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The show was, unequivocally, going off. In time with the beat, columns of fire blasted from a complicated and expensive-looking stage setup as a litany of dance hits blasted through the speakers of Los Angeles’ Kia Forum, where more than 15,000 people and their approximately 30,000 ears were gathered to hear the music. Drunk girls […]
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Amber Rose is once again calling out her ex Kanye West, claiming that he’s the one behind his current wife Bianca Censori’s revealing outfits.
According to Amber, Kanye has been doing this to all his girlfriends, including her and Kim Kardashian, and it’s all about one thing: control. She says, “He likes it when other men want to f**k his woman. He likes that men are drooling over his woman,” adding that he gets off on the attention his partners get from other men.
Rose says that when she and Kanye started dating in 2008, he turned her into his own Barbie doll. Once she gained fame, he pushed her to dress in ways that were over-sexualized and attention-grabbing. Amber admits she was young and naive back then, so she went along with it, even though it wasn’t really her vibe. But the real kicker? Even after they broke up in 2010, Amber says she couldn’t shake that “sexy” image Kanye helped build for her.
The Philly native said it left her stuck in a box, constantly being seen as just the “hot girl” and never able to break free from that label. These recent comments revealed a pattern of manipulation she feels Ye used to control how his women were viewed—reducing them to their looks and making them objects of desire for other men. This isn’t just about fashion; it’s about power and how Kanye shaped her public persona.
Rascal Flatts announced their upcoming star-studded collabs album Life Is a Highway: Refueled Duets on Thursday (March 6). The project due out on June 6 through Big Machine Records will feature 10 re-imaginings of the country trio’s most beloved hits with guests including Kelly Clarkson, the Backstreet Boys, Blake Shelton, Jason Aldean and Carly Pearce.
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“It was such an honor to create this project with such incredibly talented artists, it’s a pretty indescribable feeling having your colleagues and friends do your songs in such unique ways and knock your socks off with the results,” said lead singer Gary LeVox in a statement. “This album is just another attempt for us to thank our fans for the blessings they’ve given us on this crazy journey the past 25 years, thanks for riding along with us!”
Rascal Flatts teamed up with the Jonas Brothers in January for the first single from the collection, “I Dare You,” which was written by the JoBros’ Nick Jonas with Dan + Shay’s Shay Mooney along with Dewain Whitmore Jr. and Tommy English. The song gave the Jonas siblings their first hit on the country charts after “I Dare You” spent a week on the Billboard Hot Country Charts (No. 31) last month; it is currently charting at No. 37 on the Country Airplay chart.
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Among the other acts who team up with LeVox, bassist/singer Jay DeMarcus and guitarist/vocalist Joe Don Rooney on the album are: Brandon Lake, Ashley Cooke, Jordan Davis and Halestorm singer/guitarist Lzzy Hale.
The country group is gearing up to kick off their Life Is a Highway tour in their hometown of Columbus, OH at the Nationwide Arena on Thursday night.
Check out the track list for Life Is a Highway: Refueled Duets album below.
1. “I Dare You” (with Jonas Brothers)
2. “Fast Cars And Freedom” (with Jason Aldean)
3. “My Wish” (with Carly Pearce)
4. “Mayberry” (with Blake Shelton)
5. “Stand” (with Brandon Lake)
6. “Summer Nights” (with Ashley Cooke)
7. “What Hurts The Most” (with Backstreet Boys)
8. “Yours If You Want It” (with Jordan Davis)
9. “Life Is A Highway” (with Lzzy Hale)
10. “I’m Movin’ On” (with Kelly Clarkson)
Billboard cover star John Summit takes you through a day in his life in Miami where he shares what he’s working on for his next album, who he would love to collaborate with, performing at the Sphere, how EDM music from the US has gone international and more! John Summit: I remember like I was […]
