While abroad, he gets recruited by Nick Fury (Samuel L. Jackson) and Mysterio (Jake Gyllenhaal) to face threats from an alternate dimension. The movie picks up after the events of "Avengers: Endgame" and follows Peter Parker, who is on a school trip to Europe. "Spider-Man: Far From Home," the followup to "Spider-Man: Homecoming," bows across the globe in almost all markets next weekend.
The musical romantic comedy, which envisions a world where nobody has heard of the Beatles, kicked off in the U.K. Another newcomer, Universal and Working Title's "Yesterday," pulled in $7.7 million from 30 territories. with $2.8 million, as well as Australia with $2.5 million and the Netherlands with $400,000.” />
"Annabelle Comes Home" launched with $45 million from 63 foreign markets. Among new releases, Warner Bros. "Annabelle Comes Home," the seventh entry in the Conjuring Universe, saw the best start in Mexico with $6.9 million, followed by Indonesia with $5 million and India with $2.6 million. Combined with a $31 million start in North America, the spooky sequel has pocketed $76 million globally.
Disney's "Toy Story 4" also had a sizable weekend in theaters, generating $80 million from 45 international markets. The animated sequel brought in another $58 million in North America, boosting its global bounty to $496 million. Overseas, "Toy Story 4" has made $259 million.
"Spider-Man: Far From Home" collected a huge $111 million this weekend when it launched in China, Japan and Hong Kong. Most of that haul came from China, where the superhero tentpole earned $98 million, marking the fourth-best start for a comic-book adventure behind "Avengers: Endgame," "Avengers: Infinity War" and "Venom." In Japan, the "Spider-Man" sequel made $9.4 million, representing the second-biggest launch for a superhero movie in that territory. Hong Kong saw a $3.8 million opening weekend.
Top earning territories include Mexico with $49.5 million, the United Kingdom with $33 million and China with $24.3 million. "Toy Story 4" opened this weekend in France with $7 million.
Tom Holland's friendly neighborhood Spider-Man is ruling the international box office ahead of its release in North America.

The International Film Festival & Awards Macao on Sunday signed twin agreements with institutions in Shanghai.
The Macau Films & Television Productions and Culture Association (MFTPA) announced that it has partnered with the Torino Film Lab to launch a joint "Script & Creative Production Workshop and Training Program".
It will contain ten narrative short films sourced from film schools and institutions in Mainland China, Hong Kong and Macau. Chinese-language short films by first time directors will be hosted in a new section.
Hong Kong star actress Carina Lau was announced as the festival’s 2019 talent ambassador. India’s
The 4th edition of the festival will run December 5-10, 2019 in the Macao Cultural Centre. It is organized by the Macao Government Tourism Office and MFTPA.” />
The judges will decide the winners of the festival’s competition for first and second films. At the same event, Peter Chan Ho-sun, a leading director from Hong Kong, who has increasingly made his career in mainland China, was named as president of IFFAM’s 2019 jury.
Signatures were put to both pacts on stage in Shanghai. The IFFAM, which is building towards its fourth edition in December, struck a collaboration agreement with the Shanghai International Film Festival. Separately, it is solidifying an existing informal arrangement with the Shanghai Film Art Academy concerning an exchange of students — Macau film makers Tracy Choi and Harriet Wong are already participating in this year’s Shanghai’s SIFF NEXT activities.
“The high quality of (Chan’s) Pan-Asian films has stimulated the development of the Asian film industry in general. He will bring his great experience and wisdom to the jury and the filmmakers this December,” said the IFFAM’s artistic director Mike Goodridge.
Karan Johar ("KANK"), China’s Wang Xiaoshuai ("So Long, My Son"), and South Korea’s Kim Yong-hwa ("Along With The Gods") will be festival ambassadors.
Goodridge also announced the expansion of the festival’s separate New Chinese Cinema sidebar. Where in previous years it contained six features, the total will increase to eight. They will compete for prizes in five categories: best film, best director, best actor, best actress and best screenplay.

