The title is a 50th anniversary instalment in the long-running “It’s Tough Being a Man” film franchise. “Welcome Back, Tora-san,” by veteran director Yoji Yamada, has been set as the opening title of this year’s Tokyo International Film Festival.
There were 49 previous “Tora-san” movies, with the last appearing in 1995. The ‘Tora-san’ series was a nationwide favorite, and looking back, it also captures the history of popular actresses in Japan,” said Tokyo festival director Takeo Hisamatsu. “It was always very exciting to anticipate the latest work in this series every summer and New Year holiday.
This year the TIFFCOM market will be separate, running Oct. 5, 2019. The Tokyo festival will run Oct. 28 to Nov. 22-24.” />
Each film features a different leading lady, called a Madonna, and a different region of Japan. The “It’s Tough Being a Man” (aka “Otoko wa Tsurai yo”) films follow the travels of a kind-hearted vagabond, Torajiro Kuruma (aka Tora-san) who is always unlucky in love.
It co-stars Chieko Baisho, Gin Maeda, Hidetaka Yoshioka and Kumiko Goto recreating their roles from the long-running film series. It will star Kiyoshi Atsumi as Tora-san, brought back to vibrant life onscreen long after his death in 1996. 27 through distributor Shochiku. The new film focuses on Tora-san’s nephew Mitsuo, as he meets his first love Izumi after many years. It will have its commercial release in Japan on Dec.
At 87, Yamada is one of Japan’s oldest working film directors. He was responsible for writing and directing most of the previous “Tora-san” movies. In latter years he is known for “The Twilight Samurai,” “Tokyo Family,” his remake of Yasujiro Ozu’s “Tokyo Story” and three “What A Wonderful Family!” films.

The blockbuster is currently pacing ahead of fellow Avenger "Captain Marvel" and "Spider-Man: Homecoming" in international box office receipts at the same point in their respective release cycles.
It is now the third-biggest film of the year with $321 million in North America and $922 million globally. The live-action remake, buoyed by strong performances in Japan and Korea, earned another $16 million this weekend from 55 foreign markets. In other box office milestones, Disney's "Aladdin" surpassed $900 million in ticket sales worldwide, with $600 million of that haul coming from the international box office.
The animated sequel collected another $43 million from 45 foreign territories, taking box office receipts $343 million at the international box office. Another Disney title, "Toy Story 4," also continues to post strong sales overseas, closing in on $350 million abroad and $650 million worldwide.
Sony's "Spider-Man Far From Home" is off to a heroic start overseas, crossing $395 million in ticket sales during its first 10 days of release.
It opened this weekend in China with $11 million and Argentina with $700,000. Globally, the family-friendly cartoon has earned 262 million. Elsewhere, Universal and Illumination's "Secret Life of Pets 2" grossed $22 million from 61 territories, bringing its international haul to $121 million.
The horror thriller has generated $134.8 million globally to date.” /> Warner Bros.' "Annabelle Comes Come" brought in another $20 million from 69 territories for an overseas tally of $84 million.
Among new openings, South Korea saw the biggest debut with $33.8 million, followed by the United Kingdom with $17.8 million and Mexico with $13.9 million. In China, the Spidey sequel added another $30.6 million, boosting revenues in the Middle Kingdom to $167 million. "Spider-Man Far From Home" launched in 63 foreign markets this weekend with $238 million.
In North America, "Far From Home" generated $185 million over the six-day frame. The comic book adventure, starring Tom Holland as the web-slinging hero, is nearing the $600 million mark worldwide, with ticket sales currently at $580 million globally.

Later on, a young fan confesses his love for Holland (or at least his power-wielding character), saying, "I love you, and that you shoot webs."
A touching video shared by the hospital shows the actors in full superhero attire to visit each patient in their hospital bed.
A few of Earth's Mightiest Heroes paid a visit to the Children's Hospital in Los Angeles.
Directed by Jon Watts, "Spider-Man: Far From Home" launches in North America on July 2. The comic-book film debuted in China, Japan and Hong Kong last weekend with a mighty $111 million.” />
Well, I actually used all my webs on my way over here." Holland playfully responded, "You like it when I shoot the webs?
"We're gonna catch Mysterio!" Gyllenhaal jokes at the beginning of the video, while Holland trails close behind with a baby in tow.
"Spider-Man: Far From Home" stars Tom Holland, Zendaya and Jake Gyllenhaal signed autographs, took selfies and hung out with patients on Thursday. In the upcoming sequel, Holland reprises his role as the titular web-slinger, Zendaya returns as Spider-Man's crush MJ, and Gyllenhaal joins as Mysterio. The surprise visit came after an exclusive screening of the Marvel film followed by a Q&A with the cast.

Developing…” />
"Phantasy Star Online 2" launches on Xbox One in Spring 2020.
"Phantasy Star Online 2" is one of Japan's biggest role-playing games and it's finally coming to the West on Xbox One, Microsoft announced during the Xbox E3 2019 press conference on Sunday.
The version heading west includes all previously released content, Microsoft said. The Sega MMO first launched in Japan in 2012. It will also feature some form of cross-play. Like the Japanese version, it will be free-to-play.

