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Super Bowl

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This may be one of the best weeks ever in the career of country music’s cult hero Zach Bryan.
It began on Sunday (Feb 4), when the 27-year-old singer-songwriter took home his first Grammy Award for best country duo/group performance for “I Remember Everything,” featuring Kacey Musgraves. The following day (Feb. 5) he released a viral video cover of Bon Iver’s “Emma,” which showed his intense musical range, along with a strategically placed American Spirit and Bud Light can. On Tuesday (Feb. 6), the Oklahoma native dropped the video for “Nine Ball,” starring Matthew McConaughey. The next day, his self-titled 2023 album “Zach Bryan” went platinum. And on Friday (Feb. 9), at the Bud Light Backyard Tour, he launched his partnership with Anheuser-Busch during Super Bowl LVIII weekend. The company will sponsor his North American Quittin’ Time arena tour, which starts March 6 at Chicago’s United Center.

In his first live appearance since the Grammy win, Bryan portrayed every bit the gracious, grit–and-drive frontman that his fanatics crave, while endearing himself to the uninitiated who came through to see what the hype is about.

Taking the stage at 11 p.m. on the nose, after a swinging soulful set from Leon Bridges, Bryan electrified the sold-out crowd at The Chelsea inside The Cosmopolitan with his powerful growling chorus on “Open the Gate,” from 2022’s American Heartbreak.

The can-drinking crowd of cowboy hats and boots blended with the leather-jacket-clad emo-country lovers and those geared-up in Chiefs/49ers merch — just as Bryan’s brand of Americana, indie-rock country appeals to all those groups.

From there the setlist bounced between his independent roots and his commercial success. Addressing the sold-out audience for the first time before 2019’s “Godspeed,” he said, “It is such an honor to be after [Leon Bridges]. Thank you so much to Bud Light for having us. You’ve been so kind to us. I do this at every show but I am going to do it. Cheers to Las Vegas, having a good time,” raising his can to the crowd.

During “Overtime,” Bryan got everybody going with a sing-along to the rock-and-roll-driven bluegrass jam session where he took a trip around the stage and ended up with the drum kit. Then, the question of the hour popped up: “Is everyone ready for the Super Bowl?”

Bryan’s energy on stage, his Oklahoma roots — and his ambassadorship into a “new wave of country” — draws recollection to a late ’80s Garth Brooks. And while undoubtedly he is more red dirt in his genre, the showmanship, storytelling and love of varying musical styles runs complementary. It’s also impossible to not get a Bob Dylan nod from the spoken-word riffs on some of his deepest lyrics.

Moving through his recent, yet deep autobiographical catalog, Bryan openly addressed the imprint that his U.S. military background has both on his art and his psychology.

“I was in the Navy for a really, really long time and I wrote this song ‘Tishomingo’ about going home, and I hope you guys don’t hate it,” Brayn said as the stage, awash in red lighting, reminded everyone of the backyard concert vibe that Bud Light wants to evoke.

He then lit the crowd up with a string of new classics “Nine Ball,” “Eastside of Sorrow,” “Dawns” (which elicited the most audience participation of the night), “Highway Boys” and “Quittin’ Time.”

It’s not uncommon for a Zach Bryan show to get a good percentage of the backing track from the audience. Band member Reed “Two Show” Connolly’s banjo solo on “Quittin’ Time,” was one of the highlights of the night as was Bryan’s message to the “Highway Boys,” also known as the band “these guys behind me are my best friends in the entire world … been to about every state together.”

After a five-minute pause, between main set and encore, Bryan and his eight-member band returned for a double-song encore, addressing as country music’s biggest news of the week, a tribute to the late Toby Keith with “Courtesy of the Red, White, and Blue,” with the words, “America lost a really important Oklahoma boy this week,” before closing out the almost 90-minute show with “Revival.”

The event marked Bud Light’s expansion into country music and serves as the launchpad for Bud Light Backyard Tour shows throughout 2024 at country music events and festivals across the country, including Stagecoach, CMA Fest and more. In an emotional moment, Bryan shared, “I was in the Navy for eight years … we’ve donated $27 million to Folds of Honor [a nonprofit organization that provides educational scholarships to the families of fallen and disabled service members and first responders]. Starting March, part of every Bud Light sold on tour will be donated to Folds of Honor, and I am going to match it.”