Guru Studio, an award-winning Canadian animation studio, is exploring the possibility of opening an office in Hong Kong or mainland China.
It’s a natural move for us to build a brand in China.” Louise Jones, Guru vice president of finance and business affairs, said at a FilMart panel discussion on animation March 19: “China has the single biggest TV audience in the world and is the second big economy.
The Toronto-based company is keen to get a slice of China’s animation market, which has been growing quickly.
“We’ve been thinking about that. We’re trying to see when that will be needed and where we can do it.” Hong Kong could be an option and could serve as a “baby step” for Guru Studio to secure a firm footing in mainland China, she added. Jones also told Variety that Guru Studio is contemplating establishing a branch in China.
Guru Studio is currently looking for Chinese partners to stream two other animation series: preschool show “Pikwik” and “Big Blue,” an underwater comedy adventure series.” />
It is the studio’s first major foray into China; it previously collaborated with iQiyi and Tencent Video to show “Justin Time,” another original, but smaller, production by the studio. On March 18, 20 episodes of Guru Studio’s flagship preschool series, “True and the Rainbow Kingdom,” were released on QQ Player, a multimedia player developed by Tencent.
“True” is financed by Netflix and Canada’s national public broadcaster CBC. The exact figure is to be confirmed. For “True,” Guru Studio has formed partnership with Chinese entertainment firm Hengxin Shambala Kids (Guangzhou) Cultural Industry Development, which serves as an agent helping it with everything from streaming to merchandising to publishing. It is one of the top preschool shows on CBC. So far it has attracted millions of clicks by Chinese viewers.

He called on Hong Kong officials to create a special department designed to help local film industry professionals resolve taxation issues, saying he had been “very irritated” by the lack of information thus far.
Ng elicited further chuckles by saying that accounting in Hong Kong is “very straightforward… trustworthy, and professional,” but that, on the mainland, “the tax employees’ willingness to just act as they see fit is extremely strong, because in the mainland their freedom of explaining laws is extremely broad.”
"Clearly, just having the legal article there is not enough.” “Whoever I ask, they all don’t know," Ng said to laughter and applause from the mostly Hong Kong crowd.
Tsui Siuming, president of the HK TV Assn., compared the situation in China to having a single martial-arts master whose 10 disciples "each invented their own way of executing the moves.”
Tsui said it was “extremely common” for Hong Kong people to waste time and money trying to comply with written policies on establishing entertainment companies in China that “end up turning into nothing,” because mainland gatekeepers were themselves unclear on what was allowed.
Hong Kong produces about 60 films a year, three-quarters of which are typically co-productions with the mainland. The Chinese film industry’s overhaul of its tax policies last year in the wake of a fraud scandal involving superstar Fan Bingbing has sown confusion in both the mainland and Hong Kong, which operates as a special administrative region with its own financial regulations.
At a time of heightened scrutiny of tax affairs in China’s entertainment sector, even industry veterans in Hong Kong are struggling to figure out how to operate in the new financial environment and pleading for more clarity from the Chinese government.
During a discussion of mainland taxation issues Tuesday at FilMart, some panelists said that inconsistent enforcement of new policies in China and a general lack of knowledge was severely hampering cross-border business relations.
In 2016, Tsui and Ng took over the firm Kailu, which was involved in a scandal that involved the selling of sophisticated financial products against Chinese box office receipts to Chinese retail investors.” />
“Now that Hong Kong is so intimate and cooperative with the mainland, when it comes to tax law, someone should clearly be giving us counsel and instructions,” he said.
"It’s a team effort." “We need to be in solidarity and work together to obtain the conditions that our industry needs to develop in the way it requires," Tsui said.
It says on the books that Hong Kong people can go invest in movie theaters, or can do this or that, but when you get over there, you’ll ask 100 different work units and not a single one will actually know,” said Ng See Yuen, a veteran Hong Kong exhibitor and producer with significant connections to the mainland industry through his UME cinema chain. “The central government [in Beijing] has its policies, but the people implementing them below are all unclear on what to do.

