It’s also one of those drams that really needs a little water (or a rock) to let it fully bloom.

Aultmore Foggie Moss 12

ABV: 46%

Average Price: $75

The Whisky:

Speaking of Dewar’s, this is part of their Last Great Malts range. The juice is a rare release from a distillery that releases bottles every few years (this bottle dropped back in 2014).

Tasting Notes:

The nose bursts forth with notes of ripe apples and pears next to a seriously creamy vanilla base with touches of orange blossoms and soft cedar bark. The palate wraps those apples and pears into a soft and buttery puff pastry with plenty of soft spice and brown sugars as the vanilla thickens into a pudding with the florals becoming slightly more dried towards the mid-palate. The finish hoists those stewed apples and pears to center stage as the mild spice gently fades away.

The Bottom Line:

This rarity is a damn fine dram of whisky. It’s not simple by any stretch but it has this accessibility that holds you tight and feels right on your senses, especially if you’re looking for a whisky that mimics a delicious breakfast pastry.

Loch Lomond 18

ABV: 46%

Average Price: $104

The Whisky:

Loch Lomond is renowned for making both malt and grain whiskies, both peated and unpeated, and winning tons of awards for doing so. This expression was the creation of Loch Lomond’s Master Cooper, Tommy Wallace, who hand-selected the barrels to be vatted, proofed with Highland water, and bottled as-is.

Tasting Notes:

The oak comes through on the nose but is tied to applewood that’s been dipped in fresh and floral honey to the point that it feels like a honeycomb rolled in heather petals in a nearby field. The palate delivers on that while adding in an almost savory gooseberry next to grapefruit oils and an old cedar box full of berry-laced tobacco. That berry tobacco note leads to a nutty flourish near the end that then gives way to a hint of Band-Aid and clove as the peat just sneaks in on the finish.

The Bottom Line:

While this is peated, it’s the beautiful fruits and floral honey that will linger the longest in your senses. This really is a great all-around Highland dram that highlights the beauty of the region’s unpeated and peated styles in one glass.

As adults, sometimes we forget how much impact our words can have on the children in our lives. But most of us can recall things that were said to us as kids, positive or negative, that stuck with us. Some of those words may have influenced how we see ourselves our whole lives, for better or for worse.

Elyse Myers is a popular TikToker who has a knack for storytelling. Most of her videos are funny, but one of her most recent ones has a serious—and seriously important—message for us all.

“It is no secret that as a child, and specifically as a middle schooler, I was a little bit…round,” she said. “That would have been one way to describe me. Other ways that would have been more appropriate? Funny, cute, has curly hair, determined, sarcastic, witty, smart, talented, musical—so many ways to describe me, but the one thing that people loved to latch onto was the size of my body.”

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“Was I ashamed of that?” she asked. “No. Other people seemed to be. You would be shocked at how determined other kids and adults were at making sure that I knew that they knew that I was larger than other kids my age.”

Myers then made a statement that millions of people, especially women, can resonate with:

“I was made aware of the size of my body long before I was ever taught how to love it.”

Watch:

Myers is dead on. Her story about a male substitute teacher going out of his way to “save her from herself” by telling her in so many words that she should give up the idea of being a cheerleader because of her size is appalling, but unfortunately not uncommon.

“The audacity of a man to walk up to a 7th-grade girl, in front of her friends, and comment on her appearance in any way is disgusting,” she said. “I met that man for one hour when I was like 11, and I am 28 and still undoing the damage that that one sentence had on my life. So if you are an adult, if you are around children—if you are around humans in any way—I want you to understand how powerful your words are. As easily as they can tear someone down, they can build someone right back up, but it’s going to take a hell of a lot more work to build them up after you’ve torn them down.”

In reality, it’s always far easier and faster to break something than to build it. In fact, research from The Gottman Institute found that in a happy, stable relationship, couples had an average of five positive interactions for every one negative one. Couples who had a smaller ratio than that were less happy, and a 1:1 ratio, meaning evenly balanced between positive and negative interactions, equaled an unhealthy relationship “teetering on the edge of divorce.”

It takes far more positive words to create a positive experience than it does negative ones to create a negative experience, which is why it’s so important for us to choose our words carefully. And because children are so impressionable, what we say to them sticks.

“I was taught how to perceive my body through the eyes of other people that didn’t love me, that didn’t care about me, that thought they could just make a passing comment and move on with their life, and I carried that forever.” said Myers.