Save this storySaveSave this storySaveRoy Ayers, the pioneering jazz-funk composer, producer, and vibraphonist, died Tuesday, March 4, in New York after a long illness, his family said in a post from his Facebook account. “He lived a beautiful 84 years and will be sorely missed,” the statement read.Ayers was born in Los Angeles to parents who worked as a schoolteacher and parking attendant but played music in their spare time—his mother a piano instructor, his father a trombonist. Young Ayers studied piano and vibraphone and sang in the school choir before making the rounds of the Los Angeles bebop scene in the early 1960s, releasing his solo debut, West Coast Vibes, in 1963, and accompanying jazz greats like Herbie Mann throughout the decade. He signed to Atlantic in 1967 and Polydor in 1970, releasing at a rate of more than an album a year for the next several decades.His foremost success came with Roy Ayers Ubiquity, formed in the early 1970s. Their music splayed Ayers’ pillowy vibraphone tones across languid jazz-funk grooves that formed the bedrock for neo-soul—and, through sampling, much of West Coast hip-hop—to come. Their 1976 hits “Everybody Loves the Sunshine” and “Searching” and the following year’s “Running Away” became Sunday-afternoon staples that were among a trove of source material raided by Dr. Dre, Mos Def, Mary J. Blige, A Tribe Called Quest, Common, J Dilla, Madlib, 2pac, the Notorious B.I.G., and dozens more hip-hop and R&B lynchpins.Alongside his solo success, Ayers remained a prolific collaborator. He produced, in the disco era, for singers including Sylvia Striplin, and recorded an album with sometime tourmate Fela Kuti. As his influence grew, he got into the studio with a new wave of artists including Guru, the Roots, Erykah Badu, Tyler, the Creator, and, on his final album, Adrian Younge and A Tribe Called Quest’s Ali Shaheed Muhammad. He also became a fixture of the silver screen, scoring the Blaxploitation film Coffy, getting prominently synced in Quentin Tarantino’s Jackie Brown, and appearing as a performer in Questlove’s Summer of Soul documentary on the 1969 Harlem Cultural Festival.The statement from Ayers’ family noted that “a celebration of Roy’s life will be forthcoming.”
Rimas Entertainment, home to Bad Bunny and the No. 1 label on Billboard‘s 2024 year-end Top Independent Labels chart, has acquired a “significant” stake in Dale Play Records, the maverick Argentine label that’s home to DJ Bizarrap, Rels B and rapper Duki, Billboard can reveal.
The partnership includes Sony Music Latin Iberia, which continues to own a stake in the label. Helping bring the deal to fruition were Rob Stringer, Sony Music Group chairman and Sony Music Entertainment CEO; Afo Verde, chairman/CEO of Sony Music Latin America, Spain and Portugal; and Brad Navin and Jason Pascal of The Orchard.
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Fede Lauria, the Argentine executive who founded Dale Play out of Argentina and grew the label to its current stature, will retain a smaller percentage of the company and continue as CEO. The Orchard will also continue to distribute Dale Play as it has for years. The company’s other business verticals, which include booking and management — including the management of Duki, Nicki Nicole and Bizarrap — are not part of the deal and will remain solely under Lauria.
The partnership brings together two indie companies that have redefined the way Latin music is made and promoted on a global scale, with both developing and capitalizing on a new wave of urban music in Spanish — one centered in Puerto Rico (Rimas) and the other in Argentina (Dale Play) — with international ambitions. Rimas has already expanded its roster beyond Puerto Rico, signing Spain’s Quevedo and Mexico’s Latin Mafia.
“From day one, our mission has been to support and develop artists with authenticity and respect for their identity,” said Rimas Entertainment CEO Noah Assad in a statement. “With Federico and Dale Play, we’ve built a relationship founded on trust and mutual admiration. This alliance will allow us to break new boundaries and create opportunities for our artists and teams.”
In an earlier conversation with Billboard, Assad noted that this is Rimas’ first major acquisition and that it follows a longstanding friendship and years of business dealings between him and Lauria.
“We’re working hand in hand and all we’re doing is adding more value to each other, him to me and me to him,” he said. “The collaboration already existed. We’re formalizing something that was already happening.”
Lauria was already an established concert promoter in Argentina with the company Dale Play (which currently sells over 1 million tickets per year, mostly in Argentina) when he created the label portion of his business, Dale Play Records, in 2017, focusing on a previously untapped rap and trap music scene bubbling out of Argentina. Sony Music came in as a partner in 2020.
“Afo and I have had a long-standing friendship for many years, united by a mission to elevate Latin music to the highest level,” said Lauria in a statement. The new partnership with Rimas, he told Billboard earlier, “reflects a journey we have been on for many years with Noah, Jomy and the RIMAS team. We share the same vision and values. Our companies are 360 companies with similar philosophies and origins. They’re rare in the global market. We do management, booking, label, publishing. The potential that these two ecosystems have together and the mutual collaboration that our artists and businesses can have is huge.”