The four completed titles in its slate are drama “The Fall,” by director Zhou Lidong, documentary “Fading Mountains,” pictured above, by director Cui Yuxi, suspense film  “Out of Crimes” by Peter Zuo and documentary “Post-'00s” by Zhang Tongdao. Two more, the experimental arthouse film “Ruins,” by Beijing-based ink painter Bingyi, and a relay racing sports documentary called “The Longest One Second,” by director Luo Guanhong, are in the final stages of post-production.
The tour is set to touch down in Turkey in April with a film festival facilitated by the Chinese embassy. The firm is developing a screening tour for these titles and other modern works called “Long Time No See.” It is split into two different themes — a section called “Debut Films of Chinese New Generation Directors,” and another called “North by Northwest,” which features documentaries made by directors from northwest China. They are currently looking for more museums and universities interested in hosting their films.” />
It is involved in film acquisition, distribution, co-production and the promotion of Chinese films abroad in festivals. The company has five employees but only one employee based permanently in Hong Kong. Oriental Intl. makes its FilMart sales debut with a line-up of six new titles and a library of 20 arthouse classics and shorts. The firm is the Hong Kong branch of Chinese state-run radio and TV broadcaster CRI-CIBN’s smart TV division.
Director Zhang, a media professor at Beijing Normal University, selected kindergarten-aged children in 2006 and followed them for over a decade. “Post-’00s” chronicles the lives of young Chinese people born after 2000 shot over 12 consecutive years.
Last year, it received 130 project pitches, 20 of which were chosen to be put forward to producers and financiers. discovered the project at its annual FreshPitch documentary conference, held in Jiangsu province. This year’s iteration, its fourth, will take place in Suzhou in early June. Oriental Intl.
CRI-CIBN, however, is an enormous operation with over 400 employees. It is part of the larger China Media Group, the country’s most prominent government-run media coalition, which also includes state broadcaster CCTV and China National Radio. Its smart TV department also acts as one of the country’s seven censors regulating what content makes it onto Chinese smart television platforms.
The company has a library of arthouse titles that include works by Diao Yinan (“Uniform”), Hu Guan (“Cow”) and festival darling Jia Zhangke, including "Still Life," his documentary “Dong,” shorts such as “Cry Me a River” and his student film “Xiaoshan Going Home.”

"In the beginning, it was like we were leading the market, showing the foreign titles we had to the platforms. But now it’s like the audience is leading us to buy the things they need.”” /> Every two months there’s some new thing," Hao said. “The internet business changes really, really fast in China.
