Entertainment
Kanye West leaned into antisemitism. Now he's headlining L.A.'s Rolling Loud Festival
R.C. Hogue grew up with Kanye West’s music. The rapper was “a top-three artist for me and a big part of my upbringing,” said Hogue, a 30-year-old from Los Angeles. Even after West supported Donald Trump, Hogue tried to “separate the art from the artist, because a lot of artists have done messed up things.” But he couldn’t forgive West for saying, in 2022, that he’d go “death con 3 on JEWISH PEOPLE” and praised Adolf Hitler.
Hogue was looking forward to this weekend’s 10-year anniversary tour of the Rolling Loud hip-hop festival in Inglewood — until he saw West’s name, now just Ye, added to Thursday’s bill. Hogue is likely staying home, at least for the night West will perform.
“Time heals a lot of wounds, but with Kanye, it’s a little too soon to start listening to him again,” Hogue said. “He’s shown no remorse, no sign of admitting he’s wrong, and there’s no excuse for antisemitism. It would feel weird to be there.”
West’s unexpected return to Rolling Loud — the biggest rap festival brand in the world — alongside his collaborator Ty Dolla Sign suggests the music industry may be tentatively welcoming him back.
Some rap fans see West as a roguish outlaw who beat cancel culture. Local Jewish communities worry that booking him adds a sense of impunity around hate speech. Experts wonder why an acclaimed and successful festival would risk booking an artist famous for both antisemitism and ongoing struggles with mental health.
“A lot of music festivals will drop artists to protect their reputation,” Hogue said. “But Rolling Loud is doing the opposite.”
Representatives for Rolling Loud declined an interview request to discuss West’s booking. West’s new booking agent, Cara Lewis, did not respond to an interview request.
In the years after West acknowledged his bipolar disorder and grief following the death of his mother, fans and the industry tried to put his erratic behavior in the context of his mental health challenges. West’s music meant a lot to fans like Hogue, and they didn’t want to cast him out.
Ty Dolla Sign, left, and Ye will headline Thursday night’s Rolling Loud bill in Ye’s first live performance in L.A. since 2012.
(Jordan Strauss/Invision/AP; Evan Agostini/Invision/AP)
Yet in 2022, his shocking outbursts led to the dissolution of his multibillion-dollar apparel deal with Adidas; he was banned from social media sites and dropped by his talent and booking agents, and left with no record label. West’s career — one of music’s most influential and lucrative — seemed in shambles.
In December, at a small Las Vegas listening party, West falsely cited “60 million of us in America, 60 million Jews in the world,” and shouted “Jesus Christ, Hitler, Ye, third party, sponsor that.” In January, West wore a shirt from the Norwegian metal band Burzum, whose founder Varg Vikernes was convicted of murder and inciting racial hatred.
Yet some corners of the music industry may be ready to get back in business with him.
“I was surprised when I first heard that Kanye was headlining Rolling Loud because it seemed unnecessarily risky for the festival,” said Dave Brooks, Billboard’s senior director of live music and touring. “Ticket sales seemed to be doing well, and the risk that Kanye would say something offensive, have a meltdown or refuse to complete his performance poses a real threat to Rolling Loud’s brand.”
But after a few other listening events went off without incident, “I think the decision makes more sense,” Brooks added. “Kanye and Ty have successfully completed five listening party events. The Rolling Loud guys are definitely using the performance to drive ticket sales and are positioning themselves to look very smart if the show goes off without any major disruptions.”
West’s performance, booked as a collaboration with Ty Dolla Sign under the aegis of ¥$, is still shrouded in mystery, but it will be his first live performance in L.A. since his co-headlining set with Drake at a benefit show in 2021. He was booked to perform at Coachella in 2022, but dropped out weeks before showtime.
The duo’s new album, “Vultures 1,” topped the Billboard album charts for two weeks in February. It was West’s first album to spend multiple weeks atop the charts since 2011, and yielded a number-one single “Carnival.” The album is packed with guest stars like Travis Scott, Playboi Carti and Chris Brown. (West been teasing a “Vultures 2” release soon)
If West felt chastened by his recent blowback, it didn’t show on the album’s title track, where he alluded to his recent career immolation. “How am I anti-semitic?” West raps on “Vultures.” “I just f-ed a Jewish b-.”
