It was a record weekend at the box office for Sony's release of Venom, which delivered a massive $80 million, topping the previous October opening weekend record by more than $20 million. Additionally, Warner Bros.'s A Star is Born more than carried its own weight with a stellar debut of its own, topping $40 million for its opening weekend and helping this become the largest October weekend of all-time. With an estimated $80 million, Sony's release of Venom into 4,250 locations not only topped the weekend box office, but it topped the previous October opening weekend record of $55.7 million set by Gravity in 2013 by over $20 million. The debut ranks ahead of the $75.8 million opening for Ant-Man and the Wasp earlier this year and just behind the $84.4 million opening for Solo: A Star Wars Story. Both films went on to gross over $210 million domestically, but before we get that far, one thing everyone will have their eye on is just how well it holds over next weekend. Critic's reviews for Venom were largely negative while the film received a "B+" CinemaScore from opening day audiences, a score that matches the grades for both Suicide Squad and Justice League and is a notch behind the "A-" for Ant-Man and the Wasp. Of the three, Justice League's 56% second weekend drop is the best of the lot while the three carry an average second weekend drop of ~61%, which, in this case, is probably what should be expected with anything better perceived as something of a positive sign as Venom doesn't have any superhero competition in theaters until the releases of Spider-Man: Into the Spider-Verse and Aquaman in December. One interesting note is while Venom's audience was predictably male leaning at 59%, only 36% of the overall audience was 25 years of age or older. Comparatively, 46% of Ant-Man and the Wasp's audience was 25+, 46% of Suicide Squad and 69% of Justice League. In fact, Venom had a younger overall audience than even Spider-Man: Homecoming which played to an audience of which 49% was 25 years of age or older. Internationally, Venom delivered $125.2 million from 58 markets for a record October global opening over $205 million. South Korea led all markets with an estimated $15.7 million opening, the second largest opening for Sony in the market behind Spider-Man: Homecoming's $19.1 million. Additional notable markets include Russia ($11.7m), the UK where it topped the opening weekend for Johnny English Strikes Again with an estimated $9.3 million; Mexico ($7.1m); Australia ($6.4m); Germany ($5.2m); and Brazil ($5.2m). Upcoming markets include France next weekend, Japan in early November and a release in China that is yet to be dated. In second place is Warner Bros.'s release of A Star is Born, which delivered a hefty $41.25 million debut from 3,686 locations. Once you add the $1.35 million in grosses from early Tuesday and Wednesday sneak peeks, the film's current domestic cume stands at $42.6 million. The film's opening performance contributes to a massive overall weekend, and serves as the tenth largest October opening weekend of all-time. The film's audience was 66% female and of the overall audience 86% were 25 years of age or older. Where the film goes from here is really anyone's guess, but a lengthy run deep into awards season is certainly in the offing, fueled by strong critical reviews and audience word of mouth — the film received an "A" CinemaScore — to go along with that stellar opening. Internationally, A Star is Born delivered $14 million from 31 markets including a $5.3 million launch in the UK along with a $2.1 million second place opening in France and a $1.9 million debut in Germany. Several markets have yet to open including South Korea (Oct 9), Italy (Oct 11), Brazil (Oct 11), Mexico (Oct 12), Australia (Oct 18) and Japan (Dec 21). WB also took third place with their animated feature Smallfoot, which dipped 35% this weekend for an estimated $14.9 million three-day and a domestic cume that is now just shy of $43 million after ten days in release. The film also added $11.7 million internationally this weekend for a global cume that now tops $75 million. Landing in fourth place is Universal's Night School, which dipped 55% in its second weekend, pulling in an estimated $12.275 million for the three-day, boosting the film's domestic cume to $46.7 million. The film brought in $3.4 million internationally this weekend from 21 markets for an overseas cume that now totals $12 million and a global tally nearing $60 million. Rounding out the top five is another Universal title in The House with a Clock in Its Walls, which dipped 42% as it enters its third weekend in release with an estimated $7.3 million for a domestic cume that now stands at $55 million. Just outside the top ten, National Geographic's Free Solo had an impressive expansion, bringing in an estimated $540k from 41 theaters (+37) for a $13,171 per theater average. Right behind it was Fox's limited release of The Hate U Give, which delivered an estimated $500k from just 36 theaters for an impressive $13,889 per theater average. The Hate U Give will expand even further next weekend, expected to land in ~200 locations. Additional limited releases include GVN's Shine, which opened with $218,789 from 609 locations ($359 PTA); Universal's Loving Pablo which opened with $16,000 from 15 theaters ($1,067 PTA); Zeitgeist's Studio 54 brought in $15,000 from one location; Ammo's Chasing the Blues opened with $8,980 in nine theaters ($998 PTA); and Abramorama's The Great Buster delivered $7,234 in two locations. Overall, the weekend's top twelve delivered nearly $168 million, making it the largest October weekend of all-time, topping the first weekend of October 2014 by more than $25 million. Next weekend Universal will debut First Man into ~3,500 theaters; Sony will release Goosebumps 2: Haunted Halloween into ~3,400 locations; and Fox is releasing Bad Times at the El Royale in approximately 2,800 theaters.