In the past year, Hao says that the company has acquired some 200 foreign titles for Chinese streaming distribution, among them an eclectic mix of prestige festival titles. At Berlin last year, it snapped up Silver Bear winners “Dovlatov” (costume and production design) and Paraguayan film “The Heiresses” (best actress and Alfred Bauer Prize), as well as Irish period drama “Black ’47” and four-hour Filipino musical “Season of the Devil.” At Venice, it acquired Olivier Assayas’ comedy “Non-Fiction,” starring Juliette Binoche, and at Cannes, Indian writer-director Rohena Gera’s “Sir” and Japanese romance “Asako I & II.” At Sundance, Times Vision nabbed Colombian thriller “Monos,” Sebastian Silva’s “Tyrel” and the Maggie Gyllenhaal-starring drama “The Kindergarten Teacher.”
Other titles purchased this past year include French iconoclast Bruno Dumont’s miniseries “Coincoin & the Extra-Humans”; “The Place,” directed by Italian Paolo Genovese (“Perfect Strangers”); Koji Fukada’s “The Man from the Sea”; and the Argentinian film “Rojo,” which last year won best director, actor and cinematography prizes at San Sebastian.
“Nezha” follows the eponymous mischievous Taoist child-deity, and is produced by the studios behind “Monkey King: Hero Is Back” and “Big Fish & Begonia.” It will be out in the second quarter of 2019.
Horgos Youth Enlight Pictures, Hehe Pictures and Helichenhuang Intl. “Savage,” which won the New Currents Award at the 2018 Busan festival, is the debut of screenwriter-turned-director Cui Siwei. Starring Chen Chang (“The Grandmaster,” “The Assassin”) and Silver Bear winner Liao Fan (“Ash Is Purest White," “Black Coal, Thin Ice”) and produced by Terence Chang, it tells the story of a detective and his faceoffs with a band of criminals in the snowy environs of Changbai Mountain, which stands between China and North Korea. Culture Media produce.
Other films on Times Vision’s Hong Kong slate include Huang Bo’s directorial debut, “The Island,” which grossed more than $200 million last year in China; Tony Leung Ka-Fai’s directorial debut, “Midnight Diner”; “On the Balcony,” a drama starring it-girl Zhou Dongyu; and “Extraordinary Youth,” an experimental feature from director Xiang Guoqiang.
It is currently at work with Chinese partners on pre-production for a remake of 2016 Japanese Oscar entry “Her Love Boils Water.” Times Vision imports foreign titles – primarily arthouse films, but it also has begun delving into the remake rights market – and is now getting into production as well. Times Vision is led by CEO Nathan Hao, who co-founded Chinese indie distributor Lemon Tree and led its international division before joining the newly established Times Vision in 2017.
This year’s FilMart marks the international sales debut of Beijing-based distributor Times Vision, which brings to Hong Kong a slate led by crime thriller “Savage” and animated feature “Nezha.” The company will be presenting nine live action films, including one documentary, and seven animated titles.
“TVOD is a new thing for Chinese audiences for foreign films. “We are famous for being good buyers of festival titles,” Hao told Variety. Streaming is a better platform for the kinds of films we have.” But as platforms begin to spend more making or acquiring content themselves, Times Vision is expanding into sales.