Danya Ruttenberg, a feminist rabbi and author of “On Repentance And Repair,” said she was “absolutely grossed out” when she first heard that lyric. “It’s as vile as any sexualization of a people.”
But she’s more worried that this weekend, tens of thousands of young rap fans will sing along, just a few miles from where a white supremacist group, in 2022, hung a banner over the 405 freeway saying “Kanye was right about the Jews.”
“Anyone feeling validated by Kanye will feel more comfortable perpetuating literally medieval hate speech after this,” Ruttenberg said, of his booking at Rolling Loud. “This performance makes Jews less safe.”
From left: Tariq Cherif and Matt Zingler, who are co-founders of the Rolling Loud Hip-hop music festival.
(Gabriella Angotti-Jones/Los Angeles Times)
Ruttenberg also noted the apology that West wrote on Instagram after his Las Vegas tirade – a mea culpa written in Hebrew. (“I sincerely apologize to the Jewish community for any unintended outburst caused by my words or actions. It was not my intention to offend or demean, and I deeply regret any pain I may have caused.”)
“Most American Jews don’t read Hebrew,” Ruttenberg said. “The idea that we’re this other people with a mysterious other language, or that our real home is Israel, that we’re a global enterprise connected via language instead of citizens of this country, is all part of same trope.”
Given the backdrop of the Gaza conflict, which has led to antisemitic and anti-Muslim hate crimes in the U.S., some worry about making an artist with a history of bigoted statements seem acceptable – even edgy and alluring.
“Kanye has done horrific damage as far as contributing to the never-ending tsunami of antisemitism in this country,” said rabbi Abraham Cooper of the Simon Wiesenthal Center, a Los Angeles-based Jewish human rights group. “The struggle is to keep bigotry out of the mainstream, and there’s nothing more mainstream than a concert with 100,000 people. Putting him front and center is a signal to others that maybe they can sign on too.”
Cooper met with the TV personality Nick Cannon in 2020 after Cannon made antisemitic remarks, and said he was impressed by Cannon’s willingness to examine his prejudice and apologize. West, however, has done little to change, Cooper said.
“If someone wants to make amends, take them seriously,” Cooper said. “I’m not a censor of anything in the arts, but when people like Kanye have taken hate and made it cool, it projects hate into the mainstream of culture at exactly the worst time for our community.”
Festival goers attend Rolling Loud at NOS Events Center on December 12, 2021 in San Bernardino, California.
(Timothy Norris/WireImage via Getty Images)
West has burned many bridges in music since 2016, when after a troubling rant onstage at a Sacramento concert, he was hospitalized for mental health reasons and canceled his tour. Most fans and industry figures sympathized with his mental health challenges and were ready to support him again, even as he later met Donald Trump in the White House.
Some promoters took a chance on him, and got burned.
In 2022, the production company Phantom Labs, which helped build the Coliseum concert with Drake, sued West, claiming they were owed “$7 million by Kanye in outstanding fees for work on various projects over the past year.” West’s last-minute Coachella cancellation in April of 2022 left the fest scrambling for a replacement headliner (they ended up booking Swedish House Mafia and The Weeknd). West was slated to headline Rolling Loud’s flagship Miami festival in July 2022, but reneged five days before showtime. He was replaced by Kid Cudi, who was heckled offstage by fans angry West wasn’t performing.
At the time, Rolling Loud’s Tariq Cherif told the Times that “we’d never had a headliner pull out until Kanye did, and we don’t take that lightly. The platform we built deserves respect, and we didn’t like it.”
West’s conduct grew more troubling. He wore a “White Lives Matter” t-shirt at Paris Fashion Week, and dined with Trump and the white supremacist Nick Fuentes, who worked on Ye’s ill-fated presidential campaign. That rattled his business partners, concert bookers and talent agencies, who cut ties under public pressure.
Rolling Loud’s gamble that West can still draw crowds will be a test of his viability as a touring act. The fest-opening set will be open to Rolling Loud fans who already purchased passes to see Nicki Minaj, Post Malone and Future, with a limited number of single-day passes just for West and Ty Dolla Sign’s set.
