Taters Gonna Tate. . .But Do Platforms Have to Platform?: Listening to the Manosphere

In March 2025, shortly after returning to the United States from Romania, where he and his brother Tristan had been held under house arrest for two years after being charged with human trafficking, rape, and forming a criminal group to sexually exploit women, the social media influencer and self-described misogynist Andrew Tate’s podcast, Pimping H**s Degree was removed from Spotify for violating that platform’s policies.
According to the technology media outlet 404 Media, which first reported the news, some Spotify employees had complained in an internal Slack channel about the availability of Tate’s shows on their platform. “Pretty vile that we’re hosting Andrew Tate’s content,” wrote one. “Happy Women’s History Month, everybody!” wrote another. A change.org petition to call on Spotify to remove harmful Andrew Tate content, meanwhile, received over 150,000 signatures.
When asked for comment by the U.K. Independent, a Spotify spokesperson clarified that they removed the content in question because it violated the company’s policies, not because of any internal employee discussion. These policies state, in part, that content hosted on the platform should not “promote violence, incite hatred, harass, bully, or engage in any other behavior that may place people at risk of serious physical harm or death.”
Still, there is a veritable fire hose of Tate content available on Spotify. A search for the name “Andrew Tate” on the platform yields upwards of 15 feeds (and a music account) associated with the pro kickboxer-turned-self-help guru, many of which seem to be updated on a sporadic basis or not at all. Apple Podcasts, meanwhile, features an equally wide spectrum of shows with titles like Tatecast, Tate Speech, Andrew Tate Motivation, and Tate Talk [Ed. Note: Normally there’d be links to this media–and the author has provided all of his sources, but we at SO! does not want to drive idle traffic to these sites or pingbacks to/from them. If you want to follow Andrew Salvati’s path, all these titles are readily findable with a quick cut-and-paste Google search.–JS]
With so many different feeds out there, wading into the Andrew Tate audio ecosystem can be a bewildering experience. There isn’t just one podcast; there’s a continuous unfolding of feeds populated by short clips of content pulled from other sources.
But this may be the point exactly.

As I learned from this article in the Guardian and these interviews with YouTuber and entrepreneur MrBeast (“MrBeast On Andrew Tate’s MARKETING” and “MrBeast Reveals Andrew Tate’s Strategy”), Tate achieved TikTok virality, in part, by encouraging fans to share clips of video podcast interviews – rather than the whole interview itself – on the platform.
“Now is the best time to do podcasts than ever before,” MrBeast said in one interview. “Now it’s like the clips are re-uploaded for months on months. It gets so many views outside of the actual podcast … I would call it the ‘Tate Model’ … Like I think if you’re an influencer, you should go on like a couple dozen podcasts. You should clip all the best parts and just put it on a folder and just give it to your fans. Like literally promote you for free.” Though it can be hard to tell exactly who uploaded a podcast to Spotify, it seems that something like this is happening on the platform – that fans of Tate are sharing their favorite clips of his interviews and monologues pulled from other sources.
In its “About” section, for instance, a Spotify feed called Andrew Tate Motivational Speech declares that “this is a mix of the most powerful motivational speeches I’ve found from Andrew Tate. He’s a 4 time [sic] kickboxing world champion and he’s been having a big impact on social media.” In another Spotify feed called Tate Therapy, posters are careful to note that they “do not represent Mr. Tate in any way. We simply love his message. So we put together some of his best speeches.”
Given that Spotify is increasingly a social media platform, rather than simply an audio streaming service–users can collaborate on playlists and see what their friends are listening to–it follows that this practice of clipping and sharing Tate content may potentially expand the influencer’s online footprint. It may also serve as insurance against the company’s attempts to remove content or completely deplatform Tate: surely Spotify can’t police all the feeds that it hosts
So, what is it that Andrew Tate is saying – and how is he saying it?

