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Eminem Curses Out Drew Brees, Raps About COVID-19 & More On Kid Cudi Collab

Kid Cudi is finally releasing new music, dropping his most recent single “The Adventures Of Moon Man & Slim Shady” last night. The track lives up to all the lofty expectations that people placed on it, featuring the two rappers trading verses, with Eminem taking a strategic approach with his bars.

Making a critique on police brutality through his lines about “dirty cops,” trashing the President by calling him a “half-wit,” and saying what needed to be said about wearing a mask in public, Eminem closed out the record in true Slim Shady fashion.

He started by getting clever about cursing out Drew Brees, who previously said that he doesn’t think players should kneel during the National Anthem

Eminem Kid Cudi
Kevin Winter/Getty Images

“Got a lil’ green, but I don’t do weed/Purp nor lean, that’s Tunechi/That’s New Orleans, fuck Drew Brees,” raps the veteran. 

He went on to speak out against those refusing to wear face masks during the pandemic.

“Bunch of half-wits up in office/Half of us walking around like a zombie apocalypse/Other half are just pissed off and/Don’t wanna wear a mask and they’re just scoffing/And that’s how you end up catching the shit off ’em/I just used the same basket as you shopping/Now I’m in a fuckin’ casket from you coughin’,” he added.

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If you haven’t listened to the new track yet, you can catch it below.

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Artist Spotlight

Seun Kuti & Egypt 80 makes a stand for afrobeat against corruption on latest release Na Dem feat. Tom Morello.

Seun Kuti & Egypt 80

Seun Kuti & Egypt 80 deliver a powerful afrobeat statement with “Na Dem,” Featuring Tom Morello and produced by Femi Koleoso. The track has been a fan favourite even before its official release, and comes with the unmistakable spirit of protest, truth-telling, and social accountability that have long characterized Afrobeat’s most impactful moments.

The song’s heart is a direct challenge to corruption and the abuse of power. Instead of singling out one profession or institution for its critique, “Na Dem” identifies a larger culture of dishonesty, targeting bad lawyers, bad doctors, bad politicians, and anyone who would sell their integrity for personal gain. The message is sharp and uncompromising and delivered with the urgency that has become a hallmark of Seun Kuti’s artistry.

The inclusion of Tom Morello adds another level of intensity to the record. His presence adds to the song’s rebellious energy, creating a powerful intersection between the rhythmic activism of Afrobeat and the confrontational edge of rock. The result of the collaboration is a track that is both timeless and of the moment.

The song’s dedication to principle is what rings true. The moral center of the record is Seun’s statement that he would never prostitute his conscience for money. It turns “Na Dem” from a critique into a declaration of personal values, responsibility, and resistance.

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Connect with Seun Kuti & Egypt 80 on Spotify || Instagram || Facebook || Youtube

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Artist Spotlight

Marsha Bartenetti reinvents in her own style “New York Minute”

Marsha Bartenetti

Marsha Bartenetti’s latest release, “New York Minute,” written by Don Henley, Danny Kortchmar, and Jai Winding, offers emotional depth, turning a timeless look at life’s fragility into a reflective, cinematic journey. Stephan Oberhoff’s arrangement perfectly frames Bartenetti’s voice, and Kevin Bate’s expressive cello adds a warm resonance that makes the track feel like a movie.

The way each instrument sounds makes it feel planned, which lets the listener stay in the fleeting moments the song so beautifully describes. Bartenetti’s singing is the best part of the song. She shows an openness that feels real, as if she has lost something and still fully embraces love and presence with complete honesty. Her choice of words and small changes in tone make the lyrics feel even closer.

“New York Minute,” is a new version that pays tribute to the original while showcasing Bartenetti’s own style. The movie-like instruments and heartfelt vocals make the song feel both personal and universal. It makes us think about how hard it is to let go and hold on.

Connect with Marsha Bartenetti on Spotify || Facebook

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