Fede Lauria, Noah Assad and Afo Verde.
Afo Verde/Sony Music Latin Iberia
Added Verde in a statement: “I have great admiration for the achievements of both Fede and Noah. They epitomize the new generation of executives and label leaders, characterized by their independent spirit and innovative approach. It is a privilege to continue our partnership with them, and I love that they wanted to work together.”
Assad and Lauria’s working relationship dates back to Bad Bunny’s early days as an artist playing small venues in Buenos Aires, which Lauria booked. Today, he still promotes Bunny’s Argentina stadium and arena dates. The two have since worked together on multiple artist collaborations and started discussing a possible partnership three years ago, with conversations solidifying last year.
“This alliance is key to expanding our global reach and connecting with talent wherever it may be,” said Jonathan “Jomy” Miranda, president of Rimas Entertainment, in a statement. “We have always been at the forefront of discovering new artists, and now, through this partnership, we will have ears in more corners of the world to support and develop the next generation of stars.”
“Rimas is still Rimas and Dale Play is still Dale Play,” said Lauria during his conversation with Billboard, when asked about the future management of the respective labels. But, he adds, both labels have been “an essential part of the development of a cultural movement, and we’re in the process of shaping artists in Spain and Mexico that aren’t Argentine or Puerto Rican. Being together gives us huge power.”
Everything aligned to make the partnership come together now, said Assad. “We want a partner that has a clear vision, knows what they want and knows their destination,” he adds. “Culturally speaking, we share a lot of the same culture, and that’s why we’re doing this strategic alliance.”
The official trailer for BE@RBRICK is out now (Thursday, March 6), with Billboard Family giving audiences an exclusive first look at the new Apple TV+ animated series.
Based on the collectible figures from Japanese company Medicom Toy, the CG-animated show infuses a message to embrace individuality with feel-good comic relief and plenty of music. The series was developed by Meghan McCarthy (My Little Pony: Friendship Is Magic, Centaurworld), who serves as showrunner, executive producer and writer, with music helmed by Timbaland, executive music producer.
The BE@RBRICK trailer, premiering ahead of the series’ release on Apple TV+ on March 21, introduces young Jasmine Finch and her high school bandmates, who are breaking the mold by pursuing their dreams of making music in a world where your painted-on look is expected to be what determines your path in life.
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Speaking to Billboard Family over Zoom, McCarthy says her aim was to treat the animated ensemble, voiced by Brianna Bryan, Skyla I’Lece, Isaiah Crews, Alison Jaye and Noah Bentley, “with respect and treat them like they are three-dimensional, real characters that your audience can see themselves in, see their friends in.”
First Look: The Official BE@RBRICK Trailer From Apple TV+
“Any time you’re translating from something that exists in another format, like in this case a collectible [toy] … you do have people who are very familiar with it, and then you have an audience that isn’t familiar with BE@RBRICK at all, and then neither is familiar with how you’re going to showcase them in a series,” McCarthy explains.
“If you ask somebody on the street who’s familiar with BE@RBRICK, tell me three things that you know about them, what does everybody tell you? That’s a great starting point ‘cause you want to make sure you stay true to those things,” she says of developing the show, produced and animated by DreamWorks Animation and Dentsu Inc.
Jasmine Finch (voiced by Brianna Bryan) and Nick Hazard (voiced by Isaiah Crews) in ‘BE@RBRICK,’ premiering March 21, 2025 on Apple TV+.
Apple TV+
For BE@RBRICK, McCarthy says those things included a “very specific shape — little bear heads and little bellies,” and “how when you paint them, they take on this whole new thing. That’s what really gives them their uniqueness and their value, so you don’t want to abandon that.”
“The third thing was they do all these amazing collabs with musicians and artists,” she adds, “and so creativity is a huge part of what makes BE@RBRICK, BE@RBRICK — expressing that creativity.”
There’s the humor that makes BE@RBRICK the series relatable — “I think that it’s really funny in a way that is not mean-spirited. We’re laughing with these characters, we’re not laughing at them, which I think is really great for families,” says McCarthy, who’s a parent herself — and there’s the music, a primary focus for the storyline.
“It’s a show you can dance to,” she says. “The music is really incredible and fun and there’s so much of it on the show.”