Nava describes himself as an “ADD director” but has had to slow his output a bit from his peak in 2014, when he made about two dozen videos in one year. And then I also shot a movie last year, so I’m pushing into long form.” (This is not to be confused with "Free Spirit," the 45-minute semi-feature he recently did with Khalid for the album of the same name, which had a one-night run in theaters.) Nava declines to give too many details about the forthcoming feature, other than that “it's a mixed format, where documentary meets fiction, with focus is to really give youth a voice in modern-day movies. I opened a new production company/creative studio where I’m helping bring up different directors and work with different creatives. “Music videos are intense things. Right now I'm just trying to get a good balance. “That was just an absolutely insane year. I’m not sure I could do that again,” he says. … I’m also being careful now to only really do the really good music videos, where we get to make pieces that are special.”
The British-born director, 34, has been one of the top go-to music video directors in recent years, responsible for clips like Post Malone’s “Rockstar,” the Calvin Harris/Sam Smith hit “Promises” and work for Charlie Puth, Jennifer Lopez, Julia Michaels, Ellie Goulding, Hailee Steinfeld, Selena Gomez, Normani and dozens of other stars over the last 10 years. If he’s most associated with anyone, though, it’s Sheeran, with whom he’s hooked up for more than a dozen videos, including the MTV Award-winning “Sing,” “Don’t,” “Thinking Out Loud” and the Eminem collaboration “River.”
And it’s a video that announces its green-screen-ness from the start, with visual effects that are sometimes sophisticated but sometimes more like crude Photoshop art that a fan might make after too much ice cream, if not mushrooms. But it particularly goes without saying if you’ve actually seen the “I Don’t Care” video and have grasped just how much Nava made it his goal to create the green-screen video of all time. It may go without saying that the stars didn’t really jet ski or run from the bulls in costume, any more than they engaged in same-sex matrimony.
“So when working with Ed, I always know that the benchmark is pretty high for us. But first and foremost we were just trying to make something that, one, everyone loves, and two, that people feel like they can watch again and again and again and not get bored.” “I think the ‘Thinking Out Loud’ video we did is at like two and a half billion views,” Nava says. I think the big thing right now is how fast you can get to a billion views. I’ll be interested to see how this one progresses. But they keep creating new (measures of success). The shareability factor was high in a league where success is measured in nine-figure and occasionally 10-figure views.
Ed’s always doing something, and I love when I get the phone call and it’s like: Action stations.”” /> That degree of selectivity would probably not involve ever saying no to Sheeran. “I Don’t Care” has turned out to be a teaser for Sheeran’s July 12 album “No.6 Collaborations Project.” Nava hasn’t been put to work on a video for the second single, “Cross Me,” with Chance the Rapper, or any of the other duets, but asked if he’ll be participating on any more tracks from the album, he says, “I hope so.
With the “I Don’t Care” production, says Nava, “I'm not sure how many people would notice, but we shot a lot of those scenes for real, and then some of the shots were stock footage. … It was quite an intense process actually, because Justin was in Los Angeles and Ed was in Japan, on top of the main shoot with the cast (of extras) and big sets. to edit for three weeks. So we had to do three shoots … I flew to Japan for one day to shoot with Ed and then flew straight back to L.A. The edit was supposed to take shorter than it did, but once we started delving into it, I had to call up the record label and Ed and say, ‘I need a few more days.’ Because it ended up being like Pandora's box; once we opened it and found things that were working, we wanted to push the concept. I really could have almost been at this for another month.” So when we're in the swimming pool or the wedding or the dinner or the dance or the tennis court, those are actually real shoots that we filmed, and we were able to thread them into it.
… He referenced that when we first started doing videos together, we always felt we were trying to push the boundaries on videos — especially because in the early videos, he would be like, ‘Let's just go completely different and I won't even be in it.’” And then from my angle, I really wanted to try and pick apart music videos thought, wouldn’t it be fun if we just did everything kind of like amazingly bad, but also kind of like wonderful and like magical. But Ed always comes to me and says, ‘I’ve got this mad idea,’ and then I try and build it out and we go back and forth on where we want to take it. “This is on the funnier side of the ones that I’ve done,” Nava says, “but I definitely think that when me and Ed get together, we try and be lighthearted. There was a lot of comedy in that. For this one specifically, he was adamant on dressing up in all these outfits. We made this video for a song called ‘Lego House’ [in 2011] and it was the second video we did — second made, but first out — and we got Rupert Grint from ‘Harry Potter’ to come and be in it.
Is that really a wedding scene of Sheeran in a bridal gown, marrying a cardboard standup of Bieber? Who or what is in that split-second shot of the running of the bulls? Yes, it is. For anyone who is not furry-avoidant, and who has a funny bone for this sort of thing, picking a favorite moment from the new music video by Ed Sheeran and Justin Bieber single may be difficult — especially since so many of the gags in “I Don’t Care” fly by in nearly subliminal edits. You have to freeze-frame it to be certain that it’s Bieber, participating in the stampede dressed up as an ice cream cone.
I especially like the kind of fake music video, where they’re both dressed as cowboys. “There’s something that I love about Ed on a jet ski as a banana,” he decides. “And then some of the other ones are just so mad, like where we have them running down the beach, holding hands. God, there's so many. But then,  “I love the corn on the cob moment” — where Bieber, as the aforementioned cob, bounces up and down outside the hedges sheltering a pool party. But with this one, it was impossible not to.” “We really did put the kitchen sink in it,” says the video’s director, Emil Nava, who has trouble naming his own favorites. And I love the wedding scene. I don't usually laugh at videos I make, because I’m always agonizing over trying to get the story right or something else that is stressing me out.
Sheeran obviously trusts Nava at this point, and Bieber didn’t have much of a problem with sending up his image a little with an excess of cheerfulness. “With Justin, he’s such a legend and he's done so much that he takes very little directing,” Nava says, “and Justin knew that Ed knew what he was doing… I think it's the true legends that know how to kind of be a comedian with their performance and be able to just drop into different characters but still kind of retain their iconic-ness.”
We have to do the opposite now.’” Nava was perfecting — or imperfecting, actually — something he’d toyed with in a previous attempt. “I did it a little bit for a video with Dua Lipa and Calvin Harris called ‘One Kiss,’ playing with the idea of actually seeing the green stuff. I feel like people are so oversaturated with these slick, really put-together, expensive videos, and it was almost like this was a video for all the fans, you know?” Keeping this one from getting too slick itself “was something that me and the team were constantly battling. Because when we made it look better, it looked better but it felt less amazing. Every time we tried to do something really well, it lost this obscure magic.” “I was doing a talk at Stanford University,” says Nava, “and one of the students said they had been finishing a green-screen video and trying to make it look perfect, and then the video came out with Ed and Justin and they were like, ‘Damn!

“These are important but very hard decisions, and we do not take them lightly. We are friends and colleagues at EA, we appreciate and value everyone’s contributions, and we are doing everything we can to ensure we are looking after our people to help them through this period to find their next opportunity. This is our top priority.”
Seeking Alpha notes that much of "Apex Legends'" early traffic wasn't organic, instead EA spent millions on getting popular streamers to play and promote the game, according to the site. The game, according to Seeking Alpha, makes up a substantial portion of the company's valuation and a drop in popularity could significantly harm EA.” />
Last month, StreamElements reported the number of hours people spent watching “Apex Legends” fell from over 40 million in February to just over 10 million in March. Disrespect have returned to other titles like “Fortnite,” with the latter comparing “Apex Legends” to Daybreak’s failing battle royale game “H1Z1.” While the quarter saw the release of both "Anthem" and "Apex Legends," the first game was poorly received and the second — a free-to-play battle royale shooter from Respawn Entertainment — may be experiencing a drop in players. While EA hasn't released updated numbers since the game reached 50 million players in its first month, viewership of the game in action has seen a massive drop. Streamers like Ninja and Dr. Twitch viewership and Google searches are down substantially as well, according to Seeking Alpha.
In March, Wilson announced that the company was laying off about 350 of its roughly 9,000-person staff.
EA COO and CFO Blake Jorgensen said the company will be delivering deep live service content for a slew of its titles including "Ultimate Team," "Apex Legends," "The Sims 4," "Anthem," and "Battlefield V.”
A bit more than a month after announcing it was laying off 350 people — or 4% of its staff — Electronic Arts on Tuesday announced a drop in net revenue to $1.24 billion in the year's final quarter compared to $1.58 billion during the same period last year.
Specifically, Wilson said changes are being made to its marketing and publishing organization, operations teams and that the company is “ramping down our current presence in Japan and Russia.”
Looking forward, the company announced that its slate of sports titles — which includes the latest "Fifa," "Madden NFL," and "NBA Live" — will be hitting in the second quarter of the fiscal year along with "Sea of Solitude." The highly-anticipated "Star Wars Jedi: Fallen Order," "Need for Speed," and "Plants vs. Net revenue for the fiscal year, which ended on March 31, was $4.95 billion, down from $5.15 billion the prior fiscal year. Zombies" are all planned for a third quarter release.
"FY20 will be a year of continued growth for our industry, and we’re excited to bring more great entertainment to the expanding audience around the world,” said CEO Andrew Wilson in a prepared statement. “Players are engaging with games in more ways than ever before. We’re committed to meeting them where they are with a broad portfolio of amazing new games and live services, choice of engagement models including free-to-play and subscriptions, and new opportunities to play, compete and watch.”
In the brief, open letter announcing the layoffs publicly, Wilson noted that the move was made to “address our challenges and prepare for the opportunities ahead,” and to “better deliver on our commitments, refine our organization and meet the needs of our players.”

and New Line's "The Curse of La Llorona" led the way at the international box office, summoning $30 million when it opened in 71 foreign markets. Warner Bros.
Elsewhere, Paramount Pictures animated adventure "Wonder Park" pocketed $10.9 million from 56 territories, taking its international tally to $48.5 million. The family friendly film about a girl who has fantastical dreams about a magical amusement park launched in China with $3 million, as well as in the Netherlands with $328,000 and Hong Kong with $264,000.
Director Tim Burton's re-imagining of the classic cartoon brought in $13.7 million from 55 markets for an international bounty of $206.6 million. Disney's live-action remake of "Dumbo" also hit a significant milestone, surpassing $300 million in ticket sales.
and New Line, "Shazam!" crossed the $200 million overseas. The DC superhero tentpole added another $22 million from 80 territories this weekend, bringing its global haul to $322.8 million. "Shazam!" opened in Japan with $2 million. In another win for Warner Bros.
The supernatural thriller collected $26.5 million in North America for a global start of $56.5 million. Other top territories include Colombia ($2.4 million), France ($2.1 million), and Spain ($1.7 million). "La Llorona," based on the Mexican folklore about the Weeping Woman, had the best showing in Mexico where it debuted with $5.3 million.
Crime thriller "P Storm" and romance drama "Kalank" rounded out international box office charts. "P Storm" earned $11.9 million from six territories this weekend for a global tally of $113 million. Meanwhile "Kalank" pulled in $10.4 million from three markets, bringing its worldwide total to $12 million.” />