“If Kanye impresses fans with his performance at Rolling Loud, then he has a real shot at booking future festival dates and one-off concerts this summer,” Brooks said. “That’s what I would expect coming out of a really strong showing at Hollywood Park – five to eight festival dates through the end of the year, but I don’t think a tour in 2024 is realistic at this point.”
Kanye West performs during Puff Daddy and Bad Boy Family Reunion Tour at Madison Square Garden on September 4, 2016 in New York City.
(Dimitrios Kambouris)
West previously complained in a February Instagram post that “when I call, people say there’s no [open dates] for me, and you know why that is.” His booker, Cara Lewis, was West’s agent at WME and CAA during the peak of his commercial career, when he was one of the most ambitious live performers in the world. His listening events for “Vultures 1,” like one last month at Chicago’s United Center, still pulled big crowds. Billboard estimated that his five listening party events for “Vultures 1” grossed $12 million.
“Many people – both fans and executives inside of the music industry – are struggling to make sense of Kanye’s return in light of all the antisemitic and terrible things he has said or written on social media,” Brooks said. “But there is clearly still a big market for Kanye and people willing to work with him. Some members of Kanye’s own inner circle are Jewish, and I assume that those individuals aren’t just motivated by money, but care about him and want to help. “
That troubles Ruttenberg. “This fest’s organizers can count themselves as responsible for giving him this platform,” she said. “It’s extremely unhelpful to say the least. This fest has basically said Jews, which include Jews of color, are not welcome. The other performers have some hard questions to contend with now.”
The Times reached out to several top artists at Rolling Loud, including the Jewish rapper BLP Kosher and Nicki Minaj, who denied West clearance of a 2020 verse for use on “Vultures 1,” about sharing a bill with West. All declined to comment or did not respond.
One could draw some parallels to West’s frequent collaborator Travis Scott. After 2021’s Astroworld disaster, where ten fans were crushed to death as Scott performed, Scott took a year off from performing and donated to affected families. He was not criminally charged, though many lawsuits remain. He later returned to headlining stadiums and major festivals without incident.
To judge by comments on Rolling Loud’s social media, many fans seem excited – or at least neutral – about West’s comeback performance, which will be a major event in hip-hop no matter what happens onstage. “As for the fans who support him, I assume they have either forgiven Kanye for his past comments,” Brooks said, “or they simply don’t care or in some cases, sadly, agree with Kanye.”
Longtime fans like Hogue are mulling those hard questions too, as they decide whether or not to attend Rolling Loud.
“Rolling Loud probably wanted to add value to their lineup and their number one priority is selling tickets, but it does make me raise an eyebrow,” Hogue said. “If you have a platform like this, you do have some duty to be moral.”
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Is This Thing On?
Cinematic stories of disintegrating marriages are fairly commonplace—and often depressing emotional endurance tests, besides—so it’s interesting to see co-writer/director Bradley Cooper take this variation on the theme in a fresher direction. The unhappy couple in this place is Alex and Tess Novak (Will Arnett and Laura Dern), who decide matter-of-factly to separate. Then Alex impulsively decides to get up on stage at an open-mic comedy night, and starts turning their relationship issues into material. The premise would seem to suggest an uneven balance towards Alex’s perspective, but the script is just as interested in Tess—a former Olympic-level volleyball player who retired to focus on motherhood—searching for her own purpose. And the narrative takes a provocative twist when their individual sparks of renewed happiness lead them towards something resembling an affair with their own spouse. The screenplay faces a challenge common to movies about comedians in that Alex’s material, even once he’s supposed to be actively working on it, isn’t particularly good, and Cooper isn’t particularly restrained in his own supporting performance as the comic-relief buddy character (who is called “Balls,” if that provides any hints). Yet the two lead performances are terrific—particularly Dern, who nails complex facial expressions upon her first encounter with Alex’s act—as Cooper and company turn this narrative into an exploration of how it can seem that you’ve fallen out of love with your partner, when what you’ve really fallen out of love with is the rest of your life. Available Jan. 9 in theaters. (R)
