Brian Austin Green is putting MGK (formerly Machine Gun Kelly) on blast.

The Night They Came Home actor took to his Instagram Stories this week, where he shared a screenshot of a DM with the “Bloody Valentine” singer, according to People. “Stop asking when our child is gonna be born. you the FEDS 🐀👮‍♂️,” Kelly wrote to Green in the DM, referring to his upcoming baby with Megan Fox. “Quit calling TMZ and focus on that apology you owe me for speaking my name in public.”

“You chose the wrong one to f— with mr child actor. go back to cereal commercials,” he added. In response, Green wrote over the message, “😂😂😂😂 I didn’t know ‘child actor’ was something bad.”

“Leo, careful,” he added, in reference to Leonardo DiCaprio, another child actor. “He may be coming for you next 🤣🤣🤣🤣.”

Green, who shares sons Noah, Bodhi and Journey with ex-wife Fox has a history of sharing his opinion about MGK. “Bro. Just be honest for once in your life. Stop caring so much about how you’re perceived that you will try and drag other people,” Green reportedly wrote in February in a since-expired Story in reaction to a headline that said MGK was trying to downplay reports that things were not good between him and Fox.

MGK and the Jennifer’s Body actress began dating in 2020 after meeting on the set of Midnight in the Switchgrass, and the couple got engaged in early 2022. In November 2024, Fox announced that she was pregnant, sharing a photo of her baby bump as well as a picture of her positive pregnancy test on Instagram and writing, “nothing is ever really lost. welcome back 👼🏼❤️.” She also tagged MGK in the post. By December, the couple had reportedly broken up.

Green had previously counseled Kelly to “grow up, she’s pregnant” after news broke that he and Fox had split a month after announcing their baby news.

With her bubbly charm, dazzling aura and universal appeal, Selena Quintanilla revolutionized the Tejano genre in the ‘80s and ‘90s by lacing her authentic Mexican roots with bold new sounds such as R&B, pop, dance and rock. Known as the Queen of Tejano, she shattered ceilings in a genre that was dominated by men, and made history along the way. After earning four of her eventual seven No. 1 Hot Latin Songs hits in 1994 — “Donde Quieras Que Estes,” “Amor Prohibido,” “Bidi Bidi Bom Bom,” and “No Me Queda Más” — the Mexican-American powerhouse was well on her way to a major mainstream crossover before she was tragically shot dead on March 31, 1995, at the age of 23.

However, her music has stood the test of time — and, throughout the years, she’s influenced a new generation of hitmakers, making her a bona fide Latin icon in pop culture 30 years later. As a testament to her enduring legacy, Mexican-American artist Becky G speaks with Billboard about her love and admiration for Selena, and how she’s influenced her own career. Read her heartfelt as-told-to essay below:


I was born in 1997. That was two years after Selena’s passing. 

My mom actually remembers when they were doing the casting calls for the movie…she actually wanted to audition. Everyone loved Selena and identified with her. Having such a young mom, she naturally played for me the music she would listen to. I may not have vivid memories of Selena, but this is the way she was introduced to me. I even have baby videos listening to her music. She’s always been a part of my life. 

She’s influenced my career in so many ways. As a performer, she represented so much more than just herself. She started building a bridge for the 200 percenters like myself, who [are] no eran de aqui ni de alla (neither from here nor from there). Growing up, that identity crisis used to feel like such a curse for me. I felt that I wasn’t enough, and I felt that I had to sacrifice parts of myself to be accepted on this or that side. What Selena embodied was authenticity. She was so authentic in her sense of humor, the dreams that she had, and the way she connected with her family and fans. That’s something that we, as fans, crave today from our favorite artists, but it’s a lot easier said than done. 

At Coachella in 2023, I decided to pay tribute to her. A part of me does it for Little Becky, because I think what Little Becky saw in Selena was that dreams can come true, and it’s almost a celebration of being here and of her. First and foremost, I think it’s important that we recognize who came before us, and for me, it’s a beautiful thing to pay respect to the people you know you wouldn’t be here without. I truly feel that I wouldn’t be here without Selena. 