See Bryan’s full setlist below.

“Open the Gate”“Godspeed”“Overtime”“Fifth of May”“Tishomingo”“Nine Ball”“Eastside of Sorrow”“Dawns”“Highway Boys”“Quittin’ Time”“Condemned”“Oklahoma Smokeshow”“Heading South”“Hey Driver”“Something in the Orange”“Burn, Burn, Burn”“Courtesy of the Red, White and Blue” (Toby Keith cover)“Revival”

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Source: Foundation to Combat Antisemitism / FCAS
The Foundation to Combat Antisemitism (FCAS) has announced it will be running a Super Bowl LVIII commercial that will feature Dr. Clarence B. Jones, a confidante of the late, great Dr. Martin Luther King, Jr.

Jones helped King draft his historic “I Have a Dream” speech which he delivered at March on Washington back on August 28, 1963. Now a lawyer, entrepreneur, and investment banker, Jones was also King’s legal counsel and one of his strategic advisors. Currently, Jones is the Chairman of the Spill the Honey Foundation, which was founded by New England Patriots owner Robert Kraft and acts to fight against racism and antisemitism via art and education.
The commercial’s goal is to foster unity between Black and Jewish groups in the face of hate.

“I know I can speak for Dr. Martin Luther King Jr. when I say without a doubt that the Civil Rights movement (including the passage of the Civil Rights and Voting Acts) would not have occurred without the unwavering and largely unsung efforts of the Jewish people,” said Dr. Jones in a statement. “With hate on the rise, it is as important as ever that all of us stand together and speak out. Silence is not an option. I’m glad that I have lived long enough to partner with Robert Kraft and FCAS to continue to spread the message to the widest possible audience – the Super Bowl.”
Added Robert Kraft, “The work Dr. Jones has done over the course of his entire life and career is the embodiment of FCAS’ mission to build bridges and stand up to Jewish hate and all forms of hate. In the time we have spent together and through his work, I have become a huge fan of Dr. Jones, and I am proud to spotlight all that he has done for our nation.”
Watch Kraft give Jones the news below. Super Bowl LVIII kicks off Sunday, February 11 at 6:30PM ET.
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Will she make it in time?
Taylor Swift’s last song was still ringing in the ears of thousands of fans at the Tokyo Dome on Saturday night (Feb. 10) when the singer rushed to a private jet at Haneda airport, presumably embarking on an intensely scrutinized journey to see her boyfriend, NFL star Travis Kelce, play in the Super Bowl in Las Vegas.

“We’re all gonna go on a great adventure,” Swift earlier told the crowd. She was speaking of the music, but it might also describe her prospective race against time, which was to cross nine time zones and the international date line.

With a final bow at the end of her sold-out show, clad in a blue sequined outfit, the crowd screaming, strobe lights pulsing, confetti falling, Swift disappeared beneath the stage — and her journey to the other side of the world began.

Her expected trip to see Kelce’s Kansas City Chiefs play the San Francisco 49ers in Las Vegas on Sunday, U.S. time, has fired imaginations, and speculation, for weeks.

“I hope she can return in time. It’s so romantic,” said office worker Hitomi Takahashi, 29, who bought matching Taylor Swift sweatshirts with her friend and was taking photos just outside of the Tokyo Dome.

It wasn’t immediately clear late Saturday if Swift’s plane had left. About an hour after the end of the concert, Associated Press journalists were near Haneda’s private jet area when minivans drove up and someone went inside the gate area as four to five people carrying large black umbrellas obstructed the view of the person.

At Saturday night’s concert, there was plenty of evidence of the unique cultural phenomenon that is the Swift-Kelce relationship, a nexus of professional football and the huge star power of Swift. In addition to people wearing sequined dresses celebrating Swift in the packed Tokyo Dome, there were Travis Kelce jerseys and hats and other gear celebrating the Chiefs. Some in Tokyo spent thousands of dollars to attend the pop superstar’s concerts this week.

“Romeo, take me somewhere we can be alone,” Swift sang Saturday.

She won’t find that Sunday in Las Vegas when a sold-out crowd, not to mention millions around the world, will be watching her.

If she makes it, that is.