JANUARY SPECIAL SCREENINGS
KRCL’s Music Meets Movies: Dig! XX @ Brewvies: As part of a farewell to Sundance, Brewvies/KRCL’s regular Music Meets Movies series presents the extended 20th anniversary edition of the 2004 Sundance documentary about the rivalry between the Dandy Warhols and Brian Jonestown Massacre as they chart different music-biz paths. The screening takes place at Brewvies (677 S. 200 West) on Jan. 8 @ 7:30 p.m., $10 at the door or 2-for-1 with KRCL shirt. brewvies.com
Trent Harris weekend @ SLFS: Utah’s own Trent Harris has charted a singular course as an independent filmmaker, and you can catch two of his most (in)famous works at Salt Lake Film Society. In 1991’s Rubin & Ed, two mismatched souls—one an eccentric, isolated young man (Crispin Glover), the other a middle-aged financial scammer—wind up on a comedic road trip through the Utah desert; 1995’s Plan 10 from Outer Space turns Mormon theology into a crazy science-fiction parody. Get a double dose of uncut Trent Harris weirdness on Friday, Jan. 9, with Rubin & Ed at 7 p.m. and Plan 10 from Outer Space at 9 p.m. Tickets are $13.75 for each screening. slfs.org
Rob Reiner retrospective @ Brewvies Sunday Brunch: Last month’s tragic passing of actor/director Rob Reiner reminded people of his extraordinary work, particularly his first handful of features. Brewvies’ regular “Sunday Brunch” series showcases three of these films this month with This Is Spinal Tap (Jan. 11), The Princess Bride (Jan. 18) and Stand By Me (Jan. 25). All screenings are free with no reservations, on a first-come first-served basis, at noon each day. brewvies.com
David Lynch retrospective @ SLFS: It’s been a year since the passing of groundbreaking artist David Lynch, and Salt Lake Film Society’s Broadway Centre Cinemas marks the occasion with some of his greatest filmed work. In addition to theatrical features Eraserhead (Jan. 11), Inland Empire (Jan. 11), Mulholland Dr. (Jan. 12), Twin Peaks: Fire Walk With Me (Jan. 14), Blue Velvet (Jan. 19) and Lost Highway (Jan. 19), you can experience the entirety of 2017’s Twin Peaks: The Return on the big screen in two-episode blocs Jan. 16 – 18. The programming also includes the 2016 documentary David Lynch: The Art Life. slfs.org
Death by Numbers @ Utah Film Center: Directed by Kim A. Snyder (the 2025 Sundance feature documentary The Librarians), this 2024 Oscar-nominated documentary short focuses on Sam Fuentes, survivor of a school shooting who attempts to process her experience through poetry. This special screening features a live Q&A with Terri Gilfillan and Nancy Farrar-Halden of Gun Violence Prevention Center of Utah, with Zoom participation by Sam Fuentes. The screening on Wednesday, Jan. 14 at 7 p.m. at Utah Film Center (375 W. 400 North) is free with registration at the website.
Just down the street from Roc Nation, SiriusXM and Sony Music, Spotify is joining Hollywood’s Sycamore media district with a brand-new podcast studio facility.
The new, invitation-only space will be the company’s second studio location in Los Angeles and will cater mostly to video podcasts.
When Spotify moved into its campus in the Arts District in 2021, podcasting was primarily an audio experience, and the DTLA studios reflected that. But as the listening format began to evolve into a visual one, Roman Wasenmüller, Spotify’s vice president of podcast and video, said the company needed to revamp and expand its facilities to meet the growing demand.
The Arts District studios will remain open and focus on audio content while the new Hollywood location will provide a “video-first environment.” The nearly 11,000-square-foot space includes five different studio areas that can accommodate a variety of setups, including cozier interview settings and vast recording spaces for big groups. And unlike other rentable studios around L.A., the space will be staffed by Spotify employees, who can help produce the show.
“It was just clear to us that we need more facilities than we had before, but also at the same time, we just need to figure out what the right setup would be so that we can succeed in this new world of podcasting,” said Wasenmüller.
The Hollywood location will partially function as a homebase for the Ringer, an L.A.-based media brand focused on sports and pop culture. The company was founded by sportswriter Bill Simmons and was bought by Spotify in 2020.