Throughout the years, I’ve been very blessed to have had many, many loving interactions with the Quintanillas. Suzette even became a pretty good friend of mine. This last tour that I was on, she came to see it, and she’s always been super supportive. I actually met [her] mom and dad at the Fiesta de la Flor Festival in Corpus Christi, and I’ll never forget that her dad couldn’t believe that I was going to perform without a band. I was just getting started! It’s always one of those things that he would tease me about. It’s been really cool to keep up with them. They’re truly dedicated to continuing her legacy, and I admire that about them. 

Now, going back to the word authenticity, she represents something that still resonates and is relevant today, which is that 200 percent identity. You should always be yourself no matter what, pochos and all! I feel that from the way she showed up in interviews to the way she did some of her most iconic performances to personal stories you hear from her loved ones, there was a common thread: it was her genuine kindness.

As an artist, you are overworked, you are depleted of your energy… but when you’re meant for it, you really do it with gratitude. Selena lived in abundance and was always giving back to the community, and always had the best of intentions. So many artists throughout the years since her passing may have reminded us of her essence, but there will never be another Selena. She was one of a kind — and that’s what makes a true superstar. Selena’s legacy is to admire, to respect, and to continue protecting, because she’s a light to so many of us. 

Carlos Santana likes to ascribe metaphors to his music. And in the case of his new album, Sentient, that would be floral arrangements.

“When I go to the lobby in hotels in Europe, they always have these incredible flower arrangements,” the San Francisco Bay Area-based guitar hero tells Billboard. “They hire some people to come in and arrange the flowers in the lobby. That’s how this album was made — that’s how I make all my albums. I feel like a florist who is trying to combine the right colors and textures and create a beautiful ornament. That’s what Sentient is, an ornament of flower arrangements — colors, passions, textures, emotions.”

Variety is certainly the hallmark of the 11-track set, which comes out March 28 and is the follow-up to 2021’s Blessings and Miracles. It includes three previously unreleased tracks, while the rest are remastered songs drawn from various points in Santana’s career, including collaborations with friends living (Smokey Robinson, Darryl “DMC” McDaniels and his wife Cindy Blackman Santana) and deceased (Michael Jackson, Miles Davis). The selections might appear random, but Santana promises there’s a unity when they’re brought together.

“The theme of the story is to bring God out of people,” he explains. “There’s too much fear, there’s too much anger, too much harmony. There’s too much doubt, and the opposite of compassion. I’ve played music since the beginning — and now more than ever — to bring kindness, compassion, generosity, gratitude and divine attributes…elements to take make this world and life more delicious. I trust and believe that God wants something incredible for me to share with people, and that thing is to remind everyone that everyone is worthy of their own divinity and their own light. That’s the message.”

He adds that featuring collaborations with some of his late friends (“Whatever Happens” from Jackson’s 2001 album Invincible, “Get On” and “Rastafario” with Davis from their collaborations with Italian pianist Paolo Rustichelli for his 1996 album Mystic Man) help illustrate that idea.

“Miles Davis is not here and Michael Jackson’s not here, but they’re in my heart, and it makes me very grateful,” Santana says. “I learned very well from them. I am one of them. It may sound a little this or that, but I’m immortal like them. Like Bob Marley and Bob Dylan, I am here to do the same thing they’re doing, which is to invite people to have a deep sense of self-worth, to look at yourself in the mirror and say ‘I am worth God’s grace. I can create blessings and miracles myself, with my grace.’ That’s the highest thing you do as a musician, to bring God out of people instead of the devil.”

Other tracks include “I’ll Be Waiting” from the Santana band’s Moonflower live album in 1977 and the title track from 1987’s Blues For Salvador, which netted Santana his first Grammy Award, for best rock instrumental performance, the following year. “Please Don’t Take Your Love,” meanwhile, is an earlier take of a track from Robinson’s 2009 album Time Flies When You’re Having Fun, while “Coherence” is a trio track with Blackman Santana and bassist Matt Garrison that’s intended as a preview of the drummer’s own next album.