Venom is set to annihilate October's all-time opening weekend record, far eclipsing Gravity's debut. The film is the first of several vehicles Sony has planned for their own comic book franchise based on the 900 Marvel characters they still own the rights to. Venom, in particular, has been a passion project for the studio for years, as its development dates back to the late 2000s when Sam Raimi's Spider-Man 3 came out. At long last, it's finally reached theaters, but unfortunately for Sony, the results are something of a mixed bag. Critically speaking, Venom's reception leans towards the negative end of the spectrum, with people criticizing its weak story and dated feel. However, there's still some fun to be had with it (see: the inherent weirdness of the Eddie Brock/Venom dynamic), which meant it could be a hit with general audiences. For months now, projections indicated it would break records in its debut, and now Venom looks like it's going to exceed commercial expectations. According to THR, Venom is on track to earn roughly $80 million in its first three days domestically, passing the $55.7 million posted by Gravity back in 2013. In a distant (but still respectable) second is Bradley Cooper's A Star is Born, which should gross $40+ million in its own debut. The very different target demographics of the two new arrivals meant both were in an ideal position to thrive at the box office. For Sony, this is excellent news. Venom cost "only" $100 million to produce, so it should be well on its way to turning a massive profit. Before these updated numbers came in, the film was estimated to earn $175 million worldwide this weekend, and now that figure will likely be higher. What's more is that Venom looks to be ready for a leggy theatrical run, as there aren't any other massive franchise blockbusters opening until November when Fantastic Beasts: The Crimes of Grindelwald premieres. While it's true there are other high-profile films coming in the next couple of weeks (First Man and Halloween jump out), they're not exactly direct competition for Venom. If word-of-mouth doesn't derail it, the film will be huge. Sony has yet to officially date in-development projects like Morbius and Silver & Black, but Venom's early success should give the studio confidence to move ahead with those films. At the very least, the chances of a Venom sequel happening increase, especially after Ruben Fleischer's movie laid the groundwork for a followup. Sony was smart to take things slow as they waited to see what they had, and maybe they now have a comic book tentpole to call their own.