To get a sense of why he has been called the “King of Toxic Masculinity,” and a “divisive social media star,” I had a listen to several of the interviews and monologues posted to Andrew Tate Speech Daily on Apple Podcasts, which, of all of the Andrew Tate audio feeds, is the most consistently updated.
The first thing to take note of is his voice. It’s brisk and aggressive and carefully enunciated – it’s like he’s daring you to take issue with what he, an accomplished and eloquent man, is saying. Above all, listening to Tate feels like being spoken to like an inferior, because that is precisely what he preys on. His accent, moreover – now British, now American – is unique, lending itself to some unusual pronunciations that can be considered as a part of his system of authority and charm.
One of Tate’s main arguments about what ails men today – and it is clear from his mode of address that he assumes he is talking to men exclusively – is that they are trapped in a system of social and economic “slavery” that he unimaginatively calls “The Matrix” after the film series of the same name. Though he is somewhat vague in his descriptions, in the podcast episode “Andrew Tate on The Matrix,” he explains that power, as it actually exists in the world, is held by elites who rely on systems of representation (language, texts) to effect their will. These systems of representation, however, are prone to abuse because they are ultimately subject to human fallibility. Tangible assets, like wealth, he reasons, are susceptible to control by “The Matrix,” as they can be taken away arbitrarily by the redefinition of decisions and the printing/signing of documents. His example, though it is a little hard to follow, is that if someone says something that the government doesn’t like, a judge can simply order that their house be taken away. Instead, Tate argues that individuals can escape “The Matrix” by building intangible assets (here, he gives no examples), which cannot be taken away by elites and their bureaucracy. It is a difficult path, he cautions (and here, he sounds sympathetic), and one that not everyone has the discipline to endure.

Tate gets a little more specific in the episode “Andrew Tate on The Global Awakening. The Modern Slave System,” in which he asserts that elites are using the system of fiat currency – a term that cryptocurrency supporters like to use to disparage government-issued currencies – to keep individuals “enslaved.” In this modern version of enslavement, he explains, individuals are forced to work for currency, but, since fiat currency is subject to inflation and other forms of manipulation, only end up making the bare amount they need to survive. The result, he argues, is a system in which the rich get richer and the poor get poorer (of course this ignores the real possibility of shitcoin and other crypto manipulation schemes). It’s quite a populist message for a guy who is famous for his luxurious lifestyle. Still, his message here is consistent: with the proper amount of discipline, a willingness to speak truth to power, and faith in God (he converted to Islam in October 2023) will result in an awakening of consciousness that will finally end the stranglehold that elites have on power – will finally break “The Matrix.”
On the other hand, Tate deems women incapable of the discipline required to break out of “The Matrix” – he seems to think that they are too materialistic, too distractible, too enamored of the chains that elites use to bind individuals to the system to see beyond them (see “Andrew Tate on ‘Fun’”). In his view, women are better off at home bearing children or fulfilling male sexual desires. (In an apparent demonstration of male dominance, Tate’s “girlfriends” often appear in the background of his videos cleaning house).
For his part, Tate claims that his own legal troubles, and his own vilification in the press, are part of a coordinated campaign of persecution against him for exposing the way that the world really works (see, for example, “Andrew Tate: Survival, Power, and the System Exposed”). From this vantage, Tate seems to be acting as what the ancient Greeks called a parrhesiastes, someone who, as Michel Foucault writes, not only sees it as his duty to speak the truth, but takes a risk in doing so, since what he says is opposed by the majority. Indeed, often congratulating himself on his bravery in the face of “The Matrix,” Tate has suggested that his role as a truth teller might get him sent to jail (“Andrew Tate on the Common Man”), or worse (“Survival, Power, and the System Exposed.”) In such moments, he plays the martyr, adopting a quiet, yet defiant voice.