Santana invokes Jackson again in an unreleased instrumental version of his “Stranger in Moscow,” which Santana recorded with Narada Michael Walden and his band during a club gig in San Rafael, Calif. “We played that on the spot, no rehearsal, and it felt really good,” Santana says. “I had been listening to that particular song for awhile. When I play ‘Stranger in Moscow’ I become Michael Jackson. My fingers become Michael Jackson; I was imagining how he would phrase, how he would sing it, so my guitar became his voice and I learned how to articulate the language, the phrasing. I learned all this from Aretha Franklin, because I play that album, Lady Soul, over and over. I play that album so much I learned the bass, the drums, how to hear her voice.”

After Sentient‘s release Santana will begin a nine-date Oneness Tour beginning April 16 in Highland, Calif., and wrapping May 1 at the New Orleans Jazz & Heritage Festival. His next residency at the House of Blues Las Vegas runs May 14-25, and a European Oneness Tour leg begins June 9 in Poland and runs through Aug. 11 in Copenhagen.

Santana is working on another performance idea as well — a multi-day, multi-act worldwide festival with the utopian perspective of Woodstock. “With everything that’s happening with this planet, with fear of nuclear war and Korea and China and Russia, the Middle East, I want to create a global concert that goes around the world and (promotes) unity, harmony, oneness,” says Santana, who envisions sites such as San Francisco’s Golden Gate Park, New York’s Central Park and Hyde Park in London. “It’ll keep going in Asia, Japan, Singapore, all the way to Australia and New Zealand and end up with a concert in Honolulu,” he says.

No dates or solid details have yet been determined, but Santana says he’s already reached out to some acts to participate, including Eric Clapton, Metallica, Earth, Wind & Fire and others. “Everybody I talked to, they want to do it,” he says. “It starts and begins with me. This is my vision. This is my aspiration, and I’m not afraid to manifest what I learned from Bill Graham and (Woodstock co-producer) Michael Lang and Clive Davis. I’ve learned from the best, and I believe it’s not impossible to create a global event of this magnitude…and celebrate, celebrate, celebrate. Instead of fear. Celebrate — with joy.”

Uncle Luke has something to say about Southern rap music.

The 2 Live Crew frontman celebrated 40 years of Miami hip-hop by giving fans a history lesson on his Instagram account about the group’s early struggles to be taken seriously by fellow rappers from New York, specifically Run-D.M.C., Salt-N-Pepa, Kid ‘N Play, Eric B. & Rakim and Redman.

He recalled a time when they were on the road and got into it with various rap crews as they tried to perform their sets. “You know how many fights I had to have,” he asked rhetorically. “We was in Biloxi, Miss., got into a fisticuffs with Run-D.M.C. on stage because we was them n—as from Miami and we were ‘Bama. Getting ready to get into a fisticuff with who? With Redman. Go listen to that record. Everybody had disrespect for us. We weren’t supposed to be in hip-hop.”

Luke then brought up the group’s beef with Salt-N-Pepa and Kid ‘N Play over their remarks on an episode of BET’s Video Soul hosted by Donnie Simpson that the music 2 Live Crew was making wasn’t hip-hop.

“Salt-N-Pepa and Kid ‘N Play all them, which — I love them to death, we friends right now today — but they got on BET and said, ‘That s—t they doing in Miami is not hip-hop.’ When I saw them, I had to have a conversation with them,” he said.

In 1990, 2 Live Crew addressed those comments on the interlude “I Ain’t Bullsh—ttin’ Part 2” off their controversial album Banned in the U.S.A., on which they hurl homophobic insults for about six minutes.

He then brought up Redman again and elaborated on the New Jersey rapper’s song “I’m a Bad,” on which he has a skit in the middle mocking 2 Live crew. “What Redman and them do on they record,” he asked again rhetorically. “They did a whole skit. Go listen to the record. They were making fun of our slang.”

He also said Eric B. & Rakim tried to cut 2 Live Crew’s set from five minutes to three minutes once when they were in Memphis.

Lyrical Lemonade has announced this year’s Summer Smash Festival lineup — and it contains some potentially culture-shaking performances. The three-day event will be headlined by Future, the world debut of the newly formed duo of Don Toliver and Yeat, and Young Thug in his first live performance since his release from jail.

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Scheduled for Friday, June 20, through Sunday, June 22, Summer Smash will grace SeatGeek Stadium near Chicago for its seventh iteration. Tickets will be released for purchase on Friday (March 28) at 12 p.m. CT via the Summer Smash website.