When he came to the studio, he pitched the "Sleepy Pines" idea, which Kondo and Tsutsumi found to be entertaining and timely. "Chris is an incredible storyteller and writer," says Kondo.
"It's a story within the fantastical world of Japanese folklore with a modern spin on it." "It's one of my passion projects," says Tsutsumi.
Berkeley-based animation studio Tonko House, founded by the creators of the 2015 Oscar-nominated short "The Dam Keeper," has big plans for 2019, starting with a slate of four projects in development, including a feature-length version "The Dam Keeper."
Tonko House plans to show test footage of "Oni" at its first-ever Tonko House Film Festival this spring in Tokyo. The studio exclusively shared never-before-seen concept art of "Oni," "The Dam Keeper" feature, and two of its other development projects, "Sleepy Pines" and "Leo," with Variety.
But getting the project back was also an opportunity for Tonko House to brainstorm ideas about other projects. Working with Fox on "The Dam Keeper" feature "was a really great journey and learning experience," Tsutsumi says. "We spent the latter half of last year developing new projects," Tsutsumi adds.
In the meantime, they have plenty to keep them busy with a slate of three additional projects, a new film festival, and an expansion of their traveling Tonko House Exhibition.
"When Dice and I were growing up, we always used to draw in the margins of our test papers," explains Kondo. "So what we're doing [with this project] is creating prompts for kids where they're allowed to draw in the spaces in between and fill in their own stories, their own ideas. It's really about encouraging kids to express themselves and draw."
Kondo and Tsutsumi don't have project release dates yet for their development slate, but they are excited about where things are going for their animation studio.
We just think that no one's ever seen anything quite like this before." "What Dice and his team are doing is super exciting," Kondo says. "They are taking these old Japanese myths that have this quirkiness to them and bringing them into a modern and contemporary context that is both fun and really rich with characters that I think a lot of kids nowadays can relate to.
Tonko House has yet to announce the festival's lineup, which currently stands at 24 films, including Tonko House's, but Tsutsumi says they are excited to show these movies to the world. In addition to screening films, the Tonko House festival will also include a mini-gallery of Tonko House art and animation workshops.
Kondo and Tsutsumi say other studios have expressed an interest in coming on board with them on "The Dam Keeper" feature and they hope to announce a new partnership soon.
"It's a robot adventure set in space, but has all the qualities of a fairy tale. "But, of course, it's Tonko House's take on science fiction," notes Kondo. "Leo" is Tonko House's first foray into science fiction. A view of humanity through the eyes of a robot."
Tonko House is looking for both distribution and musical partners on the 2D-animated series.
Oh's "The Dam Keeper Poems" took home the 2018 crystal jury award from Annecy 2018.
Finally, Tonko House is developing a sci-fi fairy-tale feature from Erick Oh, who directed the studio's award-winning Hulu Japan short-form series "The Dam Keeper Poems," a whimsical reimagining of the feature.
The festival was crowd-funded and reached its funding goal within three hours. The studio is hosting the first Tonko House Film Festival at the 300-seat Kadokawa theater in Shinjuku, Tokyo, from April 26 to May 2, showcasing animated shorts by the studio and others from around the world.
Tonko House has partnered with Japanese stop-motion house Dwarf Animation and CG studio Megalis on the project. First, Tsutsumi is the directing showrunner of a stop-motion/CGI animated TV series called "Oni," about a human girl being raised by a mythical Japanese god.
"We love being connected to the community — the community of artists and filmmakers. But at the same time, we are always motivated to introduce or share the films that we're inspired by," he says. So the festival will also feature "some classic films that inspired us to start Tonko House or make 'The Dam Keeper,' as well as films that we're excited to share with audiences, in this particular case, Japan." Of course, we're very interested in showing our films, and this film festival will definitely feature Tonko House's past work. "This is something Tonko House has been dreaming about," Tsutsumi explains.
"It's a story about a band that is going through sort of a crisis of identity," explains Kondo. "Each of them uses their own insect and animalistic qualities to make music." "Meanwhile, the world around them, much like the world we live in, is going through environmental challenges." The band members are a bird, a toad, a cricket, and a bee — creatures that would be especially attuned to climate changes.
The education project is an interactive exhibit and print project meant to inspire curiosity through the making of art. "The Journey of Tonko House to Seoul" will open on May 3 in Cheongdam in the Gangnam district of Seoul. It was designed by Tonko House art director Mike Dutton. Tonko House is also expanding its popular traveling exhibition from sites in Japan to South Korea. It will share peeks at all of Tonko House's projects as well as a vision for the future of the studio. In addition, it will mark the debut of Tonko House's education program for children aged four to seven.
"But with all the big changes that are happening over there and also as we evolved as a company, it felt like the right time to actually pull 'The Dam Keeper' back into our world of Tonko House." "We were partnered with Fox and everyone there was truly amazing," Kondo says.
"I think we're in a place that we want to get moving and get things out there as soon as possible," Kondo says.” />
"We haven't attached the musical talent to it yet, but there are some really exciting possibilities that we can't announce publicly yet," says Kondo.
The feature will expand on the world of the short, which tells the tale of shunned, orphaned Pig, who cares for a windmill that keeps his village safe from a dangerous fog, and his popular friend, Fox. Until recently, "The Dam Keeper" feature had been in development at 20th Century Fox, but following Fox's sale to Disney, the pic returned solely to Tonko House, which is actively seeking a new studio partner. The film is being directed by Tonko House founders Robert Kondo and Daisuke "Dice" Tsutsumi, and produced by Kane Lee.
The Korea exhibition will run through August.
The series marks Sasaki's directorial debut. Sasaki, who worked with Kondo and Tsutsumi when they were at Pixar and also worked on "The Dam Keeper" short, is a recent hire by Tonko House. "Sleepy Pines" is another animated TV project planned by the studio and spearheaded by Chris Sasaki, an award-winning former Pixar art director. Sasaki joined Tonko House last year and has been working on the music- and mystery-driven TV project, which follows a group of young friends in a band finding their voices in a changing world.

Having an English director on the Japanese-language project is an unusual twist for a samurai movie. Thomas told Variety that Rose gives a subtly adjusted take on the genre but remains true to the form.
“Candyman” director Bernard Rose has helmed a new Japanese film, “Samurai Marathon,” which HanWay Films will introduce to buyers in Berlin. The picture has an original score by Philip Glass and is produced by HanWay’s Jeremy Thomas.
After the lord challenges his lazy samurais to a punishing marathon to toughen them up, the ninja finds his loyalties put to the test. The story follows a young ninja (Takeru Satoh) who is operating undercover in the court of an aging lord during a peaceful era in a feudal Japan on the brink of change.
Thomas has a pedigree in Japanese cinema, making films including “13 Assassins” and “Hara-Kiri.” He has again teamed with Toshiaki Nakazawa, who produced the Academy Award-winning “Departures,” on "Samurai Marathon."
“I suggested why don’t we try and make a samurai film with an English director, or one not so entrenched in the tradition of samurai, which is a very traditional form of Japanese cinema,” Thomas said, adding that Rose “was fascinated by the challenge.”
"Samurai Marathon" will be released in Japan this month.” /> Emi Wada, who was Akira Kurosawa’s designer and won an Academy Award for “Ran,” is the costume designer. The cinematographer is Takuro Ishizaka, who shot "Manhunt" for John Woo.
She escapes the castle to take part in the dangerous marathon. The film also has a major female protagonist, the lord’s rebellious daughter, Princess Yuki (Nana Komatsu).
The film is rooted in real events and set in the 1850s, when the country was beginning to interact with the West. The marathon is still run in Japan. Danny Huston (“Stan & Ollie”) plays Commodore Perry, who was instrumental in that process.

EA Sports' free-to-play mobile titles have grossed over $1 billion to date, according to research from analyst firm Sensor Tower.
"NBA Live Mobile Basketball" was no slouch either, contributing around 14%, or $140 million, of all gross spending. About 49% of this revenue was generated by in-app purchases from games under the "Madden NFL" umbrella, totaling over $490 million in estimated player spending. "EA Sports UFC" only represented about 2% of total revenue. The "FIFA" titles like "FIFA Soccer" and "FIFA 15 Soccer Ultimate Team" comprise a large portion of revenue as well, accounting for nearly 36% of the revenue, which equates to over $360 million.
This figure comes from EA's titles including the "Madden NFL," "FIFA," "NBA Live," and "EA Sports UFC" franchises available in the App Store and Google Play store on a worldwide scale. It only includes revenue from self-published titles from EA and not games licensed out to other publishers.
Mobile gaming continues to be a lucrative spending avenue for EA, especially in the US, as gamers in America contributed around 62% of the $1 billion EA has gleaned from its free-to-play titles. This equates to $620 million of the overall total. Great Britain and Japan trailed behind at 5.7 and 5.4% of the total, though most of the revenue gleaned from each area focused mainly on "FIFA" titles.” />