Recently, Spotify announced that several of the Ringer’s video podcasts will start streaming on Netflix in early 2026. Shows like “The Rewatchables,” “Ringer-Verse” and “The Hottest Take” will soon be recorded at the new outpost.
These studios won’t be exclusive to the Ringer. Wasenmüller said the space provides the opportunity for creators of all kinds to host interviews and guests while they are in Los Angeles.
Traveling while podcasting has always been a challenge for Chris Williamson, the host of the self-improvement and philosophy podcast “Modern Wisdom.” The 37-year-old recalls struggling alongside his producer to make filming possible in various Airbnbs and warehouses.
“There’s been a number of times where I’m passing through L.A. and I’ve desperately needed a spot to record with someone. This new space would have been perfect. I would have made a lot of use of it,” said Williamson. “It’s just another indication that [Spotify is] putting their money where the priorities are. If I’m in town, I imagine that I’ll be dropping into [the studios] regularly.”
Williamson is a member of the Spotify Partner Program, which is also seeing a sizable expansion, as the platform continues to invest in the podcasting industry. The monetization program was launched last year, and it allows creators to directly monetize their content on the streaming platform with ads and revenue from video podcasts. Spaces like the new Spotify Sycamore Studios are also available exclusively to members of the Spotify Partner Program. Since its introduction, monthly podcast consumption on the platform has nearly doubled.
As a member of the program since it began, Williamson said he’s seen a significant increase in revenue, adding that he was able to make more than seven figures in 2025, with an average of six figures monthly.
“It was like a human centipede where Spotify paid us to put more video on Spotify, which meant that we got bigger on Spotify and that meant they paid us more money,” said Williamson. “It was this sort of self-reinforcing circuit, and it helped.”
Over the last five years, the company estimates that its investments in the podcast industry have generated more than $10 billion in revenue. There are nearly 7 million podcast titles available for streaming, with some of the company’s most popular shows including Amy Poehler’s “Good Hang” and “The Joe Rogan Experience.” Though Spotify has continued to invest in podcasts, it has not been immune to volatility in the business. The company’s podcast division has previously undergone restructuring, including layoffs, cutting back shows and dissolving previously purchased production companies like Gimlet.
Founded in 2006, Spotify has become the world’s most popular audio streaming subscription service with over 713 million users. The streamer, based in Sweden, is available in more than 180 markets and has a library of over 100 million tracks and 350,000 audiobooks. Spotify shares closed at $571 on Tuesday, down 3.7%.
“Podcasts are now absolutely in main culture. When we started in podcasting, it was a very niche medium,” said Wasenmüller. “But now you look at where it is [today] and podcasting is a main medium across all big platforms like Netflix and YouTube. Even the [Golden] Globes are having a podcast category for the first time. There’s something big happening. To a certain extent, it’s the future of entertainment.”
Movie Reviews
Stream It Or Skip It: ‘The Home’ on Starz, a paranoid thriller where Pete Davidson gets trapped in a creepy retirement home
The Home (now streaming on Starz) pits Pete Davidson against the residents of a creepy retirement community, and it isn’t exactly a Millennials-vs.-Boomers clash for the ages. “Best generation, my f—in’ dick,” our headliner mutters under his breath at one point, and that’s an accurate representation of this quasi-horror movie’s level of articulation. Filmmaker James DeMonaco (director of the first three The Purge movies, writer of all of them) takes a halfway decent idea and turns it into an uninspired, vaguely brownish-colored movie version of the stew you make out of all the leftovers in the fridge, and that you can’t revive with just a little more salt.
THE HOME: STREAM IT OR SKIP IT?
The Gist: Hurricane Greta is about to slam into this community, and this movie would love you to come to the conclusion that it’s the result of the collective might of boomers’ farts after they ate too many Wagyu tenderloins basted in the metaphorical gravies wrung from the pores of younger generations. Maybe that’s why Max (Davidson) is so skinny, but it’s definitely why he’s so P.O.’d. He breaks into a building and expresses his angst via some elaborate graffiti art that gets him arrested – again. His foster father finagles a deal for him to avoid jail time by performing community service at the Green Meadows Retirement Home and that doesn’t seem too bad since he’ll be a janitor and not a nurse on diaper duty. And at this point it’s established that Max has some trauma stemming from his foster brother’s suicide, the type of trauma that’s requisite to pile atop any and all protagonists of crappo horror movies at this point in the 21st century.