Aside from the aspirational lifestyle he purveys – the fast cars, the money, the women, the flashy clothes, the jets, the mansions, the cigars, and the six pack – it seems to me that this parrhesia is a key part of what makes Tate popular among men and boys (as of February 2025, he had over 10 million followers on X [formerly Twitter]). What he reveals to them, though it is often muddled, is the way in which elites maintain social control under advanced capitalism. It’s all rather Gramscian in the sense that it is concerned with the hegemony of a dominant class, though, ironically, Tate seems too much of a capitalist himself to engage in Marxian social critique. Instead of offering a politics of class solidarity, Tate merely rehearses familiar neoliberal scripts about pulling oneself up by the bootstraps (see “You Must Constantly Build Yourself”), getting disciplined, going to the gym, developing skills, and starting a business. For Tate, life is a competition, a war, though most men don’t realize it.
And I think this is the key to understanding Tate’s parrhesia – it’s not only that he is speaking truth to power in his criticism of “The Matrix”; he also sees himself as speaking an uncomfortable truth to his listeners, truths that they might not be ready to hear. As in the movie, The Matrix, he says in “Andrew Tate on the Global Awakening,” some minds are not ready to have the true nature of reality revealed to them. In his perorations, therefore, Tate often takes a sharp and combative tone, accusing his listeners of being guilty of complacency and complicity in the face of “The Matrix.”
“If I were to explain to you right here, right now, in a compendious and concise way, most of you wouldn’t understand,” he says in “Andrew Tate on The Matrix.” “And those of you who do understand will not be prepared to do the work it takes to then actually genuinely escape. But those of you who are truly unhappy inside of your hearts, those of you who understand there’s something more to life, there’s a different level of reality you’ve yet to experience … But if your mind is ready to be free, if you’re ready to truly understand how the world operates and become a person who is difficult to kill, hard to damage, and escape The Matrix truly, once and for all, then I am willing to teach you.”

For those persuaded by this line of thinking, or who are otherwise made to feel guilty about their complicity in “The Matrix,” Tate offers a special “Real World” course at $49 per month, which teaches students how they can leverage AI and e-commerce tools to earn their own money and finally be free.
And that’s really what it’s all about – all the social media influencing, all the clip sharing, all the obnoxious antics, and deliberately controversial statements – they are all calculated to raise his public profile (good or bad) so that he can sell the online courses that have made him and his brother Tristan fabulously wealthy.
It is for this reason that I don’t think that Spotify’s deplatforming of one of Tate’s shows will ultimately do anything meaningful to stem his popularity. If anything, the added controversy will likely confirm to his fans that he has been right all along – that the elites who are in control of “The Matrix” are so threatened by the truth that he tells about the world and about women that they will first deplatform him and then send him to jail.
No, we will only rid ourselves of Tate when he becomes irrelevant. This may happen if he ends up going to prison in Romania or in the UK (where he also faces charges of rape and human trafficking). But even then, there are many vying to take his place.
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Featured Image: Close-up and remixed image of Andrew Tate’s mouth and arm, Image by Heute, CC BY 4.0
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Andrew J. Salvati is an adjunct professor in the Media and Communications program at Drew University, where he teaches courses on podcasting and television studies. His research interests include media and cultural memory, television history, and mediated masculinity. He is the co-founder and occasional co-host of Inside the Box: The TV History Podcast, and Drew Archives in 10.
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This post also benefitted from the review of Spring 2025 Sounding Out! interns Sean Broder and Alex Calovi. Thank you!
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REWIND! . . .If you liked this post, you may also dig:
Robin Williams and the Shazbot Over the First Podcast–Andrew Salvati
“I am Thinking Of Your Voice”: Gender, Audio Compression, and a Cyberfeminist Theory of Oppression: Robin James
DIY Histories: Podcasting the Past: Andrew Salvati
Listening to MAGA Politics within US/Mexico’s Lucha Libre –Esther Díaz Martín and Rebeca Rivas
Gendered Sonic Violence, from the Waiting Room to the Locker Room–Rebecca Lentjes
Listening to MAGA Politics within US/Mexico’s Lucha Libre