At the end of BMW’s new Super Bowl ad, actor Christopher Walken sits down to dine at a restaurant and finds Usher at the next table. They (and a waiter) wind up saying “yeah!” to each other a few times, and for this, publishers for each of the six songwriters on Usher’s 2004 smash “Yeah!” get to split a huge sync payment — even though not another word or any melody from the song is performed during the one-minute spot.

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“We, of course, smiled, and said, ‘You bet, we’ll license this to you guys,’” says Brian Monaco, president/global chief marketing officer for Sony Music Publishing (SMP), which represents James Phillips, one of six writers on “Yeah!” “It was a full fee, like they were using the entire song.” Pamela Lillig, vp of sync licensing for BMG, which represents co-writers J. Que, LaMarquis Jefferson and Sean Garrett, adds that BMW wouldn’t have had to pay the fee if random actors were saying “yeah” in an ad, but “because Usher’s in it, they felt they probably should.”

“Yeah!” — as well as Charles Wright & the Watts 103rd Street Rhythm Band’s 1970 soul classic “Express Yourself,” which plays throughout the BMW spot — is one of many big, easily recognizable tracks used in Super Bowl advertisements this year. Dove soap licensed “It’s the Hard-Knock Life” (from the Annie soundtrack); Budweiser brought back its Clydesdales for a spot containing The Band‘s “The Weight”; Volkswagen celebrated its 75-year history in the United States set to Neil Diamond‘s “I Am . . . I Said”; and a Popeyes ad includes “Also Sprach Zarathustra” and DJ Snake and Lil Jon‘s “Turn Down for What.”

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“The majority of songs used for us this year are catalog songs,” says Tom Eaton, senior vp of music for advertising for Universal Music Publishing Group (UMPG), which represents the Band and Diamond catalogs. “They create an immediate impact.” Adds Patrick Joest, head of sync for Hipgnosis, which owns stakes in Heart‘s “Barracuda,” used in a Hyundai commercial, and “Turn Down for What”: “What you’re seeing this year is people are going for the sure shots.”

Super Bowl ads are one of the most lucrative showcases for publishers’ nearly $1.5 billion-per-year synch business each year. According to synch sources, 2024 fees have ranged anywhere from $150,000 to more than $1 million. Last fall, when Hollywood writers and actors were still striking and placing songs for TV and film was paused for the foreseeable future, the beginning of the Super Bowl song-licensing season came as a welcome relief. “It was looking a little shaky,” says Scott Cresto, executive vp of synchronization and marketing for publisher Reservoir, which has a stake in Coi Leray and David Guetta‘s “Make My Day,” used in an E-Trade spot for this year’s game. “In the last quarter, all of our top 20 synchs were ads. It definitely helped our numbers.”

UMPG (whose catalog includes The O’Jays‘ “Love Train,” used in a Coors Light spot, and Perry Como‘s “Round and Round,” for Lindt Chocolate) has 18 synchs during this year’s Super Bowl. Sony landed 14 and Warner Chappell Music had 12 (including “Express Yourself”), while BMG had five, Kobalt four, Reservoir three and Hipgnosis two. (Billboard tallies in-game, national ads that appear during the CBS broadcast.)

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For recent Super Bowls, according to Rich Robinson, Warner Chappell’s executive vp of global synchronization and media, multiple ads used original “sound-design” instrumentals, as opposed to traditional song synchs that generate robust licensing fees for publishers. This year, the pendulum has swung back to the familiar. “It feels like a return,” Robinson says. “Almost every one we’ve licensed is a version of a really well-known hit.”

Still, a minority of Super Bowl LVIII ads showcase newer songs and stars: Ice Spice‘s “Deli” (UMPG) soundtracks an ad for Starry soda and Maizie’s 2021 track “Dumb Dumb” (BMG and SMP) is in an Uber Eats spot. And prolific songwriter Ryan Tedder of OneRepublic received a request this past Monday (Feb. 5) from a T-Mobile contact and wrote a new song, “Try,” in an hour, then submitted it as a voice memo. The ad will broadcast during the Super Bowl. “He works fast,” says Sony’s Monaco.

“There’s a mad rush sometimes. It’s super last-minute,” adds Lisa Bergami, vp of creative sync for Kobalt, whose Super Bowl placements include Flo Rida‘s “Good Feeling,” used in a Veozah menopause medication spot. “Some [advertisers] have gone a million rounds and ended up going with the song they wanted at the beginning. There isn’t much of a rhyme or reason.”