This year’s Summer Smash Festival features some of the hottest names across hip-hop’s innumerable scenes. Led by Don Toliver and Yeat, the Friday night lineup also includes Trippie Redd, Ski Mask the Slump God, NLE Choppa, Nettspend, DC the Don, Molly Santana, Karrahbooo and more. On Saturday (June 21), Future will lead a lineup that features Sexyy Red, Lil Tecca, Destroy Lonely, SahBabii, Soulja Boy, Osamason, BabyTron, Plaqueboymax, Famous Dex and 1900Rugrat. The lineup of Sunday night performers preceding Thugger’s highly anticipated live comeback includes Lil Yachty, Quavo, Nav, G Herbo, Saba, Insane Clown Posse, Bktherula, Skaiwater and TiaCorine. Chance the Rapper will close out one of the two main stages on Sunday night.

“I feel lucky to be able to throw the party of the year with my best friends,” said Cole Bennett, Summer Smash Festival cofounder and Lyrical Lemonade founder, in a press release. “May this be the best one yet. Lucky No. 7.”

Young Thug’s headlining appearance comes the year after Summer Smash hosted one of the most iconic musical homecomings of the decade with Chief Keef’s long-awaited return to performing in Chicago after a 12-year hiatus. Thug, of course, was in the throes of his state RICO trial for most of 2024. On Oct. 31, 2024, he was sentenced to 15 years probation and no prison time after pleading guilty in the long-running case accusing him of leading a violent Atlanta street gang. Despite popping up on songs with Lil Baby (“Dum, Dumb & Dumber”) and Playboi Carti (“We Need All Da Vibes”), Thugger has been relatively quiet on the music front so far in 2025.

See the full lineup below:

Latin music executive Angel Del Villar was convicted by a federal jury Thursday (March 27) on felony charges of doing business with a concert promoter linked to Mexican drug cartels, setting the stage for a potential decades-long prison sentence.

Jurors found the Del Records CEO guilty on 10 counts of violating the Foreign Narcotics Kingpin Designation Act, a federal law that bars U.S. residents from doing business with known drug traffickers, as well as one conspiracy charge, the U.S. Attorney’s Office in Los Angeles told Billboard on Thursday.

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Prosecutors alleged that Del Villar repeatedly arranged concerts with Jesus Pérez Alvear, a Guadalajara-based promoter who allegedly had ties to Mexican cartels. At trial this week, regional Mexican superstar Gerardo Ortiz took the stand to testify against Del Villar, saying he had seen Pérez Alvear at the Del Records offices and had himself performed at one of the promoter’s concerts.

As reported by Rolling Stone, attorneys for Del Villar argued during opening statements last week that he had been “manipulated” into working with Pérez Alvear by a “trusted” former employee named Brian Gutierrez, who they say assured him that it was legal. They argued that Gutierrez was a paid informant for the FBI who had helped the feds “manufacture a gotcha situation” to “take down” Del Villar.

After eight days of trial, those defense arguments clearly did not sway the jury, which handed down guilty verdicts against both Del Villar and his Del Entertainment Inc. Following the verdict, Del Villar will face sentencing in August; under the Foreign Narcotics Kingpin Designation Act, he could face a maximum sentence of 30 years in prison, though he could also receive far less than that.

Attorneys for Del Villar did not immediately return a request for comment.

Founded by Del Villar in 2008, Del Records later grew into a top record company for regional Mexican music. The label was home to música mexicana supergroup Eslabon Armado, whose global hit, “Ella Baila Sola” with Peso Pluma, became one of the biggest songs of 2023, as well as Lenin Ramirez and other chart-topping artists.

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But in June 2022, Del Villar, 41, CFO Luca Scalisi, 56, and Del Records itself were all charged with conspiring to violate the Foreign Narcotics Kingpin Designation Act. Passed in 1999, the law allows the U.S. to impose targeted sanctions on foreign individuals involved in the illegal drug trade and ban U.S. residents from doing business with them.

The U.S. Treasury Department added Pérez Alvear to the sanctions list in 2018, claiming he and his company, Gallistica Diamante, had helped cartels “exploit the Mexican music industry to launder drug proceeds and glorify their criminal activities.” According to court records, he has since died.