[Verse 1]
I’m working every angle
My lipstick is a staple
My hair and makeup makes you envious and want to die
I’m worthy to some money
I’m saving every penny
I’m in Japan and Africa and I don’t need a guy
My wrists are terrorists
My lips gave you a kiss
My consciousness thinks this is making me feel fabulous
[Pre-Chorus]
Do what I want
Say what I want
Wear what I want
Talk how I want
Walk how I want
Do what I want
Wear what I want
[Chorus]
It’s fashion after all
It’s fashion after all
It’s fashion after all
It’s fashion after all
Fashion after all
[Verse 2]
Give me a second to think
Give me something cold to drink
Give me a reason I should listen to another word
I’m revolutionary
A little bold and scary
I’m making plans to save the world and I don’t need your help
I’m on another level
There’s nothing I can’t handle
I’m watching you watch me the way the devil watches angels
[Pre-Chorus]
Do what I want
Say what I want
Wear what I want
Talk how I want
Walk how I want
Do what I want
Wear what I want
[Chorus]
It’s fashion after all
It’s fashion after all
It’s fashion after all
It’s fashion after all
Fashion after all
(It’s fashion after all
Fashion after all
It’s fashion after all
It’s fashion after all)

in Jakarta
Louis Vuitton, duffle bag
’03 Nigo on my wrist
’03 Nigo on my fist
Bape stars on my fist
Spent a ticket on my feet
[Chorus: Famous Dex]
Baby girl, what you doing, where your man? (where your man, baby)
I just popped a xan, fifty thousand in Japan (fifty thousand in Japan)
I ain’t doin’ no playin’, these red bottoms, not no Vans
And she tellin’ all her friends, I might put ’em on the Gram (uh, yeah, Dexter)
[Verse 1: Verbal]
Tokyo that’s my town, listen now
What you doing, where’s ya man’s
See my gold, meet my people, see my phone
Got a line, from a girl, and it’s flavour
Where we going, Yakatory [?]
Lemon sour we devour, got my diamonds, got my furs
Gahman says, “let’s get lit, super lit, very, very lit”
Red red alert, paparazzi many trolls, following the way we roll
See my chain chain, it’s been cold
See my gang gang, see how deep we roll
Karaoke sang sang, till the early morn’
Don’t worry how I became a [?] chati
Now we talk about Ferraris (vroom)
And we make it look easy
P.K.C on his boys I know you see me, yah (see me)
And we me it look easy
Famous Dex, Keith Ape I know you see me
[Chorus: Famous Dex]
Baby girl, what you doing, where your man? (where your man, baby)
I just popped a xan, fifty thousand in Japan (fifty thousand in Japan)
I ain’t doin’ no playin’, these red bottoms, not no Vans
And she tellin’ all her friends, I might put ’em on the Gram (uh, yeah, Dexter)
[Verse 2: Keith Ape]
In Japan, poppin’ xans, drink some [?]
Kill the shows and the cone and the grams
Baby girl, give me brain, heal my pain
I need dope, I need grams, I need M’s
I need more, I need grams, I need M’s
[Korean]? (where your man)
I just popped a xan, fifty thousand in Japan (fifty thousand in Japan)
You know what I’m sayin’
I ain’t doin’ no playin’, baby you dig (Dexter)
Dexter (Dexter)
Ooh, huh, wait, what
Uh, yeah, what
[Chorus: Famous Dex]
Baby girl, what you doing, where your man? [Intro: Famous Dex]
You know what I’m sayin’
I just- that’s just how I like to do it, know what I’m sayin’ (Dexter)
My real name is Dexter, haha
I got a lot of more diamonds too
I just got new diamonds by the way
Uh, woah
Dexter, huh
Uh, yeah, uh what
Baby girl, what you doing, where your man? (where your)
I just popped a xan, fifty thousand in Japan (fifty thousand in Japan)
I ain’t doin’ no playin’, these red bottoms, not no Vans
And she tellin’ all her friends, I might put ’em on the ‘gram, aye (yeah, Dexter)
Baby girl, what you doing, where your man? (where your man?)
I just popped a xan, fifty thousand in Japan (fifty thousand in Japan)
I ain’t doin’ no playin’, these red bottoms, not no Vans
And she tellin’ all her friends, I might put ’em on the ‘gram, aye (yeah, Dexter)
Baby girl, what you doing, where your man? (where your)
I just popped a xan, fifty thousand in Japan (fifty thousand in Japan)
I ain’t doin’ no playin’, these red bottoms, not no Vans
And she tellin’ all her friends, I might put ’em on the ‘gram, aye (yeah, Dexter)
Baby girl, what you doing, where your man? (where your man, baby)
I just popped a xan, fifty thousand in Japan (fifty thousand in Japan)
I ain’t doin’ no playin’, these red bottoms, not no Vans
And she tellin’ all her friends, I might put ’em on the Gram (uh, yeah, Dexter)

"Sicario: Day of the Soldado" debuted in 13 markets across Latin America and Spain with $2.2 million where it opened in over 1,800 locations. That start is slightly ahead of its predecessor's $15 million global debut. The sequel to 2015's "Sicario" bowed in North America this weekend with $19 million.
has grossed $7.4 million internationally and $40 million in North America in three weeks. with $584,000 on 495 screens.” /> This weekend saw strong returns from Russia ($1.1 million), Australia ($1.9 million), and Taiwan ($810,000). It opened in the U.K. The R-rated comedy from Warner Bros. Topping off the weekend is "Tag," which earned $3.7 million in 37 markets.
Disney and Lucasfilm's "Solo: A Star Wars Story," opened in Japan with $5.9 million. In six weeks, "Solo" has pocketed $368.9 million globally, including $207.3 million domestically. That takes its international weekend total to $6.1 million, along with $2.3 million in North America.
Another weekend, another dinosaur-dominated box office.
"Incredibles 2" overseas rollout continues next weekend in France, Switzerland, and Hungary. The tentpole made $40.8 million in China, along with $30.1 million in Mexico, $19.2 million in Australia, $13.1 million in Russia, and $8.6 million in Argentina.
The tentpole has earned $667 million internationally, along with $264.8 million in North America. With a global total of $932 million, the Chris Pratt and Bryce Dallas Howard-led sequel should pass the $1 billion mark this week. "Jurassic World: Fallen Kingdom" once again topped the overseas box office with $56.1 million from 68 territories.
The top holdover was in China, where "Fallen Kingdom" made $15 million from 10,000 locations. Other key markets include Mexico ($6.7 million in 810 locations), Australia ($4.4 million in 305 locations), the United Kingdom and Ireland ($2.5 million in 620 locations), Brazil ($2.4 million in 643 locations), and Germany ($2 million in 733 locations). In China alone, the movie has amassed $237 million. "Jurassic World: Fallen Kingdom" opens next in Japan.
The worldwide tally currently sits at $647 million, officially surpassing the entire theatrical run of 2004's "The Incredibles" ($633 million). Disney-Pixar's "Incredibles 2" had another heroic outing with $44.3 million in 36 territories. Domestically, the superhero sequel picked up $45.5 million for a global weekend total of $89.8 million.
Key markets abroad include the U.K. Meanwhile, "Ocean's 8" generated $13.8 million in 62 overseas markets, bringing its international total to $95 million. with $1.6 million, Russia with $1.2 million, and Germany with $1.2 million. Warner Bros.' heist film pocketed $8 million this weekend for a global tally of $209.7 million. "Ocean's 8" debuts next in Spain, followed by Italy and Japan.

Universal and Amblin Entertainment's sequel opened in 17 additional international markets, picking up another $106.7 million. "Fallen Kingdom" — starring Chris Pratt and Bryce Dallas Howard — launched in North America this weekend with $150 million, bringing its three-day total to $256.7 million. The tentpole has already earned a massive $711.5 million worldwide, including $561.5 million internationally.
To date, top markets include Mexico ($23.5 million), China (21.2 million), Australia ($15 million), and Russia ($10.4 million). "Incredibles 2" opens next in France, the United Kingdom, Korea, Japan, and Spain. "Incredibles 2" debuted in China with $21.2 million, making it Pixar's biggest opening weekend in the territory. In India, the tentpole opened with $3.3 million.
With another $11.6 million in North America, the Warner Bros. and Village Roadshow heist movie has a global tally of $171 million. Meanwhile, "Ocean's 8" got away with $26.9 million in 60 territories, bringing its overseas total to $70.6 million.
"Fallen Kingdom" opens in Japan on July 13. The film also saw a strong holdover in China with another $32.4 million, bringing its total there to $202 million. "Fallen Kingdom" bowed in Mexico with $12.3 million, Brazil with $9.2 million, and Australia with $7.9 million.
The superhero sequel brought in another $80 million in North America, taking its weekend haul to $137.7 million. Overall, the animated tentpole has a global tally of $485 million, already surpassing the entire run of its predecessor, 2004's "The Incredibles." Disney-Pixar's "Incredibles 2" also stayed strong overseas, earning $56.8 million in 28 markets.
Its predecessor, 2015's "Jurassic World" ended its box office run with a massive $1 billion internationally and $652 million domestically. "Fallen Kingdom" is the fifth film in the "Jurassic" franchise.
The next key markets to open are Spain, Italy, and Japan.” /> It also debuted in Holland with $1.2 million from 143 screens, and the United Arab Emirates with $1.1 million in 80 locations. The Sandra Bullock and Cate Blanchett-starrer saw strong holdovers in Korea ($2.3 million), Australia ($1.2 million), and France ($1 million). The female-fronted spinoff opened in Russia with $2.7 million on 2,200 screens, as well as in Germany with $1.8 million in 789 locations.
"Jurassic World: Fallen Kingdom" took another dino-sized bite out of the global box office.

