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Eminem Said ‘SNL’s Stan Parody Shocked Him By Being ‘Actually Really Good’

‘He said it so good that he sold every single thing.’ …

Since none of us can leave our houses and most entertainment events have been canceled due to the pandemic, SNL has been an even more important part of our cultural sanity than usual. The show recently pulled off a killer parody of Eminem’s iconic “Stan” — with Pete Davidson rapping his own take on the classic — and apparently, Marshall Mathers himself was quite impressed with it.

Although, at first he was unsure. In an interview with Zane Lowe he said that reading the rap on paper it was unclear how it would play out, but in the end, the sketch came off “actually really good.” “I remember they sent me the lyrics to it and I was reading them on paper and I was like, ‘Oh, I don’t know if this is going to be that good,’” he began. “And then the weight, when he said it, I was like, ‘Holy sh-t.’ He said it so good that he sold every single thing. You can’t… First of all, everybody’s raps look terrible on paper, right? Because you don’t necessarily know unless you’re a rapper yourself. You don’t necessarily know where… Even if you are, you don’t know where they’re going to hit the beat at, what pocket they’re going to choose. Yeah. And he was in a ill pocket. He was like, he was kind of going and he’d go a little faster and then he kind of slowed down so you could catch what he just said the first time you hear it. Yeah. His delivery was for sure really on point because it was not what I expected when I saw it. I was like, ‘Man, this is actually really good.’ The whole thing was great.”

Good enough that Em himself cameoed in the sketch at the very end. Check it out below if you need a refresher.

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Album Review

Jangus Kangus shatters melodic boundaries with her debut album “Fortune Cookie”

Jangus Kangus

Jangus Kangus, the intriguing musical force helmed by Jasmine Sankaran, has just cracked open her most audacious project to date, “Fortune Cookie,” an album that intricately weaves genre fluidity and emotional resonances. This collection of eight tracks serves as both a sonic manifesto and a significant milestone in contemporary indie-pop, characterized by unvarnished lyricism and engaging, jangly hooks.

The album commences with You Only Love Me When,” a seemingly serene acoustic-pop track that establishes the thematic groundwork for a narrative exploration of desires, internal conflicts, and acts of defiance. It poignantly laments love that manifests only through revealed strength, portraying love as a timeless entity, even when entangled with the vices of broken individuals intoxicated by addictive substances. After this introduction, Kangus transitions into the introspective Double Lives,” a shimmering soul-infused piece that methodically dissects the paradoxes inherent in love and the subdued anguish that frequently accompanies the double lives.

Progressing to No Future In This,” the album’s melancholic yet assertive dive into romantic realism presents bold lyrical insights. This sentiment escalates into the heartbreak elegy Our Love Is Dead,” here, rhythmic piano chords evoke a mournful grace that encapsulates the heaviness of lost love, distrust, and betrayal. The track underscores the necessity of relinquishing specific attachments to pivot away from unsafe circumstances, echoing the fortune teller’s chilling proclamation: our love is, indeed, dead. Then comes the wild card Janakita Kirakita,” an intoxicating burst of sonic dynamism and gleeful experimental composition that injects curiosity and electric charm into the auditory tapestry, boldly challenging convention with every note.

Listeners will find Goldilocks particularly captivating; this genre-defying number draws from stylistic influences reminiscent of St. Vincent and The Smiths, skillfully merging nostalgia with contemporary innovation. It conveys an urgent yearning to reclaim lost love during periods of solitude. The penultimate track, Honeymooners in Venice,” narrates a cinematic experience rich in post-modern nuances. Finally, the concluding piece, High Rise,” offers a deep plunge into Sankaran’s introspections, leaving a reverberating and haunting impact.

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Meticulously crafted with the dexterity of a seasoned lyricist and the fervor of a punk priestess, “Fortune Cookie” commands attention as a contemporary coming-of-age narrative rich with lo-fi grit and artistic ambition, all presented through a unique lens.

Featuring an outstanding lineup that highlights the intricate interplay of Steph Anderson on keys and backing vocals, Antonio White on lead guitar, Dan Perdomo on drums, and Ryan Kellis on bass, Jangus Kangus delivers a performance that harmonizes technical proficiency with emotional transcendence. The music constitutes a distinctive addition to diverse playlists, serving as an ideal backdrop for a heartbreak soundtrack or late-night contemplation, thereby ensuring its relevance and recurrence among discerning audiences.

CLICK HERE TO STREAM Jangus Kangus’s Album Fortune Cookie on Spotify.
CONNECT WITH Jangus Kangus | Instagram | Facebook |

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Artist Spotlight

Kayla Marque lights a fire with “Slow Burn”

Kayla Marque

Kayla Marque has returned with a new single, “Slow Burn,” a simmering, soul-passionate affair that holds you well past when the last notes die out. True to her endlessly evolving artistry, Marque serves up something future-facing and thoughtful, stitching together a grunge-adjacent bassline with ethereal melodies and haunting vocal dynamics.

Right from the outset, “Slow Burn” sucks you into its smoky milieu. The measured bassline sounds plucked from the ‘90s alt-rock golden age and dunked in modern, velvety skin. But Marque’s voice brings center stage, fluent, forceful, and emotionally detailed. She doesn’t only sing; she tells stories, whispers, and wails, and her approach lends the music an astonishing contrast between restraint and release.

As the song progresses, there’s something undeniably mesmerizing about how the instrumentation interacts with the vocals. The melodies shimmer like heat off the pavement, entrapping listeners in a hypnotic haze that feels at once intimate and cinematic. Marque displays not only her vocal range but also her emotional depth. Every note feels deliberate, and every word feels lived-in.

What’s so exciting about “Slow Burn” is how it feels like another chapter in a broader story. Kayla Marque has consistently refused to settle into a single groove, and this track demonstrates that she’s continuing to push limits and defy expectations. There’s a rawness here, an audacity that doesn’t plead for attention but commands it regardless. It’s a song that reveals more textures and emotions after every listen. “Slow Burn” is a vibe, a feeling, a statement. It’s another step in Kayla Marque’s evolution as an artist, and if this is what’s to come, we’re in for something special.

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