Meghan Trainor serves both glowy skin and her civic duty in e.l.f Cosmetics’ 2024 Super Bowl ad. The beauty brand shared their game day ad this week on YouTube, featuring the “All About That Bass” singer sitting on the juror’s bench as a court correspondent while Judge Judy — who in this universe goes by […]

All products and services featured are independently chosen by editors. However, Billboard may receive a commission on orders placed through its retail links, and the retailer may receive certain auditable data for accounting purposes.
In the lead-up to Super Bowl LVIII this Sunday, everyone has football fever, with the eyes of sports and pop culture centered on Allegiant Stadium in Las Vegas on Feb. 11. To celebrate the Super Bowl matchup between the San Francisco 49ers and Kansas City Chiefs, video-game manufacturer Arcade1Up has a deep discount on one of its NFL arcade cabinets.

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On sale for $499.99 (regularly $599.99) at Amazon, Arcade1Up NFL Blitz Legends Arcade Machine is a ’90s throwback that features some of the all-time greats of the pro football league, including Jerry Rice, Emmitt Smith, Dan Marino, Brett Favre, Jerome Bettis, Cris Carter, Deion Sanders and others.

And since it’s from Amazon, you’ll get it shipped to you for free if you’re an Amazon Prime member.

Not a member? Sign up for a 30-day free trial to take advantage of all that Amazon Prime has to offer, including access to Prime Video; fast same-, next-, or two-day free shipping with Prime Delivery; in-store discounts at Whole Foods Market, access to exclusive shopping events — such as Prime Day and Black Friday — and more.

Arcade1Up

Arcade1Up ‘NFL Blitz Legends’

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Equipped with a 17-inch LCD screen, Arcade1Up NFL Blitz Legends features four-player action with full-size joysticks and buttons, a light-up marquee and coinless operation for unlimited gameplay. It comes with a 13-inch riser to bring the arcade cabinet up to 5-feet tall in height.

Meanwhile, the arcade machine comes with three games loaded — NFL Blitz, NFL Blitz ’99 and NFL Blitz 2000: Gold Edition — for hours of football action. It’s even Wi-Fi-enabled, so you can play against other gamers online with multiplayer options and leaderboards for bragging rights.

The Arcade1Up NFL Blitz Legends Arcade Machine is on sale for $499.99, or $100 off its list price, at Amazon — that’s a 17% savings. In the meantime, watch a brief trailer for the arcade cabinet below:

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Want more deals? For more product recommendations, check out our roundups of the best Xbox deals, studio headphones and Nintendo Switch accessories.

Saddle up, BeyHive. Those rumors about a Beyoncé cameo in Verizon’s 2024 Super Bowl commercial just got a lot more serious.  Two days after first sending fans into a frenzy with a teaser seemingly hinting at the superstar’s involvement, the company has now dropped a second clip ahead of its highly anticipated Super Bowl ad […]

For Kansas City Chiefs and Philadelphia Eagles fans — and any football lover, really — last year’s Super Bowl LVII was a thrilling, down-to-the-wire classic. But as the game, airing on FOX Sports and tied at 35, cut to commercial break at the two-minute warning, tense viewers might’ve felt an unexpected wave of calm. The buttery-smooth lick from “Hungersite,” one of the most popular tracks by the exploding jam band Goose, played as the stressed visages of head coaches Andy Reid and Nick Sirianni gave way to ads.
“It was so surreal to hear our song during the Super Bowl,” Goose singer-guitarist Rick Mitarotonda tells Billboard. “We are very thankful to FOX Sports for supporting what we do and exposing so many bands in the genre to the masses.”

Goose posted the snippet to Instagram and reached out to FOX Sports to express its gratitude — all in a day’s work for Jacob Ullman, FOX Sports senior vp of production and talent development, and Jake Jolivette, a producer at the network. Through their production roles on NFL games, Ullman and Jolivette have caught the attention of astute listeners with secondslong jam band synchs — from titans like the Grateful Dead and Phish to cultier acts like Umphrey’s McGee and moe. — for the past several years.

Ullman, 50, saw his first Dead show at age 12 when his father took him to see the band at Southern California’s Irvine Meadows Amphitheatre in 1985. Jolivette, 49, got into the band as a Midwestern college student, attending his first show in 1992 (three years before Jerry Garcia died); his college years also coincided with Phish’s rise, and the Vermont band’s “communal” shows hooked him. “It’s almost like going to a live sporting event,” he observes.