Elsewhere, Disney-Marvel's "Avengers: Infinity War" brought in $3.1 million in its eighth weekend, as well as $5.3 million from North America. The record-breaking tentpole recently crossed the $2 billion mark worldwide, including an estimated $1.36 billion internationally.
"Solo: A Star Wars Story" continues to fall short of expectations, making an additional $5.2 million in 47 territories. The expensive Disney-Lucasfilm movie grossed another $14.3 million globally this weekend, which takes its worldwide tally up to $339.5 million. The "Star Wars" origin story opens next in Japan.
At the domestic box office, the heist film — starring Sandra Bullock, Cate Blanchett, Anne Hathaway, Mindy Kaling, Sarah Paulson, Rihanna, Helena Bonham Carter, and Awkwafina — picked up another $19.5 million for a North American total of $79 million. Meanwhile, "Ocean's 8" pocketed $19.3 million from 36 markets, bringing its international tally to $37.1 million.
“Fallen Kingdom” is currently tracking a domestic debut of around $140 million to $150 million when it opens on June 22. It releases in Australia and Brazil on June 21, Mexico on June 22, and Japan on July 13.
The animated sequel scored $51.5 million from its first 25 international markets. That brings its global opening to $231.5 million. Disney-Pixar's "Incredibles 2" also got a heroic start overseas. In North America, the superhero adventure secured a record-breaking launch of $180 million, easily landing the best debut of all time for an animated film.
Dinosaurs continue to rule overseas.
This weekend, the female-fronted movie opened in Korea with $5.3 million, France with $2 million, Taiwan with $1.1 million, and Hong Kong with $789,000. The Warner Bros. Other top markets include Australia ($2.1 million), Mexico ($1.1 million), and Brazil ($898,000). film continues its overseas rollout in Germany, Russia, the U.K., followed by Spain, Italy, and Japan.
title, "Tag," debuted with $1.4 million in 7 international markets. The Ed Helms and Jeremy Renner-led R-rated comedy opened with $837,000 in Australia, along with $176,000 in New Zealand. Another Warner Bros. In July, the film releases in Italy, Mexico, and Germany. The next key opening will be in Russia, followed by the U.K. In North America, it launched with $14.6 million, for a worldwide start of $16 million.
RELATED VIDEO: ” />
Set four years after the events of “Jurassic World,” “Fallen Kingdom” sees Chris Pratt and Bryce Dallas Howard’s characters attempting to salvage the remaining dinosaurs on Isla Nublar before a volcanic eruption threatens to destroy it.
The dinosaur tentpole began its overseas rollout last weekend, bringing in $151.1 million in 48 markets. In total, "Fallen Kingdom" has made $370 million abroad. "Jurassic World: Fallen Kingdom" earned an additional $173.6 million in 51 international territories this weekend, including $111.8 from its launch in China.
The Universal Pictures and Amblin Entertainment sequel saw strong holds in the United Kingdom and Ireland ($9.3 million), Korea ($6.4 million), Germany ($4.8 million), and France ($4.3 million).
with a record setting $208.8 million. The blockbuster opened day and date in the U.S. Its predecessor, 2015's "Jurassic World," bowed with $99 million in China.

(where your mans, baby)
I just popped a xan, fifty thousand in Japan (fifty thousand in Japan)
I ain’t doin’ no playin’, these red bottoms, not no Vans
And she tellin’ all her friends, I might put ’em on the Gram (uh, yeah, Dexter)
[Verse 1]
Baby girl, what you doing, what’s your name? (where your)
I just popped a xan, fifty thousand in Japan (fifty thousand in Japan)
I ain’t doin’ no playin’, these red bottoms, not no Vans
And she tellin’ all her friends, I might put ’em on the Gram, aye (yeah, Dexter)
Baby girl, what you doing, where your mans? (where your man)
I just popped a xan, fifty thousand in Japan (fifty thousand in Japan)
You know what I’m sayin’
I ain’t doin’ no playin’, you dig (Dexter)
Dexter (Dexter)
Ooh, huh, wait, what
Uh, yeah, what
[Chorus]
Baby girl, what you doing, where your mans? (where your)
I just popped a xan, fifty thousand in Japan (fifty thousand in Japan)
I ain’t doin’ no playin’, these red bottoms, not no Vans
And she tellin’ all her friends, I might put ’em on the Gram, aye (yeah, Dexter)
Baby girl, what you doing, where your mans? (where your)
I just popped a xan, fifty thousand in Japan (fifty thousand in Japan)
I ain’t doin’ no playin’, these red bottoms, not no Vans
And she tellin’ all her friends, I might put ’em on the Gram, aye (yeah, Dexter)
Baby girl, what you doing, where your mans? (where your mans, baby)
I just popped a xan, fifty thousand in Japan (fifty thousand in Japan)
I ain’t doin’ no playin’, these red bottoms, not no Vans
And she tellin’ all her friends, I might put ’em on the Gram (uh, yeah, Dexter) (baby girl, what)
I ain’t playin’ no games, see these diamonds in my chain (see these diamonds in my chain)
Smokin’ Mary Jane, yeah, I took it to the brain
And she fuckin’ for the fame, so I fuck her in my Range, ooh (skr, skr)
Get that money to the top, never stop, ooh (Dexter)
Mixin’ red with Wock, used to sell that boy rerock, ooh (yeah, Dexter)
But I’m the man, Cuban diamonds dance
Had to fuck her friend, I might put it on the Gram
[Chorus]
Baby girl, what you doing, where your mans? [Intro]
You know what I’m sayin’
I just- that’s just how I like to do it, know what I’m sayin’ (Dexter)
My real name is Dexter, haha
I got a lot of more diamonds too
I just got new diamonds by the way
Uh, woah
Dexter, huh
Uh, yeah, uh what
Baby girl, what you doing, where your mans? (where your mans, baby)
I just popped a xan, fifty thousand in Japan (fifty thousand in Japan)
I ain’t doin’ no playin’, these red bottoms, not no Vans
And she tellin’ all her friends, I might put ’em on the Gram (uh, yeah, Dexter, yeah what)
[Verse 2]
Baby, wait (huh), hop up in this race (skr)
No this not a date, this a cruise, but don’t debate, wait (baby)
It’s gettin’ late (huh), think it’s past 8 (what)
Took her to my place, baby ate me like some cake, wait (huh)
Call Jay (Jay), think I need an eight (I think I need a eight)
Dopey to the face, fuck, I need to take a break, wait (what)
Don’t be cool, money stupid blue (what)
Your boyfriend is a fool, I’m tryna make you comfortable
[Chorus]
Baby girl, what you doing, where your mans?