This series listens to the political, gendered, queer(ed), racial engagements and class entanglements involved in proclaiming out loud: La-TIN-x. ChI-ca-NA. La-TI-ne. ChI-ca-n-@. Xi-can-x. Funded by an Andrew W. Mellon Foundation as part of the Crossing Latinidades Humanities Research Initiative, the Latinx Sound Cultures Studies Working Group critically considers the role of sound and listening in our formation as political subjects. Through both a comparative and cross-regional lens, we invite Latinx Sound Scholars to join us as we dialogue about our place within the larger fields of Chicanx/Latinx Studies and Sound Studies. We are delighted to publish our initial musings with Sounding Out!, a forum that has long prioritized sound from a queered, racial, working-class and “always-from-below” epistemological standpoint. —Ed. Dolores Inés Casillas
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This post is co -authored by Esther Díaz Martín and Rebeca Rivas
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“Lucharaaaaaán a dos a tres caídas sin limite de tiempoooo!“
[“They will fight two out of three falls, with no time limit!”]
Announcer at Lucha Libre, El Paso, Texas
“This ain’t no sideshow.”
George Lipsitz on the role of popular culture
The announcer’s piercing “lucharaaaaaán” cries from the middle of the ring proclaims the constitutional two-out-of-three-falls rule of lucha libre. But before the famous cry rings out to set the stage for the spectacularized acrobatic combat between costumed warriors, their theatrical entrances set the all-important emotional stakes of the battle. The entrances are loud, campy, interactive exchanges between luchadores and spectators. An entrance song itself cues the luchador’s persona: a cumbia could signal a técnico (a good guy); a heavy metal song more than likely indicates a rudo (a bad guy) typically donning black, death-themed getups. Luchadores saunter into the arena, stopping to pose, high five their fans, and verbally heckle their opponents. The storylines of good versus evil, betrayal and revenge, or humility versus arrogance are some of the more standard plots that motivate spectators to adamantly cheer for the favorite and jeer for the foe.
The sonic exchanges between luchadores’ and spectators before, during, and after the fight positions lucha libre as much more than a sport. And while the term spectators, suggests the privileged act of watching or viewing; here, we expand spectators within lucha libre arena to mean “a call to witness” (á la Chela Sandoval). Put simply, lucha libre is a cultural phenomenon where contemporary cultural, social, and political anxieties are often tapped as fodder for theatrical plots. In the U.S./Mexico’s sister cities of El Paso, Texas and Ciudad Juarez, Chihuahua, the political realities of border enforcement, immigration politics, and racial tensions are loudly heard and placed on display. As part of Rebeca Riva’s ongoing research about the history of lucha libre at the border—which too often gets skipped over for Mexico City as the epicenter of the sport—we listen for the exchanges between luchadores and spectators as resonant participants in the ritual of this sport. Specifically, we tune into lucha libre and its accompanying mega-spectacle to analyze how fans scoff at lucha libre’s MAGA-spectacles. In Time Passages, George Lipsitz (2001) reminded scholars of popular culture decades ago that “this ain’t no sideshow.” In a similar vein, lucha libre directly engages in the larger social and political arena that contextualizes the sport.
In lucha libre, spectators are resonant participants in the construction of an essential “hi-fi” sonic ambiente. Like in football, as Kaj Ahisved notes, the “noise of the crowd” (building on Les Back’s concept) are essential to a “hi-fi” sound where a high degree of information exchange occurs between listeners and the sound environment.Or, as David Hendy describes Olympic arenas, “cauldrons of concentrated sound, [where] the roar of the spectators took on a collective force of its own – a volatile quality rich with cultural and political repercussions.” The crowd’s response, experienced by athletes as ambient noise, bolsters athlete’s spirits and develops an emotional plot for the contest. In certain cases, for instance in Algeria as Stephen Wilford documents, it is a venue for social critique; football stadiums served as “safe zones” where fans could dissent the Abdelaziz Bouteflika dictatorship through chanting political slogans and songs as an anonymous crowd (139).
By listening to lucha libre, we gain a deeper understanding of the embodied components of fan activism, collective identity, and political action. Visual spectacle, bodily gestures, and musical choices, coupled with verbal taunts and visceral grunts serve as interactive storytelling tools. Yet, the crowd’s noise and, importantly, the sonic memories evoked by visual parafenalia amplify a shared political consciousness and prompts the expression of their allegiance with and opposition to the symbolic representations staged.