Ullman began working at FOX Sports when the network launched in 1994, and Jolivette landed there a decade later. The former recalls the thrill of synching a jam-adjacent artist early on: When he integrated Dave Matthews Band’s “Tripping Billies” into a hockey broadcast in 1996, he was amazed “that you can collide your work life, your passion for sports and your passion for music in one place.” But FOX Sports wouldn’t become known for its sly jam band integrations until years later, after Ullman and Jolivette had both risen through the ranks and found themselves working together on NFL and NASCAR broadcasts.

For many viewers, the first clue that the FOX Sports edit bay might be tie-dye-friendly came during 2017’s Super Bowl LI, in a produced pregame video narrated by actor Ving Rhames introducing the competing New England Patriots and Atlanta Falcons. Jolivette used Audioslave’s “Cochise” for the Patriots — and Phish’s exuberant “Tweezer Reprise” for the Falcons. Phish frontman Trey Anastasio and the band’s former longtime road manager, Brad Sands, watched the show, and a screenshotted text thread between them circulated on jam-loving corners of the internet. (Sands said, “Falcons have to win now right?” and Anastasio agreed.) “I love ‘Tweezer.’ I love how it builds,” says Jolivette before adding with a chuckle, “Mind you, my editor hated the song — but I still got it in.”

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In 2018, FOX Sports inked a five-year deal with the NFL to air Thursday Night Football, and Ullman and Jolivette became heavily involved in the broadcasts. That’s when their jam band synchs really took off. “We’d sneak a couple of [songs] in there — all of a sudden, you’re getting texts,” says Jolivette with still-palpable amazement. “That’s when I figured out that this was something that was brewing that people could hear.”

When the pandemic hit, Ullman, who had hung out with the Grateful Dead’s Bob Weir at NASCAR events over the years, convinced the musician through his manager to record a solo performance of the national anthem for the late-March 2020 broadcast of an iRacing Pro Invitational simulated race. Later that year, Ullman and Jolivette’s colleagues Joe Carpenter (senior audio engineer) and Bryan Biederman (director) — fellow FOX Sports Deadheads who work on the network’s MLB broadcasts — integrated a slew of Dead songs into the 2020 World Series. Sensing the public’s interest, FOX uploaded a supercut of the synchs — among them “Shakedown Street,” “Sugar Magnolia” and “Althea” — to its social media, with corresponding game footage nested within the band’s iconic “Steal Your Face” logo.

“Between that and what we were doing on Thursday Night Football, that year was probably where a lot of this exploded,” Ullman says. It was a feedback loop of sorts: The more FOX Sports integrated jam bands, the more positive reinforcement it received.

Still, in the tricky world of TV licensing, the network’s ’heads need supportive — or at least tolerant — colleagues to facilitate clearances. For that, they work with a team that includes vp of music Nicole de la Torriente-Nelson, who leads negotiations with publishers and labels, and associate director Yvonne Wagoner, who prepares approved playlists for broadcast teams. Wagoner collaborates with crews to construct eclectic playlists — an amalgam of current hits, old classics, songs for specific situations like scoring and situational matches for game location and weather — and solicits requests. While some core songs remain throughout a season, there’s also turnover, and Wagoner refers potential new songs to de la Torriente-Nelson and her colleagues, who secure the applicable rights. Licensing terms vary, but songs are often cleared for a season’s entirety, with fees paid out on a per-use basis (the higher-profile the game, the higher the synch rate).

Take FOX Sports’ week 15 Buffalo Bills-Dallas Cowboys broadcast. Jolivette wanted to use a song by Buffalo jam band moe. for the Bills home game, so he asked Wagoner to clear the group’s “Happy Hour Hero.” She passed along the request to de la Torriente-Nelson, whose team secured the rights, and Jolivette and senior audio mixer Jamie McCombs — not a jam fan per se, though he admits Jolivette has “turned me on to some really good stuff” — prepped the few seconds that would ultimately air. Late in the first quarter of the Dec. 17 game, with the Bills up 7-0, “Hero” led into a commercial break. Watching was moe. guitarist Al Schnier, who posted a video of his TV screen to Instagram with the caption “Bills + moe. + winning = Happy Hour Hero.”