Prosecutors said Del Villar and Scalisi used Pérez Alvear to arrange four Mexican concerts for an undisclosed Del Records artist, then accepted nearly $200,000 in payments from him, all while aware that he had been sanctioned. Charging documents cite a never-sent Del Records press release acknowledging that status, as well as private messages in which Scalisi noted that Pérez Alvear was “under homeland security watch” and Del Villar was directly told that Pérez Alvear was “a sanctioned US person.”

Following this month’s trial for Del Villar, Scalisi will face his own jury trial in July on similar charges.

Shakira tops Billboard’s monthly Top Tours chart for the first time, earning $32.9 million from 282,000 tickets sold in February, according to figures reported to Billboard Boxscore.

The Top Tours ranking in recent times has been repeatedly led by acts who have crowned the list previously. P!nk returned for her fourth victory in October, followed by Coldplay’s fifth in November. Trans-Siberian Orchestra popped up for a fifth time in December, and then Coldplay returned to the summit in January.

Shakira follows Bad Bunny, Los Bukis, and RBD among Latin artists who have topped the monthly ranking, making her the first solo Latin woman to hit No. 1.

Not only is this Shakira’s first month at No. 1, but it’s also her very first appearance on the 30-position chart. The tally’s first edition covered the biggest tours of February 2019, which was three months after the wrap of her previous outing, 2018’s El Dorado World Tour.

Shakira kicked off Las Mujeres Ya No Lloran World Tour on Feb. 11 at Rio de Janeiro’s Estadio Nilton Santos with a $2.9 million gross with 35,200 fans. Her pace accelerated throughout the month, to $6.4 million in Sao Paulo on the 13th, to $11.3 million in Atlantico, Colombia, on the 20th and 21st, and finally to $12.3 million during a double header at Bogota’s El Nemesio Camacho (Feb. 26-27). The two Colombia stops finish at Nos. 3 (Bogota) and 6 (Atlantico) on Top Boxscores.

For almost 30 years, Shakira has been a reliable sellout act in arenas, while flirting with stadiums. Her 2025 outing thrusts her into major-market stadiums, almost exclusively, for the first time. So while her Latin American dates across the 21st century have averaged $1 million to $1.5 million per show, her February shows paced $5.5 million and 47,000 tickets each night.

Las Mujeres Ya No Lloran World Tour continues in Mexico, Chile and back to Columbia through April, before taking Shakira to the U.S. and Canada through the end of June. Including two rescheduled dates in Lima, Peru, in November, the tour will likely soar passed $200 million in total grosses, potentially tripling her career earnings by the end of 2025.

Tyler, the Creator follows on Top Tours at No. 2 with the first shows from Chromakopia: The World Tour. It’s his highest ranking ever, having previously hit No. 10 in March 2022, plus two other top 20 appearances in autumn 2019. He’s only the third rapper to rank as high since the chart’s launch, following Post Malone (No. 1 in October 2019 and February 2020) and Travis Scott (No. 2 in October 2024).

Across 14 shows in February, he grossed $29 million and sold 188,000 tickets. The Chromakopia outing isn’t Tyler’s first rodeo in arenas, though it does continue an alarming rise among the ranks of headliners. Averaging $2.1 million per night, the tour doubles 2022’s Call Me If You Get Lost Tour ($993,000). That tour did the same to 2019’s Igor Tour ($414,000), which itself had two-timed the pace of 2017-18’s Flower Boy Tour ($177,000). For kickers, that run quadrupled 2016’s Okaga, CA Tour ($41,700).

That’s a consistent rise that has grown Tyler’s per-show earnings potential almost 50 times over, over the course of less than a decade. His March schedule is busier than February’s (17 shows vs. 14), before the tour travels to Europe, back to North America and then to Australia and Asia before the end of September.

February’s 10 highest grossing acts are evenly spread across country, Latin, pop, rap and rock. Even among pop and rock, each with multiple acts in the upper tier, there is diversity: that of language and geography between ATEEZ (No. 7) and Ed Sheeran (No. 8), and a generational gap to separate the Eagles (No. 5) from Linkin Park (No. 9).