“We have to teach people how to speak kindly about themselves, how to love themselves, how to see them as beautiful and worthy and more than just what they look like. If I had as much attention poured into the things that I was good at, and I cared about, and I loved, I would have been a completely different kid.”

Right on, Ms. Myers. Thanks for the reminder that what we say matters more than we might think.

Jim Cramer, the longtime host of CNBC’s Mad Money, is known for his incessant—and often unwarranted—yelling. Now he’s on the receiving end of a string of shouting voices, who are berating him for posting a misleading image to Twitter of what appears to be an aisle full of empty store shelves with a snarky one-word caption: “suboptimal.” But the only thing that might be suboptimal here is Cramer’s eyesight, as it was clear to most people who took even a quick glance at the image that these “empty” shelves were simply being prepped to be filled with Whitman’s samplers, conversation hearts, and other Valentine’s Day-themed items.

As The Wrap noted:

Cramer was presumably offering economic commentary on the potential plight of consumers amid the combined effects of supply-chain shortages and the Omicron variant’s COVID-19 surge.

But what Cramer apparently failed to see were pink strips below the featured shelves, prompting many to take the CNBC host to the presumptive cleaners over what they saw as a short-sighted attempt—with the photo revealing nothing more than a store that had made room for Valentine’s Day inventory.

Cramer’s tweet quickly went viral and got the term “Valentine’s Day” trending. And it didn’t take long for his fellow Twitter users to point out the err of the CNBC host’s ways. Some people called on Cramer to publicly acknowledge that he had either made a mistake, or was intentionally trying to mislead his 1.7 million followers:

Others were more straightforward:

While others helpfully suggested that Cramer get out of the damn way so that the store’s employees could do their jobs:

Cramer has yet to follow up on his photo, or tweet again.

(Via The Wrap)

The Matrix Resurrections is proving to be the most polarizing blockbuster since The Last Jedi, but one aspect of the (good imo) film that nearly everyone can agree works is any scene where Keanu Reeves and Carrie-Anne Moss are together. They have a real-life “soul friendship,” as Moss described it, and it shows when they’re playing Neo and Trinity. Moss said she’s “watched him grow in the last 20 years” and is “in awe of it,” while Reeves responded with an equal amount of admiration. “You’ve got a flavor. It’s Trinity! It’s Carrie-Anne Moss, Trinity flavor,” he exclaimed. “All the fierceness and mind, focus, commitment is there in the gestures. Untamed and wild and controlled.”

We should all be so lucky as to receive a compliment from Reeves, and Moss received the greatest compliment of all: an invitation to join the John Wick franchise.

“I love John Wick,” she told People. “I really started to understand Keanu’s outrageous gift for telling story through his body. And I didn’t fully understand that until I went deep into John Wick with one of my children. It was very bonding for us too. It was amazing to have that experience with my son and to watch the depth that Keanu is able to [create] with his body. It’s really an art form.” After hearing her affection for John Wick, Reeves asked, “You want to play an assassin?”

“I’d love it,” said Moss.

Reeves: “Really?”

Moss: “Yeah!”

Reeves: “Okay. Let’s get on that.”

Moss: “I’ll start practicing.”

Reeves: “Be careful for what you wish for. I’m on it now.”

John Wick already has Reeves and Laurence Fishburne. It can make room for another Matrix star — especially since John Wick: Chapter 4 was just bumped to 2023. That gives director Chad Stahelski (who plays, yes, Chad in The Matrix Resurrections) plenty of time to let Moss join the film as the world’s most stylish assassin, or whatever.

(Via People)

In the debate sparked over a potential Verzuz with Jay-Z, Future agreed with many of his listeners in Atlanta that he could successfully take on Hov in a battle of their hit songs. While that may or may not be true, Future definitely has the fanbase numbers behind his claims — but that’s probably because he’s much more active on social media than Jay-Z. Not only does the rapper boast over 18 million followers on Instagram (while Jay-Z recently deleted his own account), he’s just become the first artist to reach 10 million followers on SoundCloud.

Future’s SoundCloud page just hit the major follower milestone, which is very impressive seeing as the rapper hasn’t dropped a project since his 2020 Lil Uzi Vert collaborative album Pluto x Baby Pluto. While Future may have just reached 10 million followers on the music streaming service, the rapper has actually been one of SoundCloud’s top-followed artists for a while. Big Sean follows closely behind Future’s numbers with 9.5 million followers.