Integrations like that really are by jam band fans, for jam band fans. Ullman’s team doesn’t feel bound to the Dead or Phish, or even to the most popular tracks in their respective discographies; in the Jan. 14 Dallas Cowboys-Green Bay Packers playoff game, FOX Sports used the Dead’s “Saint of Circumstance” and Phish’s “Axilla,” hardly the best-known songs by either group. Jolivette and his colleagues seek out the best secondslong snippets, wherever they may come from. As he explains of “Saint of Circumstance,” “The part we use, it hits. If you’ve seen that in concert, you know that’s one of the great transitions. That, to me, is what makes that a great song to use.”

And in the ultimate validation of their work, one of their heroes is returning the fandom. “When you think about it, the music we make isn’t unlike a sporting event,” Weir, who was spotted with the FOX Sports team on the sideline at January’s NFC Championship game, tells Billboard. “On a good night, you don’t really know where it’s going to go — and getting wherever it’s going is going to be different every time to boot.”

This story will appear in the Feb. 10, 2024, issue of Billboard.

It’s no surprise that superstar Post Malone loves Bud Light: “I’m the tip of the spear when it comes to consumption,” he says of the brand through an audible smirk.
Which is why it’s also no surprise that Posty will star in Bud Light’s Super Bowl commercial for his third year in a row. “Maybe it will become a tradition and we just do one every year until everyone is sick of seeing me,” he questions aloud.

“I feel very handsome in this one,” he adds, noting how this commercial feels different from his previous two. “I’m going for a Clooney vibe. You know, Clooney is a little older, but he’s still a total stud. And I think, hopefully God willing, that’s what happens to me. Because I’ve been such an awkward looking dude forever, so maybe I’ll get the Clooney effect. Maybe it’ll be me and Clooney for the next Bud Light ad.”

And yet, he jokes that the team behind the commercial wouldn’t let him in their creative meetings. “They said my ideas were too epic,” he recalls.

He’s not wrong. When speaking of his long-standing fandom of the brand, another idea rolls right out: the beer blankie. 

“I remember at the legal age of 21 I enjoyed [my first Bud Light] and I was like, ‘You know what? This is my deal. It makes me feel comfortable.’ And ever since then, it’s been kinda like my beer blankie. I still have my blankie, too. So it’s kinda like that … Me and Clooney with a beer blankie – that’s the next commercial.”

Despite being a Bud Light commercial veteran at this point, Post will also experience a major first during Super Bowl weekend: attending the big game. Post is one of three pregame performers, along with Reba McEntire and Andra Day, who will be singing the national anthem and “Lift Every Voice and Sing,” respectively.

As for Posty, he’ll be tackling “America the Beautiful.” And while he’s never performed the song publicly before, he reveals, “I sing it all the time, like, randomly in my most patriotic moments. It’s a song that’s always in the back of my head, and if I’m playing games or just walking around, I’ll sing it at the top of my lungs. So I’m very excited – and I’m definitely 100 percent not nervous at all to sing it in front of millions of people at the Super Bowl.”

He says he and longtime collaborator Louis Bell, along with others, have been making tweaks to how he will perform the classic, saying fans can expect a bit of country twang. “I’m just gonna sing my heart out the best I can and give America – no matter how s—-y it is – the love [this song] deserves.”

And while his beloved Dallas Cowboys will not be competing on Super Bowl Sunday, Post plans to represent them by wearing a “beautiful vintage bomber jacket signed by Tom Landry [the Cowboys’ first head coach]. I won’t be the only one there in a Cowboy’s jersey – because we know who’s supposed to be there. We got it next year.”

Until then, if he had to pick, he says he’ll be rooting for the Kansas City Chiefs – only because he has a KC tattoo – “not for any other reason … Pat [Mahomes] and Travis [Kelce], they’re great guys. A lot of great guys on both teams. But everyone in America knows who’s supposed to be there.”

Watch his Bud Light commercial below.

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In 2020, Shakira and Jennifer Lopez co-headlined the Super Bowl LIV Halftime Show. Each artist performed a medley of their biggest hits, while the former invited special guest Bad Bunny and the latter invited J Balvin. The two superstars closed off their energetic set by joining forces on Lopez’s “Let’s Get Loud” and Shakira’s World […]