State Champ Radio News
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06/10/2025
Don Mischer, whose credits include the legendary program where Michael Jackson first unveiled the moonwalk, is being honored posthumously.
06/10/2025
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Eminem allegedly once wanted Mariah Carey to play his mom in the movie 8 Mile.
The story comes from music producer Damizza, who worked closely with Mariah and also held major roles in Hip-Hop. Speaking on the TFU Podcast, Damizza revealed that Eminem specifically asked to meet with Mariah to offer her the role. At first, Damizza didn’t want to get involved, saying, “I’m not getting in the middle of that. I know how this ends.”
At the time, Mariah turned down the meeting until she found out it was about a film. When they finally sat down, Eminem got straight to the point: “I want you to play my mother.” Damizza said Mariah was caught off guard, and she instantly was not feeling the idea.
What made this even more awkward? There were long-standing rumors that Eminem and Mariah had a brief relationship back in 2001. Eminem has talked about it publicly, but Mariah has always denied it. Their back-and-forth hit a peak in 2009 when Mariah dropped “Obsessed”, which many believed was aimed at Em. He fired back with “The Warning”, a brutal diss track that laid everything out.
In the end, Mariah turned down the role, but the fact that Eminem even asked her is wild.
Eminem’s movie 8 Mile came out in 2002 and ended up being a huge hit. It made a ton of money, over $240 million, even though it didn’t cost that much to make. The film was kind of based on his real life, and people were impressed with how real and emotional his acting was. The story about a guy trying to make it in rap really connected with a lot of people. The song “Lose Yourself” from the movie blew up and even won an Oscar.
8 Mile helped prove Eminem wasn’t just a rapper, he could act and tell powerful stories too.
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“You have to kiss a lot of frogs before you find your prince.”
Suffering through bad relationships to finally find the ideal romantic partner is a universal story that’s understood by men and women of every age, and of every generation. It’s at the heart of most Hallmark movies and a number of fairytales. And it’s a go-to subject for plenty of hit songs, including Rascal Flatts’ “Bless The Broken Road,” Foreigner’s “Waiting for a Girl Like You,” Garth Brooks’ “Unanswered Prayers” and Johnny Lee’s “Lookin’ for Love.”
It’s appropriate that when LOCASH strode down that same thematic lane, it took years for “Wrong Hearts” to find its right moment.
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“I always believe songs are on journeys, and they have their own timing,” LOCASH’s Preston Brust says. “And so here we are.”
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“Wrong Hearts” was created when the whole of society was (im)patiently waiting to move forward. They penned it in 2020, when the pandemic had forced musicians off the road. LOCASH was writing via Zoom nearly every day, and on this particular occasion, they connected on computer screens with Josh Thompson (“Drowns the Whiskey,” “One Margarita”) and Matt Dragstrem (“Mamaw’s House,” “What My World Spins Around”), who checked in from his third-floor writing room on Music Row. Either Dragstrem or Thompson had the “Wrong Hearts” title, but all four related to its inherent message.
“I been married 15 years,” LOCASH’s Chris Lucas notes. “Trust me, there was a lot of broken jukeboxes that didn’t play. There’s a lot of neon lights that flickered. You know, there’s all kinds of stuff we went through to get to where we’re at.”
The trick was to make that sentiment work for LOCASH’s rough-cut vocal sound.
“Josh was playing this vibe, almost like a ‘50s, ‘60s vibe – retro, but at the same time, cool again,” Lucas recalls. “We just started writing it, with a kind of ‘God Bless the Broken Road’ vibe, but a little edgier.”From the start, Dragstrem built a musical track to work from, centered around a strummed guitar part that held an Eagles/Poco sort of country-rock attitude. They dug straight into the chorus, setting their intent with the first lines: “All the wrong hearts/ All the wrong bars.”
“We’re chorus writers,” Brust says. “If that hook doesn’t feel really good, then we’re probably not even gonna chase a verse.”
They recounted empty whiskey glass and bad barroom choices, using short, breezy phrases. But midway through the chorus, they changed the phrasing and the melody, as the text got even darker.
“At that time, post-choruses were really in, so I think we thought of [that section] as a post-chorus,” Dragstrem says. “Then the more we were writing it, we were like, ‘Oh, this kind of feels like just a part of the chorus.’ Doing that front half of the chorus again might get a little old, so I remember I was trying to play with a different back half that kind of wrapped it nicely in a bow. I love the front half of the chorus, but I wanted that melody to be really special and be interesting every time you hear it.”
The back half started on “that highway to hell” – not intended as a nod to AC/DC, though they knew people would make that connection. That highway “led straight to your arms,” cruising into a new emotional light that carried through to a reprise of the “Wrong Hearts” hook at the chorus’ end.
With that section complete, they turned to the verses, using the opening stanza to recap the lonely prior wilderness. “Wastin’ my time,” “gettin’ used to the rain” – they used a conversational tone while recasting that period as drudgery. Then, the singer’s dream girl walks in “outta that neon blue” – it’s easy to picture her silhouetted in cigarette smoke with a Bud Light sign glowing behind her.
“That’s always the challenge for songwriters: to find new ways to say ‘the bar’ without saying ‘the bar,’” Dragstrem notes.
In verse two, the singer recognizes the former relationships were always doomed to fail, and he revels in the time he’s spending with his partner now “under midnight stars.” It was a mere coincidence that they’d placed a light source – the “neon blue” and the “midnight stars” – in each verse, though it fit “Wrong Hearts” well.
“There’s light at the end of the tunnel,” Lucas says. “Sometimes you can’t see it when you’re younger and you’re still trying to find love.”
To finish, they crafted a bridge that pulled the bar and the relationship together, raising a drink to their romance. They would also “raise one to…” – then comes the final chorus – “All the wrong hearts.” By celebrating those former romances, they framed the failed past as necessary for the victorious present.Dragstrem completed the instrumental part of the demo on his own, adhering to the country-rock motif, and Thompson sang the vocal for that version. LOCASH was enthusiastic about “Wrong Hearts,” but their label relationship at the time was, it turned out, nearing its end. They had two more singles, then moved on, eventually starting their own Galaxy Music Group.
As they worked on their first Galaxy album, LOCASH pulled “Wrong Hearts” off the pile and asked producer Jacob Rice (Jon Langston, Kidd G) to record the instrumental bed. Rice was up for the assignment.
“The way the melody sat over the chord progression was very cool to me,” he says.
He cut it at Saxman Studios around the end of 2023 with drummer Grady Saxman, bassist Devin Malone, guitarists Nathan Keeterle and Dave Flint, and steel guitarist Andy Ellison. Rice encouraged them to follow Dragstrem’s country-rock lead, with a specific alteration.
“One of the main things I told everybody in there was, ‘I don’t want this to be too light,’” Rice remembers.
“I wanted it to have a little bit of a toughness to it, a little bit of a masculine thing to it. The demo had a beachy kind of lighter vibe, I’d say, because it had nylon guitar [strings] going on, and it kind of leaned itself a little bit more [Kenny] Chesney, when Chesney was kind of doing his beach thing.”
If listeners dig deep, they’ll hear Ellison playing steel lines with elongated notes mid-chorus, handling a supporting role that would typically belong to a string section. Keeterle used a tremolo effect to apply a bubbly sound in the bridge, and Saxman slipped a maraca-sounding shaker into a quiet space before the chorus.
“That’s all musicianship,” Rice says. “A lot of that came from those guys just playing off each other.”LOCASH cut its vocals at a later date, working out their parts in the studio. Lucas took the primary lead on the chorus, while Brust dominated the verses. And before it was all over, Brust developed a bonus post-chorus that had the guys singing a background counter melody.
As previous single “Hometown Home” wound its way to No. 1 on Billboard‘s Country Airplay chart, a major programmer suggested “Wrong Hearts” was the obvious follow-up. They researched it through multiple avenues, and the feedback supported that advice. Galaxy released “Wrong Hearts” to country radio via PlayMPE on May 2. Interestingly, that phrase at the end of the bridge – “raise one to” – is being heard by some listeners as “raise one, too.” It takes “Wrong Hearts” even further, suggesting the guy is wanting to become a father – making him obvious wife material.
Thus, “Wrong Hearts” is even more utilitarian than they expected. Its journey so far is five years – long by typical standards – but the song has a shot at making a long-awaited connection, mirroring the story embedded in its easy-going melody.
“The right heart has been waiting for you all along,” Brust suggests. “You just got to get there.”
During JPEGMAFIA‘s rambunctious set at this year’s Governor’s Ball, I watched as a young teenager stumbled out of the crowd, caked in sweat and mud. His glasses were fogged up, tilted at an angle across the pointed frame of his nose. He correcte them and looked at me and my friend I brought along for the day.
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“Do NOT go in there,” he exclaimed, his face radiating the sort of joy that made me think he probably wanted me to ignore this warning.
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By “there,” the young teen meant the mosh pit that had inevitably formed in the middle of the audience, a staple of every JPEGMAFIA show. As Peggy’s set continued, I watched as young person after young person entered and exited the crowd in a dusty, sweaty and (in one case) bloody haze, all emanating the same joy. It was as if Peggy’s mosh pit was a sort of exfoliant, revealing a newfound aliveness underneath those daring enough to try it out.
This is the magic of JPEGMAFIA. Growing up, he was a ubiquitous presence in Baltimore’s punk scene, and in turn has constantly toed the line between rap and hardcore. His latest two albums, 2024’s I Lay Down My Life for You and 2023’s Scaring the Hoes with Danny Brown are the closest Peggy’s ever come to completely shattering that genre matrix. Both projects flip from jazz to metal to rap to punk to house to everything else so frenetically it can be nauseating — but like that notorious mosh pit, to embark upon these journeys leaves you fully awake by the end. You realize just how deep the rabbit hole goes in terms of how music can be deconstructed and reconstructed. In the world of JPEGMAFIA, there are no boundaries.
“There’s no f—king rules, especially not in the music industry,” Peggy told me at his trailer just a few hours before his show. He’s sitting in front of a full length mirror, tackling his skincare routine. “Everything is f—king made up. All the contracts say we own you in all universes and then these n—as never been to Mars. They’re just saying s—t. You get me? They’re just saying s—t, I’m just saying s—t.”
I spoke with JPEGMAFIA about the Director’s Cut of his latest album, his haters, his thoughts on the state of rap and how it feels to be labeled an underground rapper while shooting for superstardom.
What inspired you to take a Directors Cut approach to I Lay Down My Life For You?
I looked up the word directors cut after I saw that Justice League, whatever, Snyder Directors Cut s—t, and I was like s—t, we need a directors cut in music. Because I do direct all these albums. I produce them, I mix them, all that s—t. So I was like, what can I do other than call it a deluxe? Cause you either do that for some old s—t or it’s just being lazy. So the deluxe or the directors cut for me was I just put the original album out. Cause I cut the fat off of it, so I put the original one back out. I love it and I got inspired from SZA cause she did Lana and she put a whole f—king new album at the front of that b—h and I’m just like, “Oh I didn’t know you could do that.”
Why choose these songs to be on the Directors Cut?
I’ve had ‘em around for so long I was like, “OK, these still go. I still like these…” So I put “Protect the Cross” and all that other s—t out.
“Protect the Cross” goes hard.
Oh, they hated that s—t. They was hating hard.
You have one lyric on “Protect The Cross” I really wanna touch on where you say: “2025, your politics is a gang sign.” Tell me more about your thoughts on politics at this moment, and how that bar came together?
When I say “your politics is a gang sign,” I meant it — because who you affiliate with now really says a lot about you. Trump has done more racist s—t in the last six months than I think Ronald Reagan did in his whole f—king career. John Oliver said this, but I’m gonna paraphrase him: If Ronald Reagan woke up from the dead and saw the racist s—t Trump did in the last six months, he would c-m so hard he’d die again. So It’s just like, if you wanna support that, that says a lot about you. But if you’re on the other side that also says a lot about you because the Democrats are a losing, f–ked party. They’re dismantled. So it really is a gang sign in the same way that gangs do that. It’s the same way.
Curious what the reception was to this album when it first came out? I know you’ve always had rock influences in your music, but there seems to be a lot more punk and noise energy in Lay Down My Life. Were people hating at first?
I mean yeah, because they just wanna hate — and some people just don’t like me, and they can’t admit it, so they be tryna pretend because they don’t like me the snares aren’t hitting as hard or somethin’. [I Lay Down My Life for You] got the same reception it always does. N—as hated in the beginning, and [then] they was like, “Oh wait this is actually good.” Yeah, f—k you. I get it.
That seems to be sort of a trend with your releases. How does that feel when that happens?
It happens every time. When I released Scaring the Hoes people were like, “This is an abomination to music.” Now they asking me for Scaring The Hoes 2. It’s so funny, when it comes out, n—as be hating.
I’m just theorizing, but maybe it’s like a risk-taker type thing?