Mexico City and Australia split the prize atop the monthly venue rankings. The former’s Autodromo Hermanos Rodriguez crowns Top Stadiums, powered entirely by Electric Daisy Carnival’s $20.9 million over Feb. 21-23. Auditorio Nacional rules Top Venues (5,001-10k capacity) with a broader stroke of 22 shows during the 28-day window.

Sydney’s Qudos Bank Arena is No. 1 among venues with a capacity of 15,001 or more, thanks in large part to multi-night runs by Drake and Billie Eilish. And Brisbane Entertainment Center wins the 10,001-15k category with $17.2 million from 13 shows.

Thanks to substantial tours from Tyler, the Creator, Kylie Minogue, Kelsea Ballerini and more, AEG Presents presides over Top Promoters. The global touring giant earned $201.8 million and sold just under two million tickets from a reported 687 shows in February.

The anticipation was palpable as U.K. singer-songwriter Cleo Sol prepared to complete her triumphant three-peat during the finale of her New York City run at Radio City Music Hall on Tuesday (March 25). As early as 6 p.m., fans were buzzing with excitement, flocking outside the venue to witness SAULT’s lead singer notch her trifecta of entrancing performances and see why she’s one of London’s brightest stars over the last half-decade. Fans were overjoyed by Sol’s final performance, as she anchored the evening with soothing R&B lullabies, God-fearing lyrics and warm affirmations, leaving no crumbs during her 23-song set.

Clad in red, Sol arrived on stage at nearly 8:45 and illuminated the room with her vivacious touch and dulcet vocals. She gave fans a hearty mix of songs from her 2020 debut, Rose in the Dark, including “Rewind,” “When I’m in Your Arms” and “Sideways,” leaving fans grooving and smiling ear to ear. Though Sol’s penchant for ballads and slow-tempo songs remains her hallmark, she encouraged the crowd members to get on their feet and dance, especially when reggae artist Chronixx joined her for back-to-back tracks “Shine” and “Reason.” The riddims during that two-song run were palpable, as even Sol closed her eyes and swayed side to side, soaking in the positive vibrations that darted her way. Sol reached her apex when her band and quartet of singers landed on Mother’s opener, “Don’t Let Me Fall,” which felt like an in-studio groove session to which fans were granted access.

Sol’s vocal performance was not just nearly immaculate, it was a soul-stirring experience. She riffed and flexed her range, most notably on “Sunshine,” during which the silence was deafening as the crowd watched in astonishment, reveling in her talents. Fans even saw Sol up close and personal when the singer momentarily vanished from the stage and sauntered down the aisle. She greeted them with her instant classic “Know That You Are Loved” as they joined her and sang in unison. Famously sampled on J. Cole’s 2024 song “Port Antonio,” “Know That You Are Loved” is a three-minute song imbued with emotion that can uplift anyone going through a tough time. There, Sol shared an intimate moment with fans, handing the mic to select attendees and letting them sing, “Know that you are loved/ Even if you don’t love yourself.” It was a moment of pure, unfiltered connection that left everyone in the room feeling uplifted and understood.

As she neared the conclusion of her concert, Sol kept the audience members on their toes, pump-faking fans after “Why Don’t You,” waving goodbye and thanking them for their hospitality before returning for an encore performance. To the crowd’s delight, Sol’s New York City stay breathed light, love and peace, making her a glowing presence in R&B.

From “In West Philadelphia born and raised” to now having a street named after him in his hometown, Will Smith will forever be synonymous with Philadelphia.

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Smith was honored on Wednesday (March 26) during a ceremony celebrating the 56-year-old artist having a street named after him in West Philadelphia. From here on out, 59th Street in West Philly will now be known as Will Smith Way.

“When I thought about the Will Smith Way, the Will Smith Way was encompassed in the lessons I got from my father, my mother and my grandmother,” Smith said. “I think about them as a triangle that represents the Will Smith Way. I think about my father as the base of that triangle.”

He continued while rocking an Overbrook High School class of 1986 varsity jacket: “My father taught me that you don’t get anything without discipline and hard work. You can’t make a life if you’re not willing to suffer and work for your dreams.”

Smith went on to highlight his mother’s emphasis on education and his grandmother’s love for God while living completely in service.