Holly Honeywell (voiced by Skyla I’Lece) in ‘BE@RBRICK,’ premiering March 21, 2025 on Apple TV+.
Apple TV+
“Ultimately, I think the takeaway of the show is the importance of creativity and self-expression and how that can change the world, and how kids [like Jasmine] are a factor in changing the world. I think those are great, relatable themes that a whole family can rally around,” McCarthy says.
That’s something that drew Timbaland to the project.
“The bigger message is that anyone can choose their own path, no matter where they come from,” he tells Billboard Family of the show.
Timbaland first discussed the opportunity to be involved with BE@RBRICK back in 2019, in a meeting with Alexandra Nickson, SVP, TV Music at DreamWorks Animation. DreamWorks then came to McCarthy with the prospect of working alongside the Billboard chart-topping and Grammy Award-winning producer for the show. “Who’s gonna say no to that?” she says with a laugh. “The guy who’s produced some of the coolest things in the history of the world? Yeah, I think he’d be pretty good for this.”
Over the past few years Timbaland has worked with a group of Beatclub producers, artists and songwriters to bring the series’ soundtrack to fruition. The series features an original score by Jina Hyojin An (XO, Kitty) and Shirley Song (Exploding Kittens).
“The process was similar to making a record,” Timbaland notes over email, “but in this case, we received creative briefs from the DreamWorks team. That allowed us the time to get everything right, the music, the lyrics and the overall vibe.”
BRBX Media DJ (voiced by Timbaland) in ‘BE@RBRICK,’ premiering March 21, 2025 on Apple TV+.
Apple TV+
As McCarthy points out, “For our main character Jasmine and her friends to be able to express themselves through their music, and to root for them, you have to think they’re pretty darn good at it. You have to think the world would be at a loss if they weren’t allowed to put their creativity out there. So to have Timbaland, who has such a finger on the pulse of music and making it feel very relevant to today, that was so key. … They’re not human characters, but they’re making this music that feels like, ‘Oh yeah, I would totally hear this out in the real world. This would be a hit song in the real world.’ That’s the energy and that’s the vibe that he absolutely brought to the table.”
Timbaland says he can “absolutely” relate to Jasmine’s experience in feeling the pull to create music, sharing that “from a very early age, I always knew I wanted to be a music producer when I started DJing.”
His advice for kids who want to follow his path as a producer: “Now is one of the best times to be an independent artist. The playing field is more level than it was when you had to be signed to a major label to break into the industry. My advice is simple: Never give up!”
BE@RBRICK will be available to stream on Apple TV+ on March 21.
Billie Joe Armstrong is Bay Area to the death. The Green Day frontman has long flown the flag of his hometown of Oakland, CA, and nothing has fired him up more than the heartbreaking loss over the past few years of the proud city’s professional sports franchises, the Oakland A’s and NFL’s Raiders.
Now he’s doing something about it.
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The Hollywood Reporter revealed on Wednesday (March 5) that Armstrong has joined fellow Oaktown legend rapper Too $hort as part of the ownership group of the Oakland Ballers, the new independent Pioneer League team that as of this year will be the Bay’s only professional baseball team; the A’s are playing in Sacramento for the next two years ahead of a planned move to Las Vegas in 2028 and the Raiders left in 2020 for Las Vegas.
“This is all about bringing families to a ball game,” Armstrong told THR. “After the A’s left, the town was heartbroken. The Ballers are going to bring good vibes back to Oakland and the broader East Bay.” The privately owned team played their first season in 2024 in the new 4,000-capacity Raimondi Park, which drew baseball lovers for its first season with a unique offer that allowed more than 2,200 fans to buy a share in the team and take seats on its board; the minimum buy-in is $510, a nod to the Bay Area’s area code.
$hort Dogg told THR that he thinks the Ballers are a shining example of what his city’s value proposition. “Oakland is the connection, it’s the diverse city of all walks of life and cultures. We respect each other’s originality, you can be you and with your people,” he said. “It’s ‘I f–k with you regardless.”
And, not for nothing, the “Blow the Whistle” MC — who said he worked as a vendor at the old Oakland Coliseum in high school — loves the name, too. “If I can’t brag on a big-league franchise I can brag on being a Baller,” he said of the team whose name is a pointed rejoinder to former MLB team the A’s. The two musicians bought in as part of the second round of community investment that opened this week, aimed at raising $2 million.