“I need y’all to make some noise for Kid Cudi.”
Also Read:  Spice Secures The Bag With Dancehall Trap Video “Duffle Bag”
The Lonely Stoner brought Yeezus back to the stage for a rendition of “Father Stretch My Hands Pt. Also Read:  Stream Omarion’s ‘CP4’ EP
[embedded content]
Two years ago, the longtime friends feuded over a series of issues. “I just came out here with my homie, my brother,” he said. event featured performances from N.E.R.D, Lil Uzi Vert, Childish Gambino, 21 Savage, Playboi Carti, French Montana, and more. When they see your greatness. Taking to Twitter, Cudder wrote: “Ye, Drake, whoever. Saturday for Kanye West and Kid Cudi fans, who were treated to a special performance from the duo at adidas’ 747 Warehouse St. Ni**as keep you close when they see how powerful you are by yourself. In addition to Kanye and Cudi, adidas’ two-day 747 Warehouse St. I birthed you…Respect the God!”
Also Read:  KSHMR Takes Time From Recording New Album To Tease Another Massive Track
However, both artists appeared to reconcile following individual health concerns. It was a G.O.O.D. Cudi reportedly went to rehab, while West was treated for what’s been called a mental breakdown. event during NBA All-Star Weekend event in Los Angeles. Loading… Out of fear.” Kanye replied: “Kid Cudi, don’t ever mention ‘Ye name. And they aint fuckin with me. 1” in Chicago. These ni**as dont give a fuck about me. In November, the duo also performed “Father Stretch My Hands Pt. The joint performance fuels rumors of an upcoming Kanye-Cudi collaborative project, which they reportedly worked on in Japan last year. 1,” which they performed together. Dressed casually in shorts, an adidas sweatshirt, and hat, Yeezy surprised the crowd when he showed up on stage to introduce Cudder.

bronze man]
I don’t really mean you no wrong [it’s Willie The Kid]
[Gun wu] I gotta keep moving on [Pull up a chair we here nigga]
I gotta Let you know where I’m coming from [TCP nigga, Ayo]
I don’t really mean you no wrong [we do it like this nigga]
[Verse 2:]
I said Um! [Intro:]
You wanna know what was happening
While you were living it up in Mali or Cali or Yahweh whatever it is
There was 15 murders the first week and 21 last week in this Goddamn city
You know decent people are gonna have to work here and live somewhere else
[By decent people you mean people who can afford to live somewhere else]
For Christ you are such a bleeding heart Liberal
[My heart bleeds a little for the underprivileged, yeah]
If I was at the field they’d be back in the war zone
[?] Hawaii
[Seemed pretty good until they ran in the sand and used to live with the crime rate statistics]
No what this city needs is more police than people
[Verse 1:]
Yeah! I said lagavulin nigga who you fooling
I’m never Jet lagged these dudes is Lorna Doones
The fly i’m in Dubai hitting sand dunes
Or in Japan on the bullet train Cancun
We used to use Cancun to balance off the sofa
Now we don’t touch the steering wheel Rover with the chauffeur
I’m in Muskegon Jet-skiing for the weekend
On the lake shore, told ma niggas make sure this time everything remain genuine
See ma end your windows continuing
Move like a bed wind
Breakfast in bed pop Spades no bentwisch a bad bitch wiska bisque
Yeah! Despite the madness i’m perfectly insane. Yo yeah
Witness me making eclipse
Bake pies at red night escaping ma myth
Swore 4 plus 5 oracle bore gift
Plus explore your life show you how the lords spit
Since 79 held the spine order more clips
Worked with los Orvich try to build him a bridge
That shit collapsed with ma back fucking the ribs
Get blasted for looking all grand in front of ma crib
Sit back close your legs drown in the box
Pound up with 2 Glocks, dumb out with the Ox
The fluids out shoot it out till sundown with the cops
No running we [?] the world is mine on a yacht
Soon they probly find me like a body in a lot with blue suites behind me
With the shotty pulled cop
New suites in lobby and we value all flocks
Never recent quotes preaching for that Jack Iglesias
Told Torres like Papi Mase and catching cases but they cold
Employees know the faces who to stretch and who to fold
Get old eat off rap manifest all gold
Plots for more gold and Grey robbers playing dominoes
Got Raul put you in piece caplo waiting at ma home
So sick no pharmacist would enter the room
New York trip PA flab foot [?]
I’m off it playing in salon resting ma wound
Ma talk spit body outlined floating in June

[Chorus:]
Where am coming from [Yeah! Psycho-telepathic
Telepathy, rooms full of sneakers closets full of Jings
Bring Jackets on the bed fuck it I ain’t sleeping anyway
Jewels by the penny way I’m more than ready
[Chorus:]
Where am coming from [Yeah!]
I don’t really mean you no wrong
I gotta keep moving on [Pull some next shit]
I thought I had to know, where am coming from
I don’t really mean you no wrong
I gotta keep moving on

[Outro:]
Coming [x6]
[?]
Hey please excuse our little brother
Please forgive him
[Ha Ha Ha Ha Ha Ha, it’s alright his tan boxing is not bad he nearly beat me]

This was always the plan Must have mixed us with a different group of guys
Spot the truth or lies, I mean business
But I’m not in suit and ties
Just been prophesized (yeah, uh)
This shit fell right into place (yeah)
Indy 500 my pace (ayy)
Drinking it straight to the face
Liquor and women, two things I don’t chase (uh)
Don’t got a minute to waste (yeah)
Mask off I’m showing my face (yeah)
Shoutout Dakari my ace (uh)
They hate so much it’s a disgrace (uh)
I put ’em back into place (yeah)
I put your bitch in a wraith
I just snatch her, she’s vanishing without a trace (yeah)

[Pre-Hook]
I might go fuck up these bands (ayy)
I do this shit ’cause I can (yeah)
I just took care of my fam (ayy)
Thought this was always the plan (yeah)
I might go fly to Japan (ayy)
Honolulu get a tan (yeah)
To the beach I don’t bring sand (no)
[Hook]
Thought that was always the plan (no)
Thought that was always the plan (no)
Thought that was always the plan (ayy)
Did it I do it again (no)
Thought that was always the plan
I might go fuck up these bands (ayy)
I do this shit ’cause I can (yeah)
I just took care of my fam (ayy)
Thought this was always the plan (yeah)
[Verse 2]
Ten years this shit has been brewing (ayy)
I’m like "The fuck you been doing?" (yeah)
Hall of fame, Gerald’s a shoe in
You’ll never be Jordan, you’re more Patrick Ewing (yeah)
Number one spot, I’m pursuing (ayy)
Exclusive like "who let you in?"
Money talks, I speak it fluent
Got tired of my bitch, I went got a new one
Quick swish that
This bitch whack
Pack, flip that
Making quick stacks
This shit blap
She did that (uh)
Taking a quick trap nap (yeah)
I go all night and shit
Ain’t gotta hide this shit
This shit’s a freestyle, I ain’t even write this shit
Roll me some, Marty, and I’m finna light this shit (ayy, yeah)
My jaw swimming on South Beach
This is shit that they don’t teach
Don’t go too far
Don’t trap too hard
Bitch, don’t reach like (uh)
Drugs got me on a level, lock jaw, got slow speech
I’m courtside, I got floor seats
Next to Rihanna like "Oh Sheesh!"

[Pre-Hook]
I might go fuck up these bands (ayy)
I do this shit ’cause I can (yeah)
I just took care of my fam (ayy)
Thought this was always the plan (yeah)
I might go fly to Japan (ayy)
Honolulu get a tan (yeah)
To the beach I don’t bring sand (no)
[Hook]
Thought that was always the plan (no)
Thought that was always the plan (no)
Thought that was always the plan (ayy)
Did it I do it again (you know?)
Thought that was always the plan (yeah)
I might go fuck up these bands (ayy)
I do this shit ’cause I can (yeah)
I just took care of my fam (ayy)
Thought that was always the plan (yeah)

[Outro]
I thought this was always the plan
What were you doing? [Intro]
Yeah
Ayy
I do this shit cause I-
Turn, turn it up a little bit
I gotta, I gotta, I gotta blap
Yo, yo, ayy
[Pre-Hook]
I might go fuck up these bands (ayy)
I do this shit ’cause I can (yeah)
I just took care of my fam (ayy)
Thought this was always the plan (yeah)
I might go fly to Japan (ayy)
Honolulu get a tan (yeah)
To the beach I don’t bring sand (no)
Thought that was always the plan (yeah)
[Verse 1]
Growed up, now I am the man (yeah)
It’s shit you don’t understand (ayy)
Popeye just opened the can
I don’t fuck with no fufu that’s not on my brand (ayy)
Call me when you need a hand (yeah)
In the bay I’m superman (ayy)
YSL on me, god damn
Tell me, why is your girlfriend my number one fan? There’s only one way
There’s only one option
There’s only one route to get there, you know? (yeah)
Always scrutinized, bags are super sized, why are you surprised? What do you mean? You gotta get it! It’s not going to make itself
When you wake up and check the Chase App
And this shit got more and more digits than a license plate
Them seven-eight figures don’t make themselves, yadadamean?

There’s only one way
There’s only one option
There’s only one route to get there, you know? What do you mean? Must have mixed us with a different group of guys
Spot the truth or lies, I mean business
But I’m not in suit and ties
Just been prophesized (yeah, uh)
This sh*t fell right into place (yeah)
Indy 500 my pace (ayy)
Drinking it straight to the face
Liquor and women, two things I don’t chase (uh)
Don’t got a minute to waste (yeah)
Mask off I’m showing my face (yeah)
Shoutout Dakari my ace (uh)
They hate so much it’s a disgrace (uh)
I put ’em back into place (yeah)
I put your bitch in a wraith
I just snatch her, she’s vanishing without a trace (yeah)
[Pre-Hook]
I might go f*ck up these bands (ayy)
I do this sh*t ’cause I can (yeah)
I just took care of my fam (ayy)
Thought this was always the plan (yeah)
I might go fly to Japan (ayy)
Honolulu get a tan (yeah)
To the beach I don’t bring sand (no)
[Hook]
Thought that was always the plan (no)
Thought that was always the plan (no)
Thought that was always the plan (ayy)
Did it I do it again (no)
Thought that was always the plan
I might go f*ck up these bands (ayy)
I do this sh*t ’cause I can (yeah)
I just took care of my fam (ayy)
Thought this was always the plan (yeah)
[Verse 2]
Ten years this sh*t has been brewing (ayy)
I’m like “The f*ck you been doing?” (yeah)
Hall of fame, Gerald’s a shoe in
You’ll never be Jordan, you’re more Patrick Ewing (yeah)
Number one spot, I’m pursuing (ayy)
Exclusive like “who let you in?”
Money talks, I speak it fluent
Got tired of my bitch, I went got a new one
Quick swish that
This bitch whack
Pack, flip that
Making quick stacks
This sh*t blap
She did that (uh)
Taking a quick trap nap (yeah)
I go all night and sh*t
Ain’t gotta hide this sh*t
This sh*t’s a freestyle, I ain’t even write this sh*t
Roll me some, Marty, and I’m finna light this sh*t (ayy, yeah)
My jaw swimming on South Beach
This is sh*t that they don’t teach
Don’t go too far
Don’t trap too hard
Bitch, don’t reach like (uh)
Drugs got me on a level, lock jaw, got slow speech
I’m courtside, I got floor seats
Next to Rihanna like “Oh Sheesh!”
[Pre-Hook]
I might go f*ck up these bands (ayy)
I do this sh*t ’cause I can (yeah)
I just took care of my fam (ayy)
Thought this was always the plan (yeah)
I might go fly to Japan (ayy)
Honolulu get a tan (yeah)
To the beach I don’t bring sand (no)
[Hook]
Thought that was always the plan (no)
Thought that was always the plan (no)
Thought that was always the plan (ayy)
Did it I do it again (you know?)
Thought that was always the plan (yeah)
I might go f*ck up these bands (ayy)
I do this sh*t ’cause I can (yeah)
I just took care of my fam (ayy)
Thought that was always the plan (yeah)
[Outro]
I thought this was always the plan
What were you doing? [Intro]
Yeah
Ayy
I do this sh*t cause I-
Turn, turn it up a little bit
I gotta, I gotta, I gotta blap
Yo, yo, ayy
[Pre-Hook]
I might go f*ck up these bands (ayy)
I do this sh*t ’cause I can (yeah)
I just took care of my fam (ayy)
Thought this was always the plan (yeah)
I might go fly to Japan (ayy)
Honolulu get a tan (yeah)
To the beach I don’t bring sand (no)
Thought that was always the plan (yeah)
[Verse 1]
Growed up, now I am the man (yeah)
It’s sh*t you don’t understand (ayy)
Popeye just opened the can
I don’t f*ck with no fufu that’s not on my brand (ayy)
Call me when you need a hand (yeah)
In the bay I’m superman (ayy)
YSL on me, god damn
Tell me, why is your girlfriend my number one fan? (yeah)
Always scrutinized, bags are super sized, why are you surprised? You gotta get it! It’s not going to make itself
When you wake up and check the Chase App
And this sh*t got more and more digits than a license plate
Them seven-eight figures don’t make themselves, yadadamean? This was always the plan

Artist: Souleye Title: Ease That Hook Ease that lean back roll me up that
Weed sack / Calling out my ladies on the front and the back / Lean back
Ease that roll me up that weed sack / We we’ve them tracks that ride
Like Cadillac’s / Verse 1 I’ve been all around the world / And easy
To see that most people that I meet / Love blazing on them trees / I’ll
Find it in Fiji where no weed be / Or in Mendo where it’s in every home /
Grown out doors organic is my favorite type / But then again I like that
Indoor bud at night / Smoking sativa in the middle of the afternoon / Get
High motivate party on the move / Even my mom pack that bong / I’ve
Watched my dad smoke all day long / From the rich and the famous / To the
Poor and broke / They all love that dope / Government don’t know I know
My fourth amendment / Can’t search without a warrant / Hook Ease that
Lean back roll me up that weed sack / Calling out my ladies on the front
And the back / Lean back ease that roll me up that weed sack / Wewe’ve
Them tracks that ride like Cadillac’s / Verse 2 Only the best when I’m
Smoking the Sess /
Hawaiian mist I’m on a mystical trip / Puffing an ounce of Kush on the
Couch / Purple urkle got me seeing double now / I’m going to Canada
Man, Japan or Amsterdam / No matter where I’m at I’m going to smoke a
Gram / Four-way endo sipping on that swiss miss / With Mr. Nice here’s
The pipe now hit this / Elevate let’s create everyone together now /
Let’s celebrate / take a break though / If you don’t puff the drow / I
Know there’s those / That don’t smoke so pass it to the left / You
Know how it goes / The rotation is ground breaking /

I walk the streets of Japan till I get lost
Cause it doesn’t remind me of anything
With a graveyard tan carrying a cross
Cause it doesn’t remind me of anything
I like studying faces in a parking lot
Cause it doesn’t remind me of anything
I like driving backwards in the fog
Cause it doesn’t remind me of anything
The things that I’ve loved the things that I’ve lost
The things I’ve held sacred that I’ve dropped
I won’t lie nor more than you can bet
I don’t want to learn what I’ll need to forget
I like gypsy moths and radio talk
Cause it doesn’t remind me of anything
I like gospel music and canned applause
Cause it doesn’t remind me of anything
I like colorful clothing in the sun
Cause it doesn’t remind me of anything
I like hammering nails and speaking in tongues
Cause it doesn’t remind me of anything
The things that I’ve loved the things that I’ve lost
The things I’ve held sacred that I’ve dropped
I won’t lie nor more than you can bet
I don’t want to learn what I’ll need to forget
Bend and shape me
I love the way you are
Slow and sweetly
Like never before
Calm and sleeping
We won’t stir up the past
So discreetly
We won’t look back
The things that I’ve loved the things that I’ve lost
The things I’ve held sacred that I’ve dropped
I won’t lie nor more than you can bet
I don’t want to learn what I’ll need to forget
I like throwing my voice and breaking guitars
Cause it doesn’t remind me of anything
I like playing in the sand what’s mine is ours
Cause it doesn’t remind me of anything

[Verse 1: Jonwayne]
I was sitting in Japan when my nephew was born
Broke my damn heart when I wasn’t there for him
It made me think about my life
And my order of operations
I was drunk at a show and fucked my boy’s set up
It was a blessing when he checked me at the check in
I ain’t never been the same and I’ll never forget it
I’ve been the burden of my people
And alienating fans
Just thinking they would never understand
Really it’s wavelength bringing us together in a way
So really I should be more open to two-way
And if I ever did you something dirty, I do pray
I get another chance but this karma catching up in a true way
I’ve been so caught up in the lack of acceptance
I never focused on the man to accept
And if it’s too late for a formal apology, I accept it (x2)
You think of me less than I am but maybe that’s a blessing
I just hope that I can spread my message
A to Z (passing off to zeroh)

[Chorus: Zeroh]
Shit, all I want to say is put it down!
Your position been compromised
Everything has a beginning and an end
I know glory’ll take you dead or alive
In ruts fucked up off such and such
Is thus just because
You’re afraid of us
Ya
So put it down
Put it down
(x2)

[Verse 2: Jonwayne]
All my life I was looking for love
Found it in Florida under the too hot sun
Took it for granted
Started to run
Became the man or a gun
But now I’m looking down the barrel of one
On my knees when we said she could see my skin was empty
Please wake me when the self hatred is done
And I try but she reminds me of what I’ve become
Thought i knew myself but that knowing is done
I just hope that she still sees my love
And for that I just hope these old songs take off
I need a house
And a rack
For every leaf of grass on my big-ass lawn
And as I see my family progress all I want is a daughter or son
Been around the world playing rapper is dumb
Fulfilling fantasies of a teenage me
And in the end it’s my people bringing joy to the room
Some advice: don’t lose sight about where you’re from
A to Z

[Chorus]
Shit, all I want to say is put it down!
Your position been compromised
Everything has a beginning and an end
I know glory’ll take you dead or alive
In ruts fucked up off such and such
Is thus just because
You’re afraid of us
Ya
So put it down
Put it down
(x2)

[Outro: Jonwayne]
Yo, look at these people
Counting on me when I can’t even count on myself
Look at these homies
So sure of me when I’m not so sure of myself
I need help
But I’m too damn proud to stop the progress now
I need to slow down
But I need a good friend to come and tell me how
(x6)

[Chorus]
Shit, all I want to say is put it down!
Your position been compromised
Everything has a beginning and an end
I know glory’ll take you dead or alive
In ruts fucked up off such and such
Is thus just because
You’re afraid of us
Ya
So put it down
Put it down
(x2)

[Intro: Quavo]
Spotify, yeah
Spotify, Spotify
Spotify, Spotify
Spotify, yeah

[Verse: Offset, Quavo, & Takeoff]
Young nigga poppin’, cookie kickin’ like a rider (cookie!)
Bout to get that lamb til’ I thought about that rari (skrr skrr!)
Ain’t no doubt about it I’m yo favorite rapper artist
When you pull out that draco make sure ain’t nobody watching ( brrrt!)
Migos we the topic (Hey!), pockets extra sloppy (slop!)
On Spotify they listenin’ they can’t wait til’ we droppin’
Like my women cocky, (women!) drape em’ in Versace (‘sace!)
Fish scale wallets, Christopher Wallace (white!)
Spotify hit me, told me “Pull Up,” said “I got em’”
Number one no problem, try to stop we droppin’
Culture out there, dropped it, told em, “Hit me” when they cop it
Visuals on North Pole, ain’t no photo shoppin’
Back then when I wasn’t poppin’, y’all people told me stop it
Yeah
Thinkin’ bout money when I say cottage, so much can’t fit in my wallet
Yeah, yeah I might give my fans all my clothes yeah, yeah
I fly to Japan for my shows yeah, yeah
What you sayin’ we get those yeah, yeah
I won’t give no bag to these hoes (yeah)

[Outro: Quavo]
Yeah, no, T-shirt, T-shirt, T-shirt, T-shirt, (white!)
T-shirt, (white) T-shirt (white)
It’s that white, yeah,(white!) it’s that white yeah (white!)
Coco, do it for the Culture
Spotify I give you my word
Number one, we all around the earth
Spotify, we all around the earth
You know we comin’ for what we deserve, yeah
Culture album, out now, go get that, yeah
Yeah, WOO

[Verse 1]
Why you keep askin’ me about her?
She’s not here right now, she’s not here right now
Why am I the one you wanna get into it with right now
I’ve got a lot to say, and that’s the last thing a nigga wanna hear right now
Spendin’ all my days on the Eastside, oh
Forgettin’ who I was on the other side, oh
Young nigga switchin’ up the program right now
Tryna put the power in my own hands right now
I’m about to ride through the old hood right now
Got too much pride for my own good right now
Waitin’ on you to give in and hit me up
So I could fall through like old times and hit it up

[Hook]
I’m terrible at inviting myself, call me over
Those nights when you need someone else call me over
You can be the one to take control call me over
When I get there, you already know, call me

[Verse 2]
Why you keep askin’ me about her?
Couple other things I’d rather wanna do than talk ’bout that right now
Told you about giving him chances and chances and chances
He’s not holding you down, he’s holding you back right now
Spendin’ all my days on the Eastside, oh
Forgettin’ who I was on the other side, oh
Young nigga switchin’ up the program right now
Tryna put the power in my own hands right now
Love it when your ass speak the truth to me
Tryna wake up and have you with me
Waitin’ on you to give in and hit me up
So I could fall through like old times and hit it up

[Hook]
I’m terrible at inviting myself, call me over
Those nights when you need someone else call me over
You can be the one to take control call me over
When I get there, you already know, call me

[Breakdown]
(I threw my hands in the air said show me something)
Remember one night I went to Erykah Badu house, she made tea for me
We talked about love and what life could really be for me
She said, "when that shit is real, you just know"
And I was thinking bout you, you already know
Yeah, the other night Chubbs showed up at my house
He had weed for me, that’s my nigga till we gon’
Keeps his ear to the streets for me
Said the city stress him out on the low
I said, "I feel you, nigga, I already know"
Yeah, already
Girl’s talkin’ bout you, gotta leave already
Damn, my lil’ nephew turned four already
Gave you a little help, you need more already
Damn, you need more already?
Before you said your mine, I was yours already
22, had the Bentley 4 door already
Even as a boy I was the boy already
So you know that mean the pussy galore already
Mention other girls, you get insecure already
That was in the past, I’ve matured already
Fuck them hoes, you got the award already
You go to Chanel and get rewards already
Know I do this shit for 3rd Ward already
Know I do this shit for H-Town already
Already, already
Back up in this thing, it’s a go
Had a couple niggas out of pocket, now they know
Ain’t the first time cause I’ve lost you before
Had to get it back, had to get it back
Had to pull it back because I know I’m on the road
Had to take you back because I know you’re down to roll
If you can get it from me, you can have it, now you know
All your friends asking where you stand with the boy
FaceTime said you got plans for the boy
Studying your body, that’s exams for the boy
Take a flight here, pop a xan for the boy
Waking up in Amsterdam with the boy
Long flight home, another xan for your boy
You would probably fly out to Japan for the boy
You would probably kill another man for the boy
You would probably…
You would probably lie ’bout it on the stand for your boy
Put the Bible to your right hand for the boy
That’s why you I ain’t never gotta worry ’bout the boy
You know you got…
You know you got that really good insurance on the boy
You just gotta pack a bag and hurry to the boy

I’m the one you want in the palm of your hand
Running down your back at every word’s end
You can let me down, put me in my place
Although you’ve had enough, there’s still more I can take

Maybe I’m just here to work
And let you take the lead
When you stare into the light
You know where to find me

I can be your shadow
You and I together, and I know
I wanna be there, girl
But I can’t even be there for myself

I’m the one you want, bring you to your knees
What you need the most is a chance to leave
I wanna take you somewhere that you’ve never seen
Japan or Amsterdam, don’t have to be a dream

Maybe I’m just here to work
And play by the rules of attraction
I’ll be there in front of you
When we’re running from the sun

I can be your shadow
You and I together, and I know
I wanna be there, girl
But I can’t even be there for myself

I can be your shadow
You and I together, and I know
I wanna be there, girl
But I can’t even be there for myself

I can be your shadow
You and I together, and I know
I wanna be there, girl
But I can’t even be there for myself

And you know I have you when you walk away
And you know I have you when you walk away
Just walk away

How long before I get in?
Before it starts, before I begin?
How long before you decide?
Before I know what it feels like?
Where To, where do I go?
If you never try, then you’ll never know
How long do I have to climb,
Up on the side of this mountain of mine?

Look up, I look up at night
Planets are moving at the speed of light
Climb up, up in the trees
Every chance that you get
Is a chance you seize
How long am I gonna stand
With my head stuck under the sand?
I’ll start before I can stop
Before I see things the right way up

All that noise, and all that sound
All those places I have found
And birds go flying at the speed of sound
To show you how it all began
Birds came flying from the underground
If you could see it then you’d understand?

Ideas that you’ll never find
All the inventors could never design
The buildings that you put up
Japan and China all lit up
The sign that I couldn’t read
Or a light that I couldn’t see
Some things you have to believe
But others are puzzles, puzzling me

All that noise, and all that sound
All those places I have found
And birds go flying at the speed of sound
To show you how it all began
Birds came flying from the underground
If you could see it then you’d understand
Ah when you see it then you’ll understand?

All those signs, I knew what they meant
Some things you can invent
Some get made, and some get sent
Oh
Birds go flying at the speed of sound
To show you how it all began
Birds came flying from the underground
If you could see it then you’d understand
Ah, when you see it then you’ll understand?