There is a little more exposition than usual in the director’s work, and far less unsaid, which could make “Family Tour” his most successful film to date even though at times the need for explication feels almost gratuitous — “almost” because the film’s ability to capture the unnerving feeling of exile, of belonging and yet not, is superbly realized. This is Ying’s first film without the credited collaboration of his wife Peng Shan, though her influence, given the parallels between reality and fiction, can’t be casual. Ying also brings out the acute differences between those who stay and those who leave, the resignation of compromise versus the exhausting battle for justice.
Yang Shu can’t disguise her distress at finding her mother thinner than expected and using a cane, and this awkward reunion under the watchful gaze of the tour manager, combined with the film festival, provides a roller-coaster of emotions as she’s forced to confront the meaning of exile and the psychological distance between herself and her mother. The meeting is awkward: Mother and daughter video-call frequently, mostly so Mrs. Chen can see her 3-year-old grandson Yue-Yue (Tham Xin Yue), but that’s a stilted substitute for real contact.
Genteel Ka-ming is old Hong Kong, though how sustainable that is in the long run isn’t addressed. That description may seem melancholy, but Ying uses humor and tenderness to leaven the film and make it more human. Peng and her over-cheery sidekick Pai (Yu Siao Bai) are hilarious yet also scathing caricatures of the new China, insufferably bossy, not-so-passive agents of the state who are friendly only if kick-backs are involved. Each person in “Family Tour” represents an element of the region and its fractured history, from Mrs. Chen’s old guard who suffered silently for so long, to Yang Shu’s exhausted activism to Peng’s self-serving Party employee. A memorable scene between mother and daughter in an otherwise empty tour bus is beautifully discreet and emotionally satisfying.
While the hardships her mother endured over the decades become clearer, so too does Yang Shu’s exasperation with her mother’s acquiescent behavior. His unwavering support for both women allows Yang Shu to process new information her mother brings, including a recording from five years earlier, when the authorities tried to put pressure on Mrs. Bridging that gap is Ka-ming, whose warmth and good nature somehow manage to be utterly genuine even when he seems almost impossibly kind. Exile in Hong Kong has made the filmmaker ever more intolerant of Chinese state control, forgetting that in order to live on the mainland, compliance is a learned necessity. Chen to make her daughter change her film.
Dating back to his powerful 2006 debut “Taking Father Home,” the dissident director has been casting a sharp, unflattering light on Chinese society deformed by decades of Party rule. Perhaps it’s because “The Family Tour” is semi-autobiographical that this intelligently affecting story of exile and displacement is Ying Liang’s most highly polished film to date. Or more likely, it’s because the five years since his previous feature, “When Night Falls,” have matured his already well-honed aesthetic. Sensitive and surprisingly intimate given Ying’s fondness for long shots, “Family Tour” should travel widely via festival bookings. Currently in exile himself after running afoul of the government, Ying has externalized his conflicted feelings of disconnection in this story of an independent mainland filmmaker living in Hong Kong who can only meet up with her mother in Taiwan, where she has booked her on a strictly monitored tour of the island.
Chen on a tour to Taiwan and arranges with the hilariously abrasive tour manager Peng (the numerically named “3 3,” also co-writer) to let him and Yang Shu trail the group, pretending to be old family friends. Knowing that the authorities will be watching, Ka-Ming books Mrs. Chen returns to the mainland. When the Formosa Film Festival in Taipei invites Yang Shu (Gong Zhe) for a screening of the film she made five years earlier, the Hong Kong resident sees it as an opportunity to catch up with her mother Chen Xiaolin (Nai An, so moving in Ying’s “When Night Falls”), living in Sichuan. Organizing the visas is the province of Yang Shu’s husband Cheung Ka-Ming (Pete Teo), whose Hong Kong birth gives him a freedom that neither his wife, with her temporary Hong Kong residency card, nor his mainland mother-in-law possess. That way fewer questions will be asked, and Peng can keep an eye on everything to make sure Mrs.
The invented Formosa Film Festival’s slogan, “No One Can Stay an Outsider,” may seem like too easy a catchphrase in this instance, and yet its multiple meanings intersect with the film’s themes in ways worth pondering.” /> Digital quality is also significantly higher than in Ying’s earlier work. Stylistically Ying’s fondness for establishing shots remains something of a calling card, fixing his characters in their environment while using sound and his performers’ charisma to reinforce their individuality within a mass.

"THEM," from executive producer Waithe, writer and executive producer Little Marvin and executive producers Roy Lee, Miri Yoon, and Michael Connolly with Vertigo Ent., will focus its first season of an anthology approach in 1953.
He’s written something that’s provocative and terrifying. It will also remind us that being black in 2018 is just as horrifying. Waithe, who set a first-look deal with Showtime earlier this week, said "Little Marvin's script stayed with me for weeks after I read it. This anthology series will examine the cultural divides among all of us and explore us vs THEM in a way we’ve never seen before.” The first season will speak to how frightening it was to be black in 1953.
Kidman added that she, too, was thrilled about this collaboration. "'The Expatriates' is just the beginning of our shared goal in making delicious stories with something meaningful to say about the world," she said.
"Upload," which comes from Daniels and his producing partner Howard Klein and stars Andy Allo and Robbie Amell, is a 10-episode half-hour sci-fi romantic satire. The show is set in the near future, where people who are near death can be "uploaded" into a virtual afterlife of their choice.
“The story weaves an addictive tapestry that follows a group of complex women and their lives as outsiders in Hong Kong. It’s a compelling exploration of the strength of these women as they persevere through struggles with marriage, career, parenting and unimaginable loss," Salke said.
"Little Marvin’s fresh, relevant voice explores the horrors that lurk down the street, around the corner and even right next door in this season of our event series. This is the perfect lean in, edge of your seat show for Prime Video customers and we can’t wait to deliver it.” The idea behind the show is "do you know your neighbors," added Vernon Sanders, co-head of television at Amazon Studios in a statement.
Amazon Studios has greenlit new drama "The Expatriates" from Nicole Kidman's Blossom Films, two seasons of horror event series "THEM" from Lena Waithe, and a new comedy from "The Office's" Greg Daniels, entitled "Upload."
And after announcing a first-look deal with Blossom Films earlier this summer, Jennifer Salke, head of Amazon Studios, said they are "thrilled" to kick off the relationship by bringing this story to life. "The Expatriates" is based on the best-selling novel by Janice Y.K Lee and award-winning screenwriter Alice Bell.
"Upload" is created and written by Daniels who also serves as showrunner, executive producer and will direct the pilot.” />
"THEM: Covenant" will follow the still-to-be-cast characters of Alfred and Lucky Emory who decide to move their family from North Carolina to an all-white Los Angeles neighborhood. The family’s home on a tree lined, seemingly idyllic street becomes ground zero where malevolent forces both real and supernatural threaten to taunt, ravage and destroy them.
I’m beyond thrilled that our series has found its home with the fine folks at Amazon.” And at this point in time one of the best ways to examine fractures in our world through the visceral and raw lens of horror. Added Little Marvin, “I’ve always felt that dark, surreal times deserve dark, surreal mirrors to show us ourselves.
Key characters in the female-focused project, still to be cast, include Margaret, a world-renowned American architect struggling with the unwavering suspicion that something could be wrong with her latest project — an ambitious skyscraper already gracing the Hong Kong skyline — until an unexpected event upends her life; Mercy, a Korean-American college graduate with a questionable past seeking a new life, who quickly finds herself embroiled in an unforgivable scandal; Hilary, a British expat who yearns for a child despite her uncertain marriage, then dabbles in local customs and make-believe identities in a deliberate attempt to change her fate; Tammy, a high-flying alpha-expat who is blindsided when her husband’s Chinese second family appears on her doorstep; Barbara, whose decadent lifestyle belies a ticking clock; Franny, an Australian expat loyal to anyone she’s having lunch with, who faces an existential crisis; and Olivia, a Chinese local socialite who experiences a humiliating loss of status. Set against the backdrop of “The Vertical City” of Hong Kong, "The Expatriates" is a drama series that will explore the vibrant lives of a close-knit expatriate community: where affluence is celebrated, friendships are intense but knowingly temporary, and personal lives, deaths and marriages are played out publicly — then retold with glee.
"THEM" is a production with Sony Pictures Television.
In 2033, secretly romantic Brooklyn-born Nora (Allo) works customer service for a luxurious virtual reality environment. party boy Nathan’s (Amell) self-driving car crashes, his high-maintenance girlfriend uploads him permanently into Nora’s VR world. When handsome L.A.
“I’m thrilled to be once again working with Greg and Howard on this new series,” Sanders said. “They’ve made some of the best comedies of the last three decades and I know our Prime Video customers are in for a treat when Upload premieres.”
The show is edge of your seat scary and addictive while also being provocative and socially relevant,” Salke said. “My heart was still pounding an hour after I heard this pitch. “We are thrilled to be in business with the incredibly talented Lena Waithe, Little Marvin and Vertigo.”
Productions, with Lee serving as consulting producer. "The Expatriates" is executive produced by Kidman and Per Saari for Blossom Films and Theresa Park for POW!
If I get in good with them, I’m hoping for a big discount on my first thousand years.” “Amazon is the perfect place to make 'Upload,'” said Daniels, “because of their strong creative team, and because it’s a company that could actually one day host a digital afterlife.

The news was first reported by Deadline Hollywood. Leitch is repped by WME.
Leitch then directed the 2017 thriller "Atomic Blonde," starring Charlize Theron, before helming "Deadpool 2." He's attached to direct "Fast and Furious" spinoff "Hobbs and Shaw," starring Dwayne Johnson and Jason Statham. Leitch broke into show business as a stunt double for Brad Pitt and Jean-Claude Van Damme. He made his directorial debut on 2014's "John Wick" with Chad Stahelski, though only Stahelski was credited.
The movie was selected in 2004 for preservation in the National Film Registry for being "culturally, historically, or aesthetically significant."
"Deadpool 2" director David Leitch is in early talks with Warner Bros. to come on board a remake of Bruce Lee's 1973 classic martial arts actioner "Enter the Dragon."
RELATED VIDEO:” />
The original was directed by Robert Clouse, and starred Lee, John Saxon, and Jim Kelly. The film was first released in Hong Kong six days after Lee's death at the age of 32.
He persuades Lee to attend a martial arts competition on the criminal's private island in order to gather evidence. Lee stars in the pic as a Shaolin martial artist from Hong Kong who is approached by a British intelligence agent investigating a crime lord.
The "Enter the Dragon" remake is in early development, without actors or writers attached.

G herbo
Ay, 150 Dreamteam man you know what it is
Everything foreign all foreign whips all we do is switch lanes

[Hook]
Ay, Money power can’t forget about respect
Me and my niggas gon’ die for ours
Used to be a Reject begging and working at shop for hours
Now i run up free checks staying up late counting racks for hours
Used to rock the bright link 2013 for ride wit sour
Then i copped the Roley seeing what time it is in the shower
Now i might cop the Piguet Nigga i used to be a Reject
Member nights i couldn’t get no sleep now i’m up late counting racks for hours

[Verse 1]
Everyday presidential Roley now i might cop the Piguet
Might pull up new Porsche, R8, i8 or i might hop the G Wag
Young nigga stay fresh Balmain pockets full of rubber bands on each side
They remember G Herbo i was selling product toting autos on the Eastside 8 block and the opps gon’ stay on they side
They already know how we ride
Might pull up 3 whips Glock 45 hop out niggas getting deep fried
Posted up in the gangway off the apartments nah we don’t come from the projects
Pussy boys don’t never wanna come where i’m at you will get kidnapped car jacked
Get a pass wit me where you tryna shop at (?)
Know i gotta keep it on me, 30 tatted on me right here next to my Roc tatt or the 40 Glock 22 one hand XD 2 hands this 40 compact
Riding round wit my guys said might as well get high already gone off contact
Kobe turned me on to lean i turned me on to paper
Said watch the ones you call your own turn on your owner haters
I see niggas when they smiling i catch on to fakers
But they know they better not start wildin i got chrome for takers
I don’t wanna pay no rent i’m tryna own a acre
Yeah i own my own my estate i ain’t used to own a Sega
Young nigga got a Visa now i ain’t talking chasers
Im talking if i wanted own my own home in Jamaica
Them packs gone touch down guaranteed from Hong Kong to Jamaica
Them packs gone land insurance me when i’m home from Jamaica
I Call up Zues he bring the heat when i’m all in Jamaica
And if you pay that extra fee it get flown on the daily
This rap shit taught me a lot of things Good and Bad
Ups and Downs i been a lot of places
I done met a lot of folks i made a lot of faces
Mean i done met a lot of folks i seen a lot of faces
Different cities in the club throwing money popping Aces
Spending racks Dolce shirt go with this Prada cases
Dead white folks on me now but i am not a racist
And my bitch straight from the island she’s not a basic
She don’t speak no english she just loves a reject

[Hook]
Ay, Money power can’t forget about respect
Me and my niggas gon’ die for ours
Used to be a Reject begging and working at shop for hours
Now i run up free checks staying up late counting racks for hours
Used to rock the bright link 2013 for ride wit sour
Then i copped the Roley seeing what time it is in the shower
Now i might cop the Piguet Nigga i used to be a Reject
Member nights i couldn’t get no sleep now i’m up late counting racks for hours

G herbo
Ay, 150 Dreamteam man you know what it is
Everything foreign all foreign whips all we do is switch lanes

[Hook]

Ay, Money power can’t forget about respect
Me and my niggas gon’ die for ours
Used to be a Reject begging and working at shop for hours
Now i run up free checks staying up late counting racks for hours
Used to rock the bright link 2013 for ride wit sour
Then i copped the Roley seeing what time it is in the shower
Now i might cop the Piguet Nigga i used to be a Reject
Member nights i couldn’t get no sleep now i’m up counting racks for hours

[Verse 1]

Everyday presidential Roley now i might cop the Piguet
Might pull up new Porsche, R8, I8 or i might hop the G Wag
Young nigga stay fresh Balmain pockets full of rubber bands on each side
They remember G Herbo i was selling product toting autos on the Eastside 8 block and the opps gon’ stay on they side
They already know how we ride
Might pull up 3 whips Glock 45 hop out niggas getting deep fried
Posted up in the gangway off the apartments nah we don’t come from the projects
Pussy boys don’t never wanna come where i’m at you will get kidnapped car jacked
Get a pass wit me where you tryna shop at (?)
Know i gotta keep it on me, 30 tatted on me right here next to my Roc tatt or the 40 Glock 22 one hand XD 2 hands this 40 compact
Riding round wit my guys said might as well get high already gone off contact
Kobe turned me on to lean i turned me on to paper
Said watch the ones you call your own turn on your owner haters
I see niggas when they smiling i catch on to fakers
But they know they better not start wildin i got chrome for takers
I don’t wanna pay no rent i’m tryna own a acre
Yeah i own my own my estate i ain’t used to own a Sega
Young nigga got a Visa now i ain’t talking chasers
Im talking if i wanted own my own home in Jamaica
Them packs gone touch down guaranteed from Hong Kong to Jamaica
Them packs gone land insurance me when i’m home from Jamaica
I Call up Zues he bring the heat when i’m all in Jamaica
And if you pay that extra fee it get flown on the daily
This rap shit taught me a lot of things Good and Bad
Ups and Downs i been a lot of places
I done met a lot of folks i made a lot of faces
Mean i done met a lot of folks i seen a lot of faces
Different cities in the club throwing money popping Aces
Spending racks Dolce shirt go with this Prada cases
Dead white folks on me now but i am not a racist
And my bitch straight from the island she’s not a basic
She don’t speak no english she just loves a reject

[Hook]

Ay, Money power can’t forget about respect
Me and my niggas gon’ die for ours
Used to be a Reject begging and working at shop for hours
Now i run up free checks staying up late counting racks for hours
Used to rock the bright link 2013 for ride wit sour
Then i copped the Roley seeing what time it is in the shower
Now i might cop the Piguet Nigga i used to be a Reject
Member nights i couldn’t get no sleep now i’m up counting racks for hours

[Hook: RiFF RAFF]
I’m just balling for no reason
And I’m iced out like winter season
I’m just tryna stay away from you
I’m just tryna stay away from you
I’m just balling for no reason
And I’m iced out like winter season
I’m just tryna stay away from you
I’m just tryna stay away from you
And I’m balling for no reason
And I’m iced out like winter season
I’m just tryna stay away from you
I’m just tryna stay away from you
And I’m balling for no reason
And I’m iced out like winter season
I’m just tryna stay away from you
I’m just tryna stay away from you

[Verse 1: RiFF RAFF]
Blueberry lean, hit the ceiling fan
I pull up in lamb and the seats candy tan
Check out my sedan
Check my checking and you might get chin checked
Checkers on my heels cause they Louis Vuitton
Filet mignon in Hong Kong
Even if you do me wrong
I still wish you blessings
God bless the adolescence with indigestion
My fifth doing curls
[?] doing bench presses
Who is the bestest
I pull up on the scene

[Hook: RiFF RAFF]
I’m just balling for no reason
And I’m iced out like winter season
I’m just tryna stay away from you
I’m just tryna stay away from you
And I’m just balling for no reason
And I’m iced out like winter season
I’m just tryna stay away from you
I’m just tryna stay away from you

[Verse 2: Jimmy Wopo]
We all in the kitchen [?] go and help yourself
Whipping in the kitchen think I gave [?]
Fucking with that water, I swimming Michael Phelps
Always [?] still my niggas [?]
[?] I’m at the free throw like Shaquille
That my bitch she from Brazille, all the dope boys [?]
No I don’t want a will, I take all my shit to Hell
No I don’t want a pill, I take all my shit to [?]
[?] delicious, I’m popping the perc [?]
The hollows [?] nutricious
I’m smoking on that futuristic
Oh I can’t stay on my pivot
I’m leaning on Scottie, I’m Pippen
I score in addition like [?]
I am a dog with the frisbee

[Hook: RiFF RAFF]
I’m just balling for no reason
And I’m iced out like winter season
I’m just tryna stay away from you
I’m just tryna stay away from you
I’m just balling for no reason
And I’m iced out like winter season
I’m just tryna stay away from you
I’m just tryna stay away from you
And I’m balling for no reason
And I’m iced out like winter season
I’m just tryna stay away from you
I’m just tryna stay away from you
And I’m balling for no reason
And I’m iced out like winter season
I’m just tryna stay away from you
I’m just tryna stay away from you