While the amount of Armstrong and Too $hort’s investment has not been revealed, one of the Ballers’ co-founders, Bryan Carmel, said their stake is not just another example of a celebrity swooping in to try and goose a team’s prospects, a la Rob McElhenney and Ryan Reynolds’ purchase of revival of Welsh soccer team Wrexham, chronicled on the FX series Welcome to Wrexham.
Carmel said Armstrong’s relationship with the Ballers began when the rocker and his wife showed up at a game last year. “I looked over and there they were, sitting in front of my parents,” Carmel said. “And then I looked again and they were at the merch stand and Billie Joe was buying a T-shirt. It was crazy because we were playing Green Day songs earlier — not because he was there but just because we’re an Oakland club so we play Green Day songs.”
Armstrong spray-painted the Oakland B’s name over the Oakland A’s logo at the Rogers Center in Toronto last year.
“Sports in the Bay Area have been transforming over the last couple of years. We’ve had some emotional goodbyes to teams we grew up with, but recently there has been a major shift,” Armstrong told The Athletic. “The Oakland Ballers and the Oakland Roots and Soul represent everything I love and grew up on in the Bay Area. The welcoming atmosphere, DIY attitude and the people behind it make me proud to be an investor and support the next generation of teams kids in the Bay will be proud of.”
The Ballers hosted an open try-out last year that led to the signing of history-making right-handed pitcher Kelsie Whitmore, their first female player and, in 2022, the first woman to sign a professional contract with a Major League Baseball Partner League team. The team will kick off their second season on Mary 20.
Since bluegrass artist and mandolin virtuoso Sierra Hull signed her first label deal at just 13 and released her Rounder Records debut in 2008, she’s long since grown used to shattering glass ceilings.
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In 2016, Hull became the first woman named the International Bluegrass Music Association (IBMA)’s mandolin player of the year — and went on to win in the category five more times. She is also part of the acclaimed assembly The First Ladies of Bluegrass, who were the first women to win IBMA musician accolades in their respective instrument categories — in addition to Hull winning mandolin player of the year, her cohorts include Missy Raines (bass player of the year), Alison Brown (banjo player of the year), Becky Buller (fiddle player of the year) and Molly Tuttle (guitar player of the year).
So, the title of Hull’s new album, A Tip Toe High Wire, out Friday (March 7), nods to the ambition and uncertainty that comes with high-flying acrobatics—a feeling familiar to Hull, who is stepping out onto her own highwire, as the album marks not only her first release in five years, but Hull’s first as an independent artist after parting with Rounder.
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“It is so wild to think how different the landscape was for an artist releasing music than what it is now,” Hull tells Billboard, adding, “I’m so grateful to Rounder and the experience I got to have there. I feel like a lot of people start out their careers more independent, hoping to get signed or go the label route and then go back independent. But for me, [making records independently] is brand new.”
When Hull’s contract with Rounder had been fulfilled, she says, “I just felt like I wasn’t in a rush to make any decisions. I felt like it was a good opportunity to have a clean slate. I didn’t have an album that was about to come out, so I thought, ‘Let me take a moment of pause and see what happens.’ I don’t know if I’ll forever be independent. Who knows? But I felt like I owed it to myself to have this moment to experience it and learn from it.”
The album takes its title from one of the project’s songs, “Spitfire,” which Hull wrote for her late grandmother over two years ago. The song touches on the hardships Hull’s grandmother faced, including becoming a widow by 18 after her husband died in a drowning accident roughly a month after their wedding.
“There’s a lyric, ‘Tougher than thorns on a brier.’ That was her, this country woman who grew up in the boonies of Tennessee,” Hull says. “She grew up poor and never had a lot of education and things like that in her life, but she was just an instinctually smart woman. So much of what she had to endure, she fought her way through. When I think about something that I feel down about, sometimes I think of Granny and knew she would’ve been tough. She would do anything for her family and fight for all of us in the most beautiful way, but she ain’t going to take no crap from nobody.”
It’s a song that has fueled Hull as a creator and as a businesswoman in her new space as an independent artist.
“It can be a little scary stepping into this space,” says two-time Grammy nominee Hull, who pulled together a supportive team around her that includes TMWRK Management’s Paddy Scace and Dylan Sklare, and Wasserman for booking. “It felt like I didn’t have to ask too many questions to anybody else… It was me calling the shots. It’s different investing your own time and vision and financially, and all those things. I’m kind of putting everything on myself, but there’s freedom in that, too.”