It’s worth noting that Green Meadows is a halfway-decent retirement community – not as posh as the one in The Thursday Murder Club, and not as repugnant as you might expect for a low-rung horror flick. BUT. There’s always a BUT. He arrives at the home and looks up and sees peering out a window the face of a gaunt old man with eyes that ain’t quite right. I’m sure it’s nothing! Management gives him the nickel tour, and gives him the first rule of The Friday the 13th Murder Club: DON’T GO ON THE FOURTH FLOOR. And yes, that’s also the second rule of The Friday the 13th Murder Club. Max will stay in a room at the home so he can be available 24/7 in case the job requires a 2 a.m. mop-up, and also so he can have lucid dreams that may or may not actually be dreams about weird shit happening around these here parts.
But everything goes fine and Max quietly manages his trauma and nothing incredibly gross and/or violent happens and he lives happily ever after the end. No! Actually, he catches a glimpse of old people in bizarre masks having miserable sex, and hears horrible screams of agony coming from, yes, the fourth floor. Max seems to be getting along OK, and even makes a couple of friends, like Lou (John Glover), who summons Max to clean up a big mess of feces when it’s actually a little welcome party for the new super. Ha! Max also has conversations about Real Stuff with Norma (Mary Beth Peil), both sharing the pain of the people they’ve lost. Eventually the fourth floor misery noises get to be too much and Max picks the lock and investigates, and it’s full of wheelchair-bound elderlies in states of drooling, semi-comatose madness. After Max gets his hand slapped for violating the first/second rule, that’s when the bullshit ramps up. Let’s just say this bullshit has some Satanic vibes, and poor Norma doesn’t deserve what happens to her, although Max seems ready to do something about all this.
What Movies Will It Remind You Of? The Home is sub-Blumhouse drivel nominally referencing things like Rosemary’s Baby, Eyes Wide Shut, and One Flew Over the Cuckoo’s Nest in order to make it seem smarter than it is. Other recent scary movies set in nursing homes: The Manor, The Rule of Jenny Pen.
Performance Worth Watching: A moment of praise for the makeup and practical effects people, who provide The Home with more memorable elements than any of the cast performances.
Sex And Skin: A bit. Nothing extensive. But definitely unpleasant.
Our Take: In The Home, DeMarco tries a little bit of everything: flashbacks, dream-sequence fakeouts, jump scares, body horror, surveillance-tech POVs, occult gobbledygook, creepy sex, conspiracies, climate change dread, generational divide, paranoia, deepfake-ish dark-web weirdness… it goes on, and none of it is particularly compelling or original. It’s most effective in its grisly imagery, with a couple of memorable deaths that might tickle the cockles of horror connoisseurs, and DeMarco’s generous deployment of pus and eyeball gloop shows a variation on the usual bodily fluids that’s, well, I don’t know if “satisfying” is the right word, but at least we’re not drenched in the same ol’ blood and barf. Small victories, I guess.
Most will take issue with the casting of Davidson, who in the majority of his roles to date has yet to show the intensity that anchoring a thriller like The Home demands. He puts in some diligent effort in the role of the guy who routinely goes what the eff is going on around here?, and his work is a cut above merely cashing a paycheck, which isn’t to say he’s necessarily good. Miscast, maybe. The victim of half-assed writing, more likely, this being a paranoid creepout that never gets under our skin, with attempts at cheeky comedy that fizzle out and social commentary that dead-ends into obviousness. Having Davidson piss and moan about “F—ing boomers” ain’t enough.
The plot works its way through its hodgepodge of this ‘n’ that plot mechanisms to get to a conclusion that’ underwhelming and over the top at the same time; the initial bit of exhilaration quickly dissipates and we’re left with the sense that the movie just hasn’t been good or diligent enough in its storytelling and character development to earn this catharsis. It’s just spectacle for its own gory sake. This mediocrity might just inspire Davidson to retire from horror movies.
Our Call: Hate to say it, but 1.7 decent kills does not a horror movie make. SKIP IT.
John Serba is a freelance film critic from Grand Rapids, Michigan. Werner Herzog hugged him once.
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