From career milestones to new music releases to major announcements and those little important moments, Billboard editors highlight uplifting moments in Latin music. Here’s what happened in the Latin music world this week.

J Balvin Visits Young Fan Maité in Pereira, Colombia

On a reel posted to Instagram on Tuesday (March 31), J Balvin surprised Maité, a young girl from Pereira whose story went viral on social media, following his sold-out concert at the Hernán Ramírez Villegas Stadium. Maité, who lives with a visible physical condition affecting her hands, captured hearts with her beaming positivity as she gave the superstar a tour of her home, as seen in the clip. “I’ve been wanting to come to this house for a while. I really enjoy discovering, appreciating, and learning,” said the hitmaker in the video. The reggaeton star learned more about her family’s living conditions and announced plans to assist with the complete renovation of their house. In the meantime, Maité and her family will move into a fully furnished apartment.

The moment was facilitated by the Colombian anonymous content creator, Camilo Cifuentes, known for his social work supporting vulnerable communities, such as small street vendors and homeless individuals. Watch the heartwarming moment with J Balvin, the young girl and her family below.

Ela Taubert Shares Her Career Journey in GRAMMY U Session

In collaboration with The Recording Academy, GRAMMY U’s Florida Chapter hosted an “Up Close & Personal” session with Colombian star Ela Taubert on Wednesday (April 1), giving members an chance to engage directly with the Latin Grammy-winning singer-songwriter. During the hour-long panel, moderated by Colombian-American artist Alemor at Studio 26 in Miami, Ela Taubert shared reflections on her artistic journey, and the evolution of her sound, offering advice to young professionals in the music industry. The 2024 Best New Artist winner capped the GRAMMY U session with an intimate acoustic performance of her introspective pop single “La Gente Cambia” released last month, and her hit song “¿Cómo Paso?”

“I started doing three videos a day, and I was studying and working at the same time. I kept doing that for three months, and nothing happened, I was frustrated,” Taubert said during the panel. “One day, I remember seeing this video have 50,000 views. But for me, the message was trust yourself and trust the process, and don’t get frustrated if nothing happens right away. For me, that’s the key to success.”

Guaynaa Joins The Latin Music Explosion Panel at Berklee College of Music

On Monday (March 27), the Latin Management Club and the Career Center at Berklee College of Music hosted a panel titled The Latin Music Explosion, highlighting the global rise of Latin music. Moderated by Professor Marus, the event featured Puerto Rican star Guaynaa, Grammy-winning producer Manuel Lara, and Live Nation executive Jorge Garcia. Guaynaa, best known for his hits such as “Rebota” and “Chicharrón,” shared his music journey and career insights.

“I was working at a shopping center selling phones and phone covers when I had my first hit that went viral. I was identifying the necessities of the music and of the market and I delivered a way to satisfy it,” said Guaynaa during the panel. “I started surrounding myself with people with the same hungry — the same desire of making something happen for the culture. At some point, [I] started realizing that it’s not about the likes or the recognition but more about how you impact the culture.” Watch clips from the panel below in the carousel.

Peach PRC has released her debut album Porcelain, marking a major milestone for the Australian pop artist following the breakout success of her earlier releases.

Arriving April 3, the full-length project introduces a more expansive body of work from the singer-songwriter, who first gained widespread attention with her 2023 EP Manic Dream Pixie. That release debuted at No. 1 on the ARIA Albums Chart and helped establish Peach PRC as a rising voice in alt-pop, with a growing global streaming audience.

The album’s release is accompanied by a new single, “Hold It for Her,” alongside an official music video directed by Tom Carroll. The track was written and produced in Los Angeles with Harry Charles, whose previous collaborators include Tate McRae, Dove Cameron and King Princess. Lyrically, the song explores themes of anticipatory grief, with Peach PRC framing the concept as emotional moments passed between versions of herself over time.

Porcelain features contributions from a range of producers and songwriters across the pop landscape, including Konstantin Kersting, Larzz Principato, Space Primates, Ryan Linvill and JBACH. The album builds on Peach PRC’s signature blend of diaristic lyricism and polished pop production, while expanding her sonic palette with electronic influences.