The Academy Award-winning actor also pointed out a teacher from his sophomore year of high school who gave him the nickname “Prince Charming,” which led to The Fresh Prince being born in the classic ’90s sitcom.

“The name ‘The Fresh Prince’ was coined in that building,” Smith said about Overbrook High School. “I added the fresh because it was hip-hop slang.”

Smith is returning with his first album in 20 years on Friday (March 28), when Based On a True Story hits streaming services.

Watch him accept his Will Smith Way street honor in Philly below.

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Dyson is taking another shot at headphones, and they just might rival that of Apple, Bose and Sony. Dyson OnTrac headphones feature up to 55-hours of battery power, high-fidelity sound and customizable ear cushions and ear outer caps. The wireless headphones are officially available on Amazon.

The latest edition to Dyson’s growing lineup of luxury headphones are equipped with two, high-capacity lithium-ion batteries centered in the headband to even the distribution of weight. The battery takes up to three hours to fully charge and lasts up to two weeks, even with ANC (active noise cancelation) enabled. You can switch the ANC setting on and off by tapping on either ear cap, or on the top of the headband.

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The Dyson OnTrac headphones bundle retails for $499.99 (reg. $599.97) on Amazon, while they’re cheaper than the Dyson Zone headphones. No air filter needed this time around, OnTrac offers a more traditional design with a custom ANC algorithm that utilizes eight microphones and cancels up to 40dB of unwanted noise along with 40mm drivers with “advanced audio signal processing,” and a speaker tilted at 13-degrees to “ensure that every note or word is delivered with precision,” according to Dyson.

Dyson On Trac Headphones

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The Dyson OnTrac wireless headphones come in a few colorways, such as CNC Aluminum, while the headphones’ removable ear cushions and ear caps retail for $49.99 per pair. They come in several colors, including dark iron, ceramic blue and others.

However, with this Amazon bundle, which is on sale for $100 off, you’ll get the additional ear cushions and ear caps for free.

“Dyson’s audio engineering mission is to preserve the integrity of the artist’s sound wave, free from interference,” Jake Dyson, the brand’s chief engineer, said in a statement. “We also wanted to create a set of headphones that people would cherish, be excited by, and be proud of. With over 30 years of experience in aeroacoustics, we’ve mastered sound physics. By reducing noise through in-house anechoic chambers and expert engineers, we’ve applied and further expanded our audio knowledge to develop the Dyson OnTrac headphones. Our first over-ear audio only headphones deliver best-in-class ANC, exceptional sound quality, and all-day comfort through unique materials, design and customization.”

ShopBillboard had the chance to test the Dyson OnTrac wireless headphones during a press preview in London and one of the most appealing features are the customizable ear cuffs, and the one-touch ANC feature. The headphones are incredibly comfortable — the cuffs are made from “ultra-soft microfiber and high-grade foam” per Dyson — and easy to use, but they can get sweaty when it’s hot, so I would recommend getting darker color ear cushions, if you’re going to be wearing them in the heat or during a workout.

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With more than 2,000 customizable color combinations, you can mix and match the OnTrac design to your liking. The outer caps and ear cushions are made from “ultra-soft microfiber” with “high-grade foam for superior comfort and acoustic seal,” per Dyson. Another feature that caught our interest was the multi- pivot gimbal arm design. We also like the idea of the battery being in the headband, which ensures balanced weight distribution.

The wireless headphones delivers from a sound perspective and comfort level, and even though we haven’t had a chance to test out the 55 hour battery (yet), but we have gone more than a week without wearing them and the battery is still charged, plus it’s easily one of the headphone’s most appealing features. For comparison, the battery on Apple’s AirPods Max lasts up to 20 hours, Bose Quiet Comfort Ultra Headphones offer up to 24 hours of battery life and Sony’s WH-100XM5 Wireless Noise Canceling Headphones lasts up to 30 hours.

On sale for $499.99 (reg. $599.97) on Amazon, the bundle comes with the Dyson OnTrac wireless headphones, two additional dark iron ear cushions and two additional ceramic blue ear caps. With this Amazon deal, you’re essentially getting the extra ear cushions and ear caps for free.

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