I am a risk-taker! I’m one of the only risk-takers in rap! The rest of these motherf—kers literally do the same thing. Alchemist, Earl and them? They’ve been making the same f—king song for the last twenty f—king years. Nobody gives a s—t. I’m not them. I’m here to evolve, go farther, go harder and I’m gonna do my s—t. I’m not here to give people the bare minimum and have that just be okay, n—a. That’s not me. I’m not wasting my potential like those motherf—kers. I’m not like that. I’m maximizing my s—t. I’m 35 years old — and Tupac said when Black men turn 30, they lose their fire. I have no loss of fire. I’m hot as s—t.
These other motherf—kers, whatever. Y’all go do that boring ass s—t. I’m not with that. I’m here to take this s—t forward whether y’all like it or not y’all can kiss my Black ass. And they’re gonna pretend like I’m not doing what I’m doing, but I’ve been doing it! And I’ve been doing it so well that people have to hate. They try to take the title from me and they just can’t, because it’s me. You can’t imitate me. I’m me, It came from my brain. Keep imitating Earl, and making hyper-pop songs, whatever the f—k these n—as is doing. I’m gonna be doing my thing like I’ve been doing, ’cause clearly something is working.
Going off that, how do you feel about the state of rap right now?
I think the state of rap is in the best state its been, ever. Because you have choices from everywhere. You can make any kind of rap you want. In the same way ‘90s rock was so big, Marilyn Manson got big. Rap is the No. 1 genre in the world, anybody can take off at any point off of one TikTok. It’s like a free-for-all. I like that s—t. I enjoy that s—t because it evens things out. I don’t have the same resources as some of these motherf—kers do so I gotta go off my talent.
Some of these motherf—kers come out here, and they just be havin’ pyro and they be sitting in they f—king room on stage and all this dumb ass s—t and I’m like, ‘I don’t wanna see all that s—t n—a, can you perform? And that’s my thing. I’m gonna come with the production. I’m gonna come with all that s—t…because that’s what I do. Same thing I did before I ever got in the music industry.
I said, you know what? F—k these n—as. I can do this better. And I got in the music industry and I got better than all the f—king underground. Now it’s time for me to take it farther. I don’t wanna be in the underground no more. These n—as suck. They’re boring and they’re losers.
How important is the live performance to you?
When I first came in, I knew it was important to be a good live performer because it would make me stand out. And I came from the hardcore scene in Baltimore so I was used to that kinda s—t. I’m always gonna have my energy, I’m always gonna do that but it’s not enough to carry you on forever. Eventually you got to, like, do some s—t that’s interesting. My set now is like some Batman Returns s—t. Fogged out, lights everywhere. There’s a podium, because I was watching the Democratic National Convention and I was like, “Damn this s—t look crazy. What is this set up? A podium? Three drapes, and just a motherf—ker talkin’ lookin important? I like that.” So I imitated that. I wanna keep evolving and growing, because I don’t like being an underground rapper.
Do you feel that definition doesn’t suit you anymore? Do people still try to put that on you?
They will try to put it on me, and that’s fine, I understand it. I just wanna blow past it so hard where you say it and you sound crazy. It’d be like calling Steve Lacy an underground rapper.
Why do you wanna blow past it?
Because I’m not a trust-fund kid and I actually come from the projects. So I want actual success. I’m not, like, avoiding it because my parents already had it. I don’t have the mindset that these other motherf—kers do. So I’m just like, “No, I wanna take it to the tippy-top, because I came from the bitty-bottom.”
You wanna be a superstar!
Yes, and If I don’t, fine, I’m fine being an underground rap legend, that’s cool. But while I’m alive and active I’m gonna do everything to take this s—t to the top and not the middle.
What do you see for the future of rap when it comes to fusing it with hardcore music?
I think a lot of people are gonna jump on that because what people are gonna do is they’re gonna realize what you guys are doing is boring as s—t. People yearn for something new, especially in rap. We’re yearning, we’re tired. We don’t wanna hear Drake complain about b—hes anymore. We don’t f—king care, he’s 40. We need something different. I’m here to try to provide and cultivate that as much as I can because rap fans are f—king bored. Their idea of doing something different is taking different sounding s—t and throwing trap drums on it, and that’s not what I’m here to do. I’m here to really f—k you up. You get what I’m saying? And If I’m not, I did not do my f—king job. Conscious rap has Nas, trap rap has Future, experimental rap is me. That’s it.
Do you feel there have been rappers that have come after you that have tried to bite your sound?