The release also arrives as part of a broader rollout that includes a one-night-only launch event in Sydney. Scheduled for April 8 at The Calyx in the Royal Botanic Gardens, the event is presented in partnership with Pandora and will feature an intimate Q&A and live performance. Attendees will also receive a custom-designed Pandora charm tied to the album’s visual and thematic world.

Since her emergence, Peach PRC has built a dedicated fanbase through her candid songwriting and distinctive aesthetic, often addressing themes of identity, relationships and mental health. The success of Manic Dream Pixie positioned her as one of Australia’s most prominent new pop exports, and Porcelain represents her first full-length statement.

Ben Platt and Rachel Zegler have announced the upcoming release of The Last Five Years (25th Anniversary Live at the London Palladium), an official live recording of Jason Robert Brown’s acclaimed musical, set to arrive April 20 via Atlantic Records.

The news was revealed during bows at the Hollywood Bowl, where the two stars surprised audiences by confirming the project from the stage. Pre-orders and pre-saves for the album became available immediately following the announcement, marking the latest milestone in the musical’s 25th anniversary celebrations.

Captured during a sold-out concert residency at London’s historic Palladium from March 24–29, 2026, the recording documents Platt and Zegler’s performances in the special anniversary staging of the beloved two-character musical.

The production was conducted and directed by Brown, the Tony Award-winning composer behind Parade and The Bridges of Madison County, and brings a symphonic scale to the show’s intimate storytelling.

First premiering in 2001, The Last Five Years has long been regarded as a modern musical theater staple. The story follows two New Yorkers navigating a five-year relationship, told through an unconventional structure in which Cathy’s narrative unfolds in reverse chronological order while Jamie’s moves forward in time. The show has maintained a devoted following for its emotionally direct songwriting and distinctive narrative format.

The newly announced live album aims to capture the dynamic between Platt — a Tony, Grammy and Emmy winner known for his role in Dear Evan Hansen — and Zegler, a Golden Globe-winning actress whose recent credits include West Side Story and The Hunger Games: The Ballad of Songbirds & Snakes. Their pairing has been a central draw of the anniversary production, which quickly sold out its London run.

The 25th anniversary celebration will continue with two additional performances at New York City’s Radio City Music Hall on April 6 and 7, both of which are also sold out. Those shows mark the final performances of the concert staging.

The release continues Atlantic Records’ long-running involvement in major musical theater recordings, following titles such as Hamilton, Dear Evan Hansen, and Jagged Little Pill, all of which earned Grammy Awards for best musical theater album.

The Last Five Years (25th Anniversary Live at the London Palladium) is scheduled for release April 20.

In the fourth week of Live Nation’s antitrust trial, key defense witnesses took the stand as the concert giant continued to make its case to the jury — and the company also accused its biggest competitor of using underhanded tactics to prevent a key witness from testifying.

You’re reading Billboard’s weekly Live Nation trial recap, a weekly one-sheet of everything that happened in the monopoly case against the concert giant. Stay tuned here each Friday for all the testimony and big events you might have missed.

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WHAT HAPPENED: After the state attorneys general wrapped up their case last week, Live Nation continued presenting its own case to the jury this week — trying to persuade them to reject the narrative that the company is an illegal monopolist that bullies music venues into using Ticketmaster.

The blockbuster trial has been chugging along in Manhattan federal court since early March. It was initially led by the U.S. Department of Justice, but the feds reached a settlement with Live Nation a week into the trial. New York, California and dozens more states said that deal wasn’t strong enough and have moved ahead with the trial, with the goal of breaking up Live Nation and Ticketmaster.

This week was a relatively short one in the trial, with no jury testimony on Wednesday (April 1) or Thursday (April 2) as the judge and the parties dealt with legal issues. The trial will continue Monday (April 6), with the potential for closing statements and the start of jury deliberations at some point in the next week.

WHO TESTIFIED: Weeks after the ex-boss of Brooklyn’s Barclays Center testified that he believed Live Nation had threatened to withhold major artists if the venue switched from Ticketmaster to SeatGeek, the arena’s current top exec took the stand and pushed back on that story.

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Laurie Jacoby, CEO of Brooklyn Sports & Entertainment, testified Tuesday about problems during SeatGeek’s tenure as the venue’s ticketer, including with on-sales for concerts by The Strokes and My Chemical Romance, according to Inner City Press. She told jurors those issues made it hard to attract and retain acts, which was what ultimately prompted the venue to switch back to Ticketmaster.

Other Live Nation witnesses similarly countered earlier testimony. In the first week of the trial, an exec at the NHL’s Minnesota Wild told jurors that he’d stuck with Ticketmaster because he feared the “catastrophic” problem of losing Live Nation concerts. But on Monday, as reported by MLex, an official at the NHL’s Washington Capitals testified that Ticketmaster is a “great business partner.”

“Their professionalism and the way they treat partners is outstanding,” said Jim Van Stone, president of business operations at Monumental Sports & Entertainment, which also owns the NBA’s Washington Wizards and D.C.’s Capital One Arena. “Ticketmaster … that has met all our needs. We believe in the fact that an exclusive relationship [with Ticketmaster] is better for us.”

Also testifying this week was expert witness Eric Budish, a University of Chicago professor, who said Ticketmaster has a genuine competitive edge against rival ticketing services, per MLex. But during cross-examination, he also admitted to having been paid more than $1 million by Live Nation for his services as an expert economic witness in the case.

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Perhaps the biggest fireworks of the week came not in the form of live testimony to the jury, but in legal filings to the judge. In a scathing motion filed Thursday, Live Nation demanded sanctions (judicial punishment) against the states over accusations that AEG had secretly supplied them with a “dossier of personal information” about a former employee, which they then exploited to prevent him from testifying.

“This blatant attempt to dissuade a witness from providing truthful testimony through intimidation is intolerable,” Live Nation’s lawyers wrote, asking the judge to inform jurors that AEG and the states have been “closely coordinating” and that they had tried to suppress testimony that AXS was “never of comparable quality to Ticketmaster.”

WHY IT MATTERS: Jacoby, Van Stone and Budish’s testimony goes to the very heart of Live Nation’s defense: That it has secured its massive market share over the past 15 years not through anti-competitive behavior, but by simply being better than its rivals.

Threats to Barclays Center if it went with SeatGeek? No, Jacoby said — Ticketmaster was just the better ticketing option for the arena. Improper use of exclusivity contracts to make it harder for venues to switch? No, Van Stone said — exclusivity is just what some venues themselves prefer.

The sanctions motion serves that same argument. Live Nation alleges that the reason AEG and the states went to such lengths to suppress the ex-employee’s testimony is because it would have shown that AEG’s AXS ticketing system was simply not as good as Ticketmaster — something Live Nation says would “fundamentally undermine plaintiffs’ case.” If granted, it would send a powerful message to jurors that the government was worried that argument might succeed.


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Longtime YouTube executive Tuma Basa, who most recently served as the company’s director of Black music & culture, has announced his departure after eight years at the streaming giant.

“After eight great years at YouTube, I’m taking a leap of faith and stepping into my next chapter,” Basa wrote in an Instagram post on Thursday (April 2). “Thank you to the Music Team at YouTube, the leadership, the artists, the managers, the labels, the producers, the continents, the city specialists, the uploaders and YouTubeLovers and even the Gen AI haters that made this run.. a great run. Murakoze Cyane, Asante Sana, Siyabonga, Amesegenalew, Gracias, Obrigado, Merci Beaucoup.”

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Basa was born in Zaire (now Congo) to a Rwandan family, but spent his childhood in Iowa after his father entered the graduate studies program at the University of Iowa; he then relocated to Zimbabwe as a teenager. During his tenure at YouTube, which he joined in 2018 as director of urban music, Basa became known for spotlighting African artists, including Nigerian star Burna Boy, and helping fuel their growth in the U.S.

Initially harboring aspirations to start a rap career under the name B.2ma B., Basa eventually pivoted to the executive track and landed music programming roles at BET, MTV and REVOLT. In 2015, he joined Spotify, where he served as global programming head of hip-hop. While at the streaming giant, he rose to prominence in part for curating the service’s popular Rap Caviar playlist.

Billboard reached out to YouTube for comment on Basa’s departure.


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When Justin Moore’s current single “Time’s Ticking” first debuted on Billboard’s Country Airplay chart 67 weeks ago, Joe Biden was still president, people were leaving for the 2024 Christmas holidays, and Sonic the Hedgehog 3 was the No. 1 film at the domestic box office. The song debuted at No. 59 on the 60-position chart dated Dec. 28, 2024 (which published on Dec. 20, 2024).

“Time’s Ticking” finally reached the No. 1 spot on the Country Airplay chart dated April 11, 2026 (published on April 3), setting the record for the longest ascent in the chart’s 36-year history. It’s Moore’s 11th chart-topper and his first since he took “With a Woman You Love” to the summit in September 2022. That song took a comparatively speedy route, reaching the pinnacle in 45 weeks.

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While Moore’s “Time’s Ticking” set the record for the longest climb, it is hardly the only song that had taken months and months to reach No. 1. In fact, of the more than 900 songs that have reached No. 1 on the Country Airplay chart since its inception, 15 other songs have taken at least a year to hit No. 1. Interestingly, that have all been since 2020. Two artists have two songs in the list.

On the other end of the spectrum? Only two songs have debuted at No. 1 on the Country Airplay chart and the first one technically doesn’t count. Clint Black’s “Nobody’s Home” was No. 1 the chart dated Jan. 20, 1990, the week the chart originated. The only song to hit No. 1 the first week it was released belongs to Garth Brooks with “More Than a Memory,” which debuted at No. 1 on the chart dated Sept. 15, 2007.

Below, in descending order, are all the songs that have taken more than a full year to reach No. 1.

A$AP Rocky teamed up with Amazon Music for the latest installment of their Songline series, which arrived Friday (April 3).

The Live From New York film finds Rocky performing eight tracks, most of whch landed on his 2026 Don’t Be Dumb album, while combining his high-octane energy, opulent taste and visionary creativity on set.

The 40-minute flick was originally streamed Jan. 18 in celebration of Yams Day, as Rocky paid tribute to the late A$AP co-founder A$AP Yams, who died in January 2015.

Rocky’s set ran through Don’t Be Dumb opener “Order of Protection,” “Helicopter,” “Stole Ya Flow,” “SWAT Team,” “Punky Rocky,” Testing‘s “A$AP Forever,” “Stay Here 4 Life” and “Don’t Be Dumb.”

“I think this intro had this majestic way that it was layered. Made me feel like this is intro-appropriate. Out of the palette, which one stands alone,” Rocky said of “Order of Protection.” “Intros could be interludes or outros, if it checks all those boxes, but still has that significant feeling, there you have it.”

Rocky leaned on filmmaker Tim Burton and film composer Danny Elfman to help build out the world surrounding Don’t Be Dumb. He gave a look into his creative process with the decorated cinephiles.

“When working on this album initially we were putting a lot of [Danny Elfman’s] films he did in collaboration with Tim Burton on the TV monitors in the studio,” Rocky explained. “We would sometimes mute and unmute them to get a depiction of how we wanted to layer and color and how we wanted to start building the tone of the album.

He continued: “I was creating a world and was like, ‘Why not reach out to the man himself?’ We reached out to him and he turned out to be a dope-a— fella and he exceeded all of our expectations.”

Don’t Be Dumb arrived in January and served as Rocky’s first album since 2018’s TESTING. The project notched the Harlem rapper his third No. 1 album atop the Billboard 200 with 123,000 equivalent album units in the United States in the week ending Jan. 22, according to Luminate.

Watch Live From New York City below.

Morgan Wallen says he’s working on new music.

During his SiriusXM concert at The Pinnacle in Nashville on Thursday night (April 2), Wallen spoke with SiriusXM‘s Cody Alan and noted that he’s working on some new tunes.

When asked about a recent Instagram post Wallen had made, in which Wallen wrote that it was “about time I come out of hibernation for a bit,” Wallen responded, “Hibernation’s probably not the best word I could’ve used. I worked a lot. I’ve been hanging out with my son, making music, and that’s about it.”

Wallen described where he’s at in the process of making new music, saying, “I’m still in the early stages with it,” but noting he’s still promoting his current album I’m The Problem, which has been certified four times Platinum by the Recording Industry Association of America (RIAA).

“I don’t know exactly what I’m going to do as far as this album. I think I’m on seven or eight singles right now, so it’s probably nearing the end for this album. I’m trying to figure that out. I’m at a place to where I’ll start showing little sneak peeks soon,” Wallen said.

Wallen’s current single from I’m the Problem, “Don’t We,” is in the top 30 on Billboard‘s Country Airplay chart. On April 10-11, he’ll launch his massive Still the Problem tour with two shows slated for Minneapolis at U.S. Bank Stadium that weekend.

Wallen’s SiriusXM concert saw the four-time Billboard Hot 100 chart-topper performing an intimate show in front of 4,000 SiriusXM subscribers, playing hits including “I’m the Problem” “I Had Some Help,” and welcoming Ella Langley for a rendition of “Sand in My Boots,” in celebration of his new SiriusXM 24/7 radio show, Morgan Wallen Radio, which launches April 7.

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From 68 teams to the Final Four, the 2026 March Madness tournament is nearing its conclusion. However, before an NCAA college basketball champion is crowned, four teams must make it through a highly-anticipated semifinal round. Tipping off this weekend, No. 2 UConn will face No. 3 Illinois before a No. 1 seed showdown between Michigan and Arizona taking place on Saturday, April 4.

How to Watch the March Madness Final Four, At a Glance:

With zero perfect brackets remaining, the March Madness tournament has been a surprising thriller so far. With the first few rounds over, college basketball fans have witnessed their share of major upsets, including No. 9 Iowa knocking off No. 1 seed and defending champions Florida, No. 12 High Point stunning upset over No. 5 Wisconsin and No. 11 Texas defeating No. 3 Gonzaga. Top seeded Duke almost made it to the Final Four before UConn freshman Braylon Mullins hit a 35-foot buzzer-beater to send them home.

Now, Michigan and Arizona are the last remaining No. 1 seed teams and they have to face each other this weekend. Who will win? Who will have the next major upset? Who will take home the coveted NABC National Championship Trophy? You’ll have to tune into the Final Four find out.

Keep reading on for our guide to watching March Madness and learn about how you can take advantage of a few free trials to watch all the college basketball you want without paying a dime.

Where to Watch Every 2026 March Madness Games Online:

Watching March Madness can be tricky, but with our guide basketball fans can choose the right streaming platform to watch their favorite teams play. Fans can take advantage of multiple streaming services that offer free trials, so you can stream the college tournament for free. Signing up to streamers like DirecTV, Hulu + Live TV and Sling TV, you can get right into the Final Four action.

NCAA March Madness 2026: How to Watch Every Final Four Game Online

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DirecTV

Get access to CBS, TBS, TNT, and truTV.


DirecTV is offering a five-day free trial, which will let you watch CBS, TBS, TNT, and truTV for free. The Entertainment and Sports Programming Network is included in all of the streaming packages. In addition to unlimited DVR storage, you’ll get access to local channels and the ability to stream on as many devices as you want.

Another great option for fans to watch the Final Four is on Sling TV. The streaming services offers three different packages to choose from, such as Orange, Blue and Orange + Blue. The Orange Package is tailored for sports and family channels, while the Blue package has a focus on news and entertainment channels. However, both come with TBS to watch March Madness games online and start at $45 per month. If you want best of both worlds, users can combine both packages and get everything Sling has to offer.

Please note: Pricing and channel availability varies from market-to-market.

NCAA March Madness 2026: How to Watch Every Final Four Game Online

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Hulu + Live TV


For the most content options, Hulu + Live TV gives you access to the entire Hulu library in addition to more than 95 live TV channels — including CBS, TBS, TNT, and truTV for just $82.99 per month.

And, unlike the rest of the options, you can also expand your content library by bundling Hulu + Live TV with Disney+ and ESPN Unlimited. You’ll not only have all of the Hulu library to watch, but also exclusive and original programming available exclusively on ESPN Unlimited.

Max has multiple subscription tiers: ad-supported, commercial free and ultimate ad-free. Max’s paid subscriptions start at $10.99/month for the basic ad-supported streaming, or $18.49/month to watch ad free. With HBO Max you can watch each channel broadcasting March Madness games, including CBS, TBS, TNT, and truTV.

The Premium ad-free package is $22.99 per month and includes 4K Ultra HD quality, 100 downloads to watch on the go and you can stream on up to four devices at once. You can also bundle Max with Hulu and Disney+ for $19.99/month for ad-supported streaming on up to two devices at once and $32.99/month for ad-free streaming.

Here’s the Remaining 2026 March Madness Schedule:

Don’t want to miss a game? We’ve compiled the full Final Four schedule for March Madness below, include dates, times and channel broadcast.

Saturday, April 4 (Final Four)

  • 6:09 p.m. – No. 2 UConn vs. No. 3 Illinois (TBS/TNT/truTV)
  • 8:49 p.m. – No. 1 Michigan vs. No. 1 Arizona (TBS/TNT/truTV)

Monday, April 6 (National Championship Game)

  • 8:50 p.m. – UConn/Illinois vs. Michigan/Arizona (TBS/TNT/truTV)

Where to Buy 2026 March Madness Tickets Online

Want to cheer on your team in person? Here’s where you can find 2026 March Madness tickets available at StubHub, Vivid Seats, SeatGeek and Gametime.

Radio conglomerate Urban One is asking a court to throw out Brian McKnight’s defamation lawsuit over broadcasts on The Rickey Smiley Morning Show and a North Carolina local station.

A lawyer for the network says in a Friday (April 3) motion to dismiss that the R&B singer has no legally viable claims for defamation. The January lawsuit took issue with programs on two Urban One affiliates last year: his ex-wife’s appearance on the North Carolina-based satellite station FOXY 107.1, and Rickey Smiley’s excerpted rebroadcast of an interview given by the musician’s son.

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The FOXY 107.1 appearance in January 2025 featured Julie McKnight, who was married to Brian from 1990 to 2003. Julie, who was promoting her book Mama Bear: Beautifully Blended, stated during the interview with FOXY’s Karen Clark that Brian was “negative” during their late son Niko’s cancer treatment, and that she and her children had “stepped away” from the singer due to harmful behavior.

Friday’s motion argues that Urban One can’t be held liable for anything said by Julie, who has never been an employee of the network. And nothing that Clark herself uttered during the interview rises to the level of defamation, says Urban One’s attorney.

“The Ms. Clark statements identified by plaintiff cannot reasonably be interpreted as stating actual facts about plaintiff,” writes Lauren Nichols of the firm Troutman Pepper Locke. “The alleged ‘defamatory statements’ are not truly factual statements — most are merely questions. And any statement not solely a question, is at most an expression of opinion.”

According to Urban One, Brian fares no better in bringing a defamation claim over Rickey Smiley’s December episode featuring clips from an outside interview given by his son, Brian McKnight Jr. In these clips, the younger Brian said his father refused to tell Niko he loved him before Niko died from cancer.

Urban One says these claims fail, too, because Brian “does not identify any specific statements or content from this video that plaintiff asserts are defamatory.” Plus, the company notes that because Brian is a public figure, he has to meet the higher burden of showing that someone intentionally lied (a standard known as “actual malice”) in order to advance the case forward.  

“Even assuming the statements made by Urban One were indeed statements of ‘actual fact,’ not opinion/hyperbole, and could be defamatory (they cannot), plaintiff does not allege any facts that Urban One knew, or should have known, the statements were false or that any statements were made with a reckless disregard for the truth,” reads the dismissal motion.

Urban One is urging a federal judge in Raleigh, N.C., to toss the lawsuit outright before any evidence discovery or trial. Brian’s attorney did not immediately return a request for comment on the motion.

The R&B singer, known for chart-topping songs like “Anytime” and “Back at One,” has been on somewhat of a defamation lawsuit spree since Julie published Mama Bear at the beginning of 2025. He has pending libel claims against his ex-wife for passages of the book that characterize him as emotionally abusive and neglectful towards their children.

Brian also sued singer/songwriter Jaguar Wright last year over a slew of Instagram videos stating that he was physically abusive to Julie as well as to sex workers during their marriage. Brian denies all claims of mental or physical abuse.


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