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In Canada, there have been ongoing discussions and proposals about new levies and fees to compensate creators for 'missed revenue.' There have been calls to levy a tax on mobile devices such as iPhones, for example. This week the Screen Composers Guild of Canada took things up a notch, calling for a copyright levy on all broadband data use above 15 gigabytes per month. When CD copying was all the rage in the late 1990s, many countries started to levy a tax on blank media. This meant that consumers had to pay an extra fee on every recordable disc, because these can be used to duplicate copyrighted content. In some countries, this model has expanded to other media, such as hard disks, MP3 players and phones. In Canada, however, this didn’t happen. Despite several attempts in the past, there is no private copying levy on smartphones, tablets or hard disks. During recent copyright reform discussions, the matter was brought to the forefront once again. But there’s also another copyright compensation issue, one that’s potentially even more controversial. A proposal from the Screen Composers Guild of Canada (SCGC), put forward during last week’s Government hearings, suggests to simply add a levy on Internet use above 15 gigabytes per month. The music composers argue that this is warranted because composers miss out on public performance royalties. One of the reasons for this is that online streaming services are not paying as much as terrestrial broadcasters. The composers SCGC represents are not the big music stars. They are the people who write music for TV-shows and other broadcasts. Increasingly these are also shown on streaming services where the compensation is, apparently, much lower. “With regard to YouTube, which is owned by the advertising company Alphabet-Google, minuscule revenue distribution is being reported by our members. Royalties from the large streaming services, like Amazon and Netflix, are 50 to 95% lower when compared to those from terrestrial broadcasters,” SCGC writes (pdf). “Statistics like this indicate that our veteran members will soon have to seek employment elsewhere and young screen-composers will have little hope of sustaining a livelihood,” the guild adds, sounding the alarm bell. SCGC’s solution to this problem is to make every Canadian pay an extra fee when they use over 15 gigabytes of data per month. This money would then be used to compensate composers and fix the so-called ‘value gap’. As a result, all Internet users who go over the cap will have to pay more. Even those who don’t watch any of the programs where the music is used. However, SCGC doesn’t see the problem and believes that 15 gigabytes are enough. People who want to avoid paying can still use email and share photos, they argue. Those who go over the cap are likely streaming not properly compensated videos. “An ISP subscription levy that would provide a minimum or provide a basic 15 gigabytes of data per Canadian household a month that would be unlevied. Lots of room for households to be able to do Internet transactions, business, share photos, download a few things, emails, no problem,” SCGC notes. “[W]hen you’re downloading and consuming over 15 gigabytes of data a month, you’re likely streaming Spotify. You’re likely streaming YouTube. You’re likely streaming Netflix. So we think because the FANG companies will not give us access to the numbers that they have, we have to apply a broad-based levy. They’re forcing us to.” The last comment is telling. The composers guild believes that a levy is the only option because Netflix, YouTube, and others are not paying their fair share. That sounds like a licensing or rights issue between these services and the authors. Dragging millions of Canadians into this dispute seems questionable, especially when many people have absolutely nothing to do with it. According to Canadian law professor Michael Geist, who highlighted the issue, it would also result in an unfair double-payment. “[T]he SCGC proposal would represent double-payment by consumers, who would pay to access the content on services such as Spotify and Netflix and pay for the transmission of the same content with the ill-advised copyright tax on broadband data,” Geist writes. It’s doubtful that there will be broad support for the proposal among the public. However, proposing to add a levy or tax on Internet use certainly gets people’s attention, which might have been part of the plan. Source: Torrentfreak.com

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Is a comeback on the cards? Foo Fighters have teased that Nirvana are set to reunite this weekend for a performance at the band’s CalJam festival. Yesterday evening, the rock giants posted two cryptic hints on Twitter that suggest a comeback performance could be on the cards. The first came as they announced a screening of Joan Jett’s new documentary at the California festival. “CAN’T WAIT!! What else could we have up our sleeves???” Stay tuned….”, they wrote. Jett, of course, famously joined Nirvana in 2014 as a backing singer for a one-time performance after their induction into the Rock and Roll Hall of Fame. The second hint then came from that very performance – with Foo Fighters sharing footage on Twitter. “This is a jam”, they wrote. The tweet was subsequently retweeted by Nirvana’s official account. The rumours were given further substance by the festival’s line-up too. As well as ex-Nirvana members Dave Grohl and Pat Smear being in Foo Fighters, former Nirvana bassist Krist Novoselic is due to appear with his band, Giants In The Trees. They’ll also be joined on the line-up by Deer Tick, whose singer John McCauley performed in the 2014 Nirvana reunion. Foo Fighters are yet to officially comment on the speculation. Meanwhile, Dave Grohl recently played Nirvana’s ‘In Bloom’ for only the second time since Kurt Cobain’s death. In September, Grohl took to the stage to drum along to the seminal single from ‘Nevermind’ with Trombone Shorty at Los Angeles’ Voodoo Threauxdown Festival.

The record was released last week... Lil Wayne has revealed how Drake was left off a guest spot on ‘Tha Carter V’ after facing clearance issues over his inclusion. As he discussed the album’s long-awaited release with journalist Elliott Wilson, the rapper disclosed that clearance issues had prevented Drake from making an appearance. Instead, their 2014 collaboration ‘Believe Me’ was released after the pair worked out the tricky logistics of including it on the record. “A few of the singles that [Drake and I] released throughout the years—those were Carter V songs”, Wayne said. Elsewhere in the interview, he opened up on the moment that Birdman apologised to him onstage – after he was accused of orchestrating gunshots at the star’s tour bus in 2015. “I was on stage, I was in performance mode, I was trying to remember the words,” he said. “Somebody actually had to tell me, ‘Oh he apologized to you onstage tonight.’” He also revealed that he had to be persuaded to feature XXXTentacion on the record, because he wasn’t aware of who the late rapper actually was. In a three-star review of ‘Tha Carter V’, NME wrote: “Wayne blew up before streaming culture did and, although his prolific approach in some ways anticipated the online age, he remains a representative of the past, an icon who exists in a vacuum.