I’ve seen plenty of it, but then I see guys like Matt Proxy from Minneapolis. He came out of my influence and he shows love and respect, but for some reason some of these guys, they come at me like we beefing or something. Sometimes I tweet a lot and you think I’m your friend. I’m not your f—king friend and I don’t know you, and If you come up to me I’ll slap the s—t out of you. So leave me alone.
I see people d—k riding and copying, but they don’t wanna give homage, because it’s me and they’re offended by something I say or do. It’s the same reason you won’t see me on certain festivals because certain n—as don’t want me to be on that s—t. I’m the Real Deal Holyfield motherf—ker. Imitation don’t look good next to the real thing, do it?
It seems like you’re very aware of all of these things that are going on.
Everybody is. Everybody is. All artists are. When I was working with Ye, he was on his subreddit every day. Every day. Him and Bianca, every day, just looking at it. Everybody is. I’m not on my subreddit, but he was in there — because he was using it for, like, criticism and to be like, “Oh let me fix this.”
Do you think there’s still a lot of misunderstanding surrounding who JPEGMAFIA is?
People are kinda coming around, I see it a little bit. Because before it was literally just white teenagers projecting their insecurities on to me, and I was like, “Y’all realize I’m not a 15-year-old white boy in my house with my mom, right?” I’m a 35-year-old man and I run a business. I don’t mind, it’s not [about] being white. It’s the people that take that and try to remove my Blackness to make their little narratives sound better. It’s just like, that’s not real.
So now people are starting to realize that these motherf–kers are just hating. I’m not doing anything egregious right now. I’m not getting on Twitter to say anything crazy, and when I do get on Twitter to say something crazy it’s to promote an album. People just fall for it so well, you know?
But I see a lot of people turning the tide and being like, “Okay, maybe this n—a just likes to make music, and his personality is not a white teenage boy. Maybe he was born in 1989 and he might not think like me.”
Tencent Music Entertainment, China’s fast-growing streaming platform, announced on Tuesday (June 10) it plans to acquire Ximalaya, a Shanghai-based service for streaming podcasts and audiobooks. Under a merger agreement signed today, Ximalaya will become a wholly owned subsidiary of TME, subject to regulatory approvals and closing conditions. According to filings with the SEC and the […]
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You can add the Proud Boys to the growing list of groups unhappy with the United States government. The far-right group has filed a $100 million dollar lawsuit against the administration.
As per Raw Story the organization filed a claim on Friday, June 6 claiming their civil rights had been violated. The submitted is related to the infamous Jan. 6 2021 insurrection that took place at the United States Capital. Four of their leaders Ethan Nordean, Joe Biggs, Enrique Tarrio, and Zachary Rehl were all convicted on seditious conspiracy charges for their participation in trying to block the certification of the 2020 election results. Fast forwarded to 2025, President Trump commuted all their sentences but the Proud Boys’ gripe extends beyond the pardon.
“What follows is a parade of horribles: egregious and systemic abuse of the legal system and the United States Constitution to punish and oppress political allies of President Trump, by any and all means necessary, legal, or illegal,” the lawsuit reads. “Through the use of evidence tampering, witness intimidation, violations of attorney-client privilege, and placing spies to report on trial strategy, the government got its fondest wish of imprisoning the J6 Defendants, the modern equivalent of placing one’s enemies’ heads on a spike outside the town wall as a warning to any who would think to challenge the status quo.” The document goes on to say that now that they are free they can bring “against their tormentors for violations of their Fourth, Fifth, and Sixth Amendment Rights.”
Branded as “proud western chauvinists,” the Proud Boys are opposed to “white guilt” and “political correctness.” According to The Anti-Defamation League they embrace anti-immigrant, Islamophobic and anti-LGBTQ+ ideologies. The Justice Department has yet to comment on the lawsuit.
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Veteran producer and artist Timbaland is now working with artificial intelligence, announcing that he’ll also be working with a new AI artist as part of a venture with an AI company. But the news has caused some backlash. Timbaland has launched Stage Zero, an AI-focused entertainment company, which he claims has signed the first-ever AI artist named TaTa.
“I’m not just producing tracks anymore. I’m producing systems, stories, and stars from scratch,” Timbaland said in an interview with Billboard. “[TaTa] is not an avatar. She is not a character. TaTa is a living, learning, autonomous music artist built with AI. TaTa is the start of something bigger. She’s the first artist of a new generation. A-Pop is the next cultural evolution, and TaTa is its first icon.” He and Stage Zero released an image of “TaTa,” depicted as a young, pink-haired woman.
The venture is what the artist hopes will be a new genre of music called “A-pop,” reflecting his work with Suno, a company that has reportedly used millions of copyrighted songs to train its AI engine. In an interview with Rolling Stone, he’s reportedly created 50,000 songs from working with Suno, saying: “The technology of today is perfect for what this is. What used to take me three months only takes me two days. In the beginning, it was like a toy. It was like going to a toy store. You gotta go through gluttony, because you can’t believe that it’s here.”The Grammy-winning producer’s stance has earned him some backlash from fans and others in the music industry, notably from producer Young Guru who blasted him on his Instagram page. “I’m going to say it again,” Young Guru wrote. “I swear I love you bro but this ain’t it. Do you not realize what is going on in the world. Your voice is powerful and way too important to do anything like this. I have students who worship you. They are going to say ‘if Tim can do it, then it is ok for me to do it.’ These are the times, right here, that history is defined .. Human expression can never be reduced to this!!! This is way bigger than music!!! I say this all in love.”
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Just days after it was reported that Ariana Grande has been cast in Meet the Parents 4, the comedy series’ co-star, Robert De Niro, confirmed that he’ll be sharing screen time with the singer and Oscar-nominated Wicked star.
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On Monday night’s (June 9) Tonight Show, De Niro, 81, passed the lie detector test and said “that’s true,” when host Jimmy Fallon asked if the rumors about Grande’s casting were accurate. Asked if he knows Grande, De Niro said no, but recalled that they met seven or eight years ago when he dropped in to Saturday Night Live with one of his kids, who wanted to meet the singer.
“I didn’t do something with her, but she was on the same show,” De Niro recalled. “And we talked and I introduced her and one of my kids wanted to meet her.” At press time it was unknown what role Grande, 31, will play in the series about a taciturn retired CIA agent (De Niro) coming to grips with his bumbling, nebbish nurse son-in-law (Ben Stiller), though The Hollywood Reporter reported that the singer will play a “ball-busting” woman engaged to marry the now-adult son of Stiller and co-star Teri Polo’s Greg and Pam Focker.
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The cast has been talking up the latest edition to the franchise, with De Niro, Stiller, Polo and director Jay Roach celebrating the 25th anniversary of the original Meet the Parents while taking the stage at De Niro’s Tribeca Festival this week to talk about the sequel. Stiller, 59, called Grande “so talented… so great with comedy,” during a Q&A at the festival. And while Stiller said he couldn’t say too much about Grande’s character, he revealed that the role is “really, really funny and kind of the engine of the whole movie.”
When the interviewer joked that because of Grande’s inclusion the fourth go-round should, naturally, be a musical, De Niro quipped, “half the scenes that I have with her will be singing scenes.” John Hamburg, who co-wrote the first three movies, will direct the fourth one, the follow-up to Meet the Fockers (2004) and Little Fockers (2010).
Grande got her start on the Nickelodeon series Victorious and iCarly before becoming a breakout pop superstar and earning Oscar and Golden Globe best supporting actress nominations for her role as Glinda in the first part of the double-up big screen adaptation of the musical Wicked. It will be Grande’s first new film role following her acclaimed turn in Wicked, whose second installment, Wicked: For Good, is due out on Nov. 21.
Watch De Niro talk Grande on Tonight Show below.
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After 52 days of wedded bliss, Kevin Gates and Brittany Renner are calling it quits as the two (former) lovebirds have decided to go their separate ways. (Who could’ve predicted that?)
The not-so-shocking news came from Renner during an interview on Los Angeles radio station REAL 92.3 this past weekend in which she revealed that she and Kevin Gates were divorced. Having wed on April 6 only to separate on May 28, Renner said that she had no regrets tying the knot with the “Big Gangsta” rapper as it helped her find herself and assisted in her personal growth.
“I followed my heart and that’s more than what most people can say in this world, and I think when you do that you get all the clarity you need,” Renner said.
Well, at least she’s remaining positive about the situation, right?By Islamic law, they have 90 days to work things out and make sure this is the path they want to go down before officially being divorced, but it doesn’t seem like that’s something Renner is entertaining at the moment. Still, she feels that she gave her marriage “100 percent” and is good with what she’s been through saying, ” I don’t feel like it’s a sucky situation because what is meant to be is always going to be.”Kevin Gates for his part has remained mum on his marital status, but we do expect the man to address his ex-wife’s revelation at some point in the future.
What do y’all think about Kevin Gates and Brittany Renner’s sudden divorce? Check out the interview and let us know in the comments section below.
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