Her first session for the new album stretches back to December 2021, when Hull did basic tracking for a couple of songs. But the project was sidelined as Hull took on roles providing instrumental work on a range of albums including Sturgill Simpson’s Passage du Desir, a John Anderson tribute album, Béla Fleck’s Rhapsody in Blue and My Bluegrass Heart, Tuttle’s Crooked Tree, and some of Brad Paisley’s recent music releases. She also toured with Simpson’s and Devon Allman’s bands, in addition to helming her own shows.
Those live performances informed A Tip Toe High Wire, which features Hull’s touring band, including Shaun Richardson on guitar, Avery Merritt on fiddle, Erik Coveney on bass and Mark Raudabaugh on drums. Hull had intended to tour with a full band to promote 2020’s 25 Trips, but the COVID-19 pandemic shuttered those plans. So, when the opportunity to hit the road reopened, Hull took advantage and those performances prompted Hull to draw in the tightknit feel of the live band into the new project.
“Just the inspiration of working with those guys [made me think] about what the music would feel like if they were part of it in the recorded setting as well,” she says. “It was the first time where I had written specific songs, thinking about how this group of musicians would sound playing on it.”
Hull and her bandmates worked to create a balance on A Tip Toe High Wire, upholding her reverence for bluegrass traditions, while simultaneously looking forward with unique collaborations.
“I wanted something fresh, new and maybe innovative feeling,” Hull says. “That’s always the desire for me as an artist to grow and learn, especially as an instrumentalist. I’ve been able to do fun collaborations, but I also just love good, simple songs. The other part of me is not trying to rewrite the script. I just want to do music that feels meaningful to me, and kind of lean into my roots all at the same time.”
The fleet-fingered instrumental track “E Tune,” an older tune on the album that features Fleck, was previously considered for Hull’s 2016 album Weighted Mind, and the 25 Trips album, but didn’t make the cut until now.
“It became a staple of our live show. Once we recorded it, I thought it would be cool with banjo. I’ve done so much with Béla Fleck over the past few years that I asked him to be on this track with us. When he played on it, it just kind of clicked in a way that I was like, ‘Okay, this is making the record. This is the moment.’ We needed that Béla Fleck magic on there.”
Hull produced the album with longtime friend and engineer Shani Gandhi. Other collaborators include Tim O’Brien on the balmy “Come Out of My Blues,” and Aoife O’Donovan on the harmony-drenched “Let’s Go.” The project’s lead single, “Boom” has been a frequent inclusion in Hull’s live shows for the past couple of years.
“It has a few versions of it,” she says. “There’s a real relaxed thing when we get to play this song, something joyful that you can lean into that relaxed nature.”
In May, Hull and her band will take the new music on the road, joining Willie Nelson’s 10th anniversary Outlaw Music Festival Tour, with a lineup that also includes Bob Dylan, Billy Strings, Lake Street Dive and Lily Meola.
There are a few things we know about Post Malone. The “I Had Some Help” singer is unfailingly polite, can 100% rip a Nirvana cover anytime you need him to and is a self-proclaimed master beer pong player.
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Except, that is, when he isn’t.
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According to Taste of Country, in a recent chat on CMT, Kane Brown revealed the story behind the picture that circulated a few months ago of himself, Posty, Jason Aldean and Jelly Roll playing beer pong at last year’s ACM Awards. Brown said he was teamed up with Jelly and, not for nothing, they beat Post and Aldean.
Because the internet is filled with haters, Brown took the opportunity to clear a few things up about the victory. “A lot of people are like, ‘Oh, who do you think won?’ A lot of people are like, ‘Oh, it’s Post and Jelly, ’cause they play all the time,’” Brown said. “Wrong! Man, I was killin’ ’em!” he added unequivocally before sharing the price Malone paid for the loss.
“It was water in the cups, it wasn’t beer,” Brown said. “But, he [Post Malone] was dumping his cigarettes in the last cup, and the table was super long. I was like, ‘I’m gonna hit this cup.’ He said, ‘If you hit this cup, I’ll drink it.’” Brown said he then made eye contact with Aldean and knew exactly what needed to happen.
“I looked at Post, and I said, ‘Drink up,’” Brown said he told Malone after landing the ball in the cup. “Jason just went, ‘Oh my God.’”
Watch Brown tell the story below.