Get ready... The Cure have announced details of a huge gig in Dublin in June 2019. Having previously issued fans with a ‘save the date’ for a gig in Dublin on June 8, the band have now Malahide Castle. Tickets will be on sale at 9am on October 10 and will be available here. The long-running Crawley band celebrated their 40th anniversary back in July with a special show in London’s Hyde Park as part of the BST concert series. They also curated and played at this year’s Meltdown Festival. The Cure are already well into plotting their 2019 gig itinerary, with the band looking to play around 20 festivals – mostly in Europe – next year. Last month, The Cure were confirmed as headliners of the touring Rock On The Lawns Festival in South Africa. Those dates will take place in March, and will mark the first time that The Cure have played in the country. Back in April, Cure frontman Robert Smith addressed the prospect of the band headlining Glastonbury in 2019 – admitting that The Cure “haven’t had a happy history” with the Worthy Farm festival over the years.

"They ain't gonna know what's hit 'em." Eminem has teased the video for ‘Venom’, after leading the soundtrack to the new superhero movie. Posting on Twitter, Eminem wrote: “They ain’t gonna know what hit ’em…” In the first snippet of the video, a child is seen walking down the street and discovers a cracked CD case. He’s then seen taking the disc and placing it in his bag before boarding a bus – where a mysterious transformation begins. Em also confirmed that the track will be released at 1PM on Friday. Although featuring on the ‘Venom’ soundtrack, the song first appeared on ‘Kamikaze‘ – Eminem’s surprise album which was released last month. The record saw Eminem firing shots at some of hip-hop’s most recognisable faces, as well as sparking an ongoing back-and-forth feud with Machine Gun Kelly. Venom debuted in cinemas yesterday to an overwhelmingly negative reaction. In a two-star review, NME described it as “a flawed beast that feels 10 years out of time”. “Too often though, it proves to be a film without a solid identity, and one that feels a decade too late”, our review stated. “Venom could have been so much more, a real chance for Sony to mark the beginning of a darkened alternative universe that was capable of taking on the multiplex slaying might of the MCU. “As it stands, it seems that there’s very little for Disney to worry about.”

He called the rapper a 'p***y' before the attack Footage has emerged of Machine Gun Kelly‘s entourage allegedly assaulting the actor Gabriel “G-Rod” Rodriguez. G-Rod first claimed of the attack last month, when he shared footage of himself approaching the rapper in Atlanta’s Twin Peaks restaurant to repeatedly call Kelly a “pussy”, for referring to Eminem‘s family in his diss track ‘Rap Devil’. Now, CCTV footage obtained by TMZ shows the alleged subsequent attack – which took place two hours later inside the lobby of an Atlanta Hampton Inn where G-Rod was staying. It is said that the assailants include MGK’s drummer ‘R00K’, and another member of his entourage known as ‘Slim’. Machine Gun Kelly was not present during the assault. Rodriguez, who has appeared in The Walking Dead and Power, was treated in hospital for severe facial injuries. Rodriguez claims that he was removed from the restaurant after insulting MGK, before the rapper’s “goons descended from everywhere”. “He gets in the cop’s face and calls him a ‘punk bitch pig,’” said G-Rod in a video. “‘Get out of my fuckin’ way you p***y ass, punk bitch. Get out of my way you stupid pig.’ Imagine if that would have been me or any other person of colour.” G-Rod has said that he will drop a pending criminal investigation if the two fight in the ring. “Real fucking manly of this BITCH!,” he said in a statement. “Tell him I’ll take him plus one of his goons to get him to my weight class!!! And I’ll drop all charges!!” MGP***Y”.” Machine Gun Kelly is yet to respond to the claims and the footage. Eminem dropped surprise album ‘Kamikaze‘ – loaