Chicago rap sensation Boelyfe Jaine and Black Forbes List Entertainment release “Flossin” visuals. Boelyfe’s confident bars flow effortlessly over an arrangement of striking melodies and catchy hook. She’s not phased by haters running mouth on her every move, in fact, she will continue to embrace and show off her earned wins and success. A poolside mansion with cathedral ceilings and lifesize Nipsey art is a result of her empowered drive and 24/7 grind. Viewers are sure to grab a bottle and join Boelyfe’s and her day one’s in celebrating life. Watch the video for “Flossin” and connect with Boelyfe Jaine below.
VEVO channel: https://youtube.com/channel/UCHnOqk8h91Folsml0hwpQPA
‘Black Panther: Wakanda Forever’ Commands Huge $180M U.S. Opening, $330M Globally
The Marvel Studios sequel hunted down the biggest November launch of all time at the domestic box office. Elsewhere, Steven Spielberg’s Oscar contender ‘The Fabelmans’ opened to strong numbers in New York and Los Angeles.
The superhero sequel opened to a huge $180 million at the domestic box office to hunt down the biggest November opening of all time and the second-biggest launch of 2022 so far behind fellow Marvel Studios’ pic Doctor Strange in the Multiverse of Madness ($187.4 million). And it easily wrested the weekend crown from DC superhero pic Black Adam, now in its fourth weekend.
Overseas, the Marvel and Disney tentpole debuted to $150 million for a global start of $330 million (that’s as much as DC’s Black Adam earned in its first three weeks). Europe was strong overall, led by the U.K. ($15 million) and followed by France ($13.7 million). Among all markets, Mexico placed third with $12.8 million, followed by South Korea ($8.9 million) and Brazil ($7.1 million). Wakanda Forever also opened scored the highest opening in history In Nigeria, where the film’s African premiere was held.
While Wakanda Forever didn’t match the $202 million domestic debut of Coogler’s Black Panther in 2018, it is still doing formidable business and ranks No. 13 on the all-time list of domestic launches (releases from Disney and Marvel now account for all but one of the 13), according to Comscore. The sequel’s arrival on the marquee couldn’t have been more welcome after a tough fall for theater owners.
Heading into the weekend, Wakanda Forever was tracking to debut in the $175 million range. Until now, the biggest November opening belonged to The Hunger Games: Catching Fire ($158 million).
Black Panther 2, playing in 4,396 theaters domestically, earned $84 million on Friday alone, one of the biggest opening days of all time and all but tying with fellow Marvel Studios title Avengers: Age of Ultron for No. 9 on the list, not adjusted for inflation. Friday’s haul included $28 million in Thursday evening previews. (Friday was Veteran’s Day.)
Coogler’s film received an A CinemaScore from audiences and strong exits on PostTrak. One difference: the first Black Panther earned a coveted A+. It played to an ethnically diverse audience, led by Black moviegoers (34 percent) and followed by Caucasians (31 percent), Latinos (21 percent) and Asian/Other (14 percent), according to PostTrak. It also played more evenly gender-wise than most superhero films, with females making up 45 percent of the audience.
In 2018, Black Panther was the first Hollywood studio tentpole to feature a predominantly Black cast and transformed into a cultural phenomenon on its way to earning more than $1.34 billion at the worldwide box office.
The sequel endured tragedy when Chadwick Boseman, who played the titular role of T’Challa/Black Panther in the 2018 film, died of colon cancer in August 2020. Wakanda Forever’s cast includes Angela Bassett, Lupita Nyong’o, Letitia Wright, Winston Duke, Danai Gurira, Florence Kasumba and Martin Freeman, as well as Marvel newcomer Tenoch Huerta as Namor and Dominique Thorne as the hero Riri Williams.
Wakanda Forever opened less than 11 percent behind the 2018 film.
“It’s an outstanding result. The first film represented such a major cultural milestone that its performance would have been challenging to follow even under normal circumstances,” says box office analyst Shawn Robbins. “This performance from a sequel almost five years later speaks to the trust audiences have in Ryan Coogler, Marvel and the entire creative team to continue the story in a respectful way after Chadwick Boseman’s tragic passing. It’s an opportunity for everyone to say goodbye to him together as the franchise moves forward with his legacy at the heart of it.”
Among superhero movies released in the pandemic era, Sony and Marvel’s Spider-Man: No Way Home opened to $260.1 million in December 2021. Doctor Strange in the Multiverse of Madness followed in May with $187.4 million, while Thor: Love and Thunder scored $144.2 million in July. In March 2022, DC and Warner Bros.’ The Batman flew to $134 million in its launch. More recently, DC’s Black Adam, starring Dwayne Johnson in his first live-action superhero role, opened to a more subdued $67 million domestically.
This weekend’s other high-profile opening is Steven Spielberg’s semi-autobiographical tale and Oscar contender The Fabelmans, which is getting a slow platform release, much as a specialty film does, in order to build word of mouth.
The Universal and Amblin Entertainment movie, opening in four theaters in New York and Los Angeles, scored a strong location average of $40,000, one of the best of the year behind Everything Everywhere All at Once and The Banshees of Inisherin. Fabelmans received an A CinemaScore and boasts a 95 percent critics’ score on Rotten Tomatoes.
“With The Fabelmans, Steven Spielberg has crafted one of his most personal stories yet, an incredible universal coming-of-age story that clearly resonated with audiences this weekend,” said Jim Orr, president of domestic theatrical distribution for Universal Pictures.
Back on the top 10 chart, Black Adam — as expected — took a big hit as Black Panther opened. The Dwayne Johnson pic placed second with $8.6 million for a domestic tally of $151.1 million. Overseas, it cleared the $200 million to finish Sunday with a worldwide total of $352.2 million.
Universal’s romantic comedy Ticket to Paradise continued to hold well, falling only 29 percent to $6.1 million for a domestic cume of $56.5 million and $150 million worldwide.
Sony’s family pic Lyle, Lyle, Crocodile fell just 5 percent to $3.2 million for a muted domestic tally of $40.8 million and $75.6 million worldwide.
Paramount’s blockbuster horror entry Smile rounded out the top five in North America with $2.3 million as it hit $210 million worldwide.
Among Oscar contenders, Banshees placed No. 7 with $1.7 million from 960 locations for a domestic total of $5.6 million.
MGM and UAR’s Till, coming in No. 9, saw its domestic total hit $8 million over the weekend.
Ye Unable to Sell ‘White Lives Matter’ Merch Due to Existing Trademark
Owned by Black radio hosts Ramses Ja and Quinton Ward of Civic Cipher.
They said they hoped that “best-case scenario”, the phrase would drop out of use over the coming months, although they feared it had “staying power”.
The trademark was filed on the day West wore a T-shirt at his surprise Paris Fashion Week show with an image of Pope John Paul II on the front and the phrase written on the back. The garment caused several members of the audience to walk out of the show and sparked widespread criticism around the globe. However, the initial purchaser of the trademark, a listener of the pair’s radio show who wishes to remain anonymous, transferred it to Ja and Ward’s company, Civic Cipher LLC, weeks later.
By purchasing the trademark, they hoped to prevent anyone from potentially profiting off the term, which has been categorised as a hate slogan by the Anti-Defamation League. The phrase has been used by white supremacist groups such as the Ku Klux Klan as a response to the Black Lives Matter movement.
The trademark prevents anyone from selling any garments or other items bearing the phrase, meaning West will not be able to release the item shown in Paris.
The incident, and several anti-Semitic comments made by West in interviews in the weeks afterwards, have led to several high-profile brands, including adidas and Balenciaga, cutting ties with the rapper.
Edurk Black Pablo And His Many Industry Hats Are Taking Over
CEO of Awol GCode Promotions Edurk Black Pablo is taking over the scene with his label and as an entrepreneur, rapper, singer, producer, and musician. Based out of Alabama, his label currently has four signed artists and is expanding nationally and internationally.
Pablo’s acclaimed career set off in 1996 as a member of Dayton Family signed to a major deal with Relativity Records. The charting single “F.B.I.” peaked on Billboard 200 at #45. He then went on to collaborate with industry mixers and Hip Hop legends including Master P. ‘Down South Hustlers’ and 36 Mafia’s ‘Chapter II- World Domination’ reigned as 2 Gold albums. Soon after Pablo toured with Insane Clown Posse for a 50-state tour.
“I’ve been to prison, lost everything I had, lost my parents within a week apart, lost my brother, and ongoing life’s struggles forces you to keep pushing on. That’s what I do and intend to continue doing.”
As a solo artist, Pablo released his latest single/video “Tear Me Down” which has been creating a global frenzy. The track featuring T.Rell and Ziggy Zig Zag ranks at #60 on Top Independent Charts and #161 on Top Global Charts. Not giving himself any time to breathe, Pablo is also in the studio with multiplatinum producer Faided Beatz cooking up some new music, set to begin a summer tour with Gucci Mane’s artist Enchanting, and in the works to film The Dayton Family documentary Dope Dayton Ave.” Stay tuned for a heated summer and connect with Edurk Black Pablo below. “Big things are coming. I’m blessed and keep letting God drive the car.”
Connect with Edurk Black Pablo
Facebook: Edurk Black Pablo
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