Future saw the news of his SoundCloud milestone on Instagram and re-shared his achievement while adding a few emojis for good measure.

SoundCloud isn’t the only streaming service the rapper has dominated on. On Spotify, Future has racked up just over 10 million followers — 10.9 million to be exact — and boasts over 31.7 monthly listeners on the platform.

It was revealed yesterday that Mariah Carey’s “All I Want For Christmas Is You” is No. 1 on the January 1, 2022-dated Billboard Hot 100 chart, but that’s not all the holiday cheer on 2022’s first Hot 100. In fact, Billboard notes that there are 37 holiday songs on this week’s chart, which is second only to the time 39 holiday tunes appeared on the Hot 100 from a year ago this week.

Aside from Carey at No. 1, the rest of the top 10 features Brenda Lee’s “Rockin’ Around The Christmas Tree” (No. 2), Bobby Helms’ “Jingle Bell Rock” (No. 3), Burl Ives’ “A Holly Jolly Christmas” (No. 4), Andy Williams’ “It’s The Most Wonderful Time Of The Year” (No. 6), Wham!’s “Last Christmas” (No. 7), José Feliciano’s “Feliz Navidad” (No. 8), and The Ronettes’ “Sleigh Ride” (No. 10).

While the rest of list is also mostly made up of older tunes, some tracks by modern stars are sprinkled throughout the ranks: Kelly Clarkson has a couple of entries (“Underneath The Tree” at No. 13 and “Christmas Isn’t Canceled (Just You)” at No. 79), Ariana Grande’s “Santa Tell Me” is at No. 18, Justin Bieber’s “Mistletoe” is at No. 44, Ed Sheeran and Elton John’s “Merry Christmas” is at No. 55, Taylor Swift’s “Christmas Tree Farm (Old Timey Version)” is at No. 62, and Camila Cabello’s “I’ll Be Home For Christmas” is at No. 71.

Meanwhile, this week’s chart is filled with achievements for various other artists. Frank Sinatra, for example, had “Jingle Bells” become his first top-40 hit (at No. 33) since 1980. This is also the first time that any recording of “Jingle Bells” has hit the top 40. Meanwhile, “Santa Baby” by Eartha Kitt with Henri René And His Orchestra became the late Kitt’s first song to rank on the Hot 100 last week, and now it’s her first top-40 song as it achieves a new peak at No. 35 this week. Similarly to “Jingle Bells,” Kitt’s recording is the first version of “Santa Baby” to appear on the Hot 100.

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

De La Soul‘s streaming woes are well-documented at this point, but now that the crew has landed a soundtrack placement on the biggest movie of the year, new fans are finding themselves frustrated to learn that the pioneer trio’s catalog is unavailable on DSP. The crew’s 3 Feet High And Rising song “The Magic Number” appears over the end credits of Spider-Man: No Way Home, undoubtedly sending many of the film’s viewers to Apple Music, Spotify, and Tidal only to discover that the only two De La Soul albums available are The Grind Date and The Anonymous Nobody.

And while both albums are worth several spins, most of De La’s most recognizable work comes from earlier in their career, when they were still under contract with Tommy Boy Entertainment. The trouble with streaming the albums stems from their extensive sample use; over the course of their six projects under Tommy Boy, the band used hundreds of samples of prior works — 3 Feet High And Rising contains 60 samples by itself. While Tommy Boy cleared most of those samples, the contracts only covered physical releases, the only method for releasing music through the ’80s and ’90s. With the advent of streaming, the label considers the albums open to a plethora of potential lawsuits and not worth the hassle of uploading.

The band themselves have offered to take on the intricate work of clearing all the samples backed by an army of volunteers who just want to be able to stream the albums they love, only to get rebutted by Tommy Boy. Earlier this year, De La Soul apparently won back their master recordings after Reservoir Media acquired Tommy Boy for around $100 million, but now comes the nitty-gritty work of actually clearing all those samples, which could take some time considering the age of the records and the labyrinthine nature of copyright law. While the appearance of “The Magic Number” on Spider-Man’s soundtrack could be a promising sign that at least the work has begun (the song mainly samples Bob Dorough’s “Three Is a Magic Number”), all those new fans will have to join the grizzled vets in waiting impatiently for that work to be completed to stream De La’s greatest hits.