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The following audio was captured in November 2023 at a parking lot across from El Paso City Hall during a children’s fundraiser. We hear Chris Watson, a previous college wrestler from Oklahoma, make his debut appearance in lucha libre as a white supremacist character. Wearing a clichéd U.S. flag-themed bandana and waving a Trump 2024 campaign flag, he points towards the crowd and makes swimming motions with his arms to communicate the pejorative “wetback.”
Aligning these symbols of MAGA ideologies with Watson’s role as a rudo in the match positions him as a willing vessel for the scorn of the mostly Mexican American spectators. His red-white-and-blue echoes Trump’s xenophobic statements burned into Latinx consciousness: “they’re all rapists,” “bad hombres,” from “shithole countries” as well as renewed promises to “build a great wall… and Mexico will pay” and enact the largest deportation effort in U.S. history since Eisenhower’s “Operation Wetback.”
The reactions from spectators are visceral and cathartic, eliciting camaraderie, anger, or empowerment. They retaliate strongly: “Fuck you! Fuck Donald Trump!”‘ and “Fuera!”, a seemingly hateful exchange interjected with cheering and laughter. Spectators are amused by the insults and retaliations. Watson’s staged “gimmick” prompts spectators to playfully rage against the violence he embodies. Their taunting in Spanish represents both resistance as cultural pride and insider knowledge. The joke is on Watson, who (presumably) does not understand the double entendres hurled at him.
A MAGA luchador evokes the memory of violence carried out against Mexicans and African Americans in Texas since at least the mid 1800s by white enslavers, colonial settlers, Texas Rangers, border patrol, and the modern police force. White supremacist violence is not mere political rhetoric but an ongoing contemporary reality. On August 3rd, 2019 a white man motivated by the “Great Replacement” theory popular in MAGA circles, drove 9 hours from his home in Allen, Texas to a Walmart in El Paso, a majority Latino city, to carry out a mass shooting with the intent of discouraging immigration. He killed 23 people and left 22 injured. Listening and yelling at Watson and his MAGA symbols at the US/Mexico border vocalizes the cultural, political and humanitarian crisis propelled by neoliberalism, the militarized police, and the exploitation of White supremacist sentiments by a wannabe fascist dictator.

Watson comes from a line of “gringo” white supremacist luchadores such as Sam Adonis (Sam Polinsky) who sprays himself orange and waves a US flag stamped with a Trump portrait. El Migra (Gonzalo Garcia), a U.S.-born Mexican American border enforcer performed during the Bush/Clinton era, who threw tortillas while taunting “traguense estas tortillas frijoleros nopaleros” (“choke on these you cactus-eating beaners”) and growled the U.S. national anthem into the mic. Spectators jeered and threw their drink cups at him; an opportunity to retort white supremacist rhetoric.
In another instance from the 1990s, a major showdown between Love Machine (a gringo wrestler turned técnico) and Blue Panther (a tejana wearing feline-themed rudo) the crowd favor turned against the yankee when his neck-breaking illegal move prompted fans to reconsider their alliances in the context of massive Mexican emigration prompted by the devastating yoke of the country’s debt to the IMF and subsequent neoliberal economic reforms. Love Machine’s fake benevolence would seem to embody U.S. gleeful exploitation of Mexico’s expatriated campesinos while simultaneously introducing legislation to further marginalize them.

Unlike Karen Yamashita‘s staging of SUPERNAFTA vs. El Gran Mojado in her 1997 novel Tropic of Orange, or the masked Chicano poetry of the Rudo Revolutionary Front, MAGA-spectacles within lucha libre are not intentionally staged to politicize the public but tap into the raw political nerve of the moment. They allow fans to emotionally resolve social and political anxieties when excoriating the “bad guy,” be it an anti-social character or the symbols of the oppressor, even if only for dos de tres caidas.
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Featured image by Flickr User C-Monster, taken in Ontario, CA (2017) CC BY-NC 2.0
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Esther Díaz Martín is an assistant professor of Latin American and Latino Studies and Gender and Women’s Studies at the University of Illinois Chicago. Her book, Latina Radiophonic Feminisms: Sounding Gender Politics into the Digital Age, (forthcoming UT Press, Spring 2025) theorizes Chicana feminist listening attending to the political work of Latina voices in contemporary sound media.
Rebeca Rivas is a graphic artist and doctoral student in History at the University of Texas at El Paso. Her research examines the lucha libre and community building in El Paso, Texas and Ciudad Juárez, Chihuahua. She is currently conducting an extensive oral history and archival project documenting this spectacular sport at the border.
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REWIND!…If you liked this post, you may also dig:
Xicanacimiento, Life-giving Sonics of Critical Consciousness—Esther Díaz Martín and Kristian E. Vasquez
Ronca Realness: Voices that Sound the Sucia Body—Cloe Gentile Reyes
Echoes in Transit: Loudly Waiting at the Paso del Norte Border Region—José Manuel Flores & Dolores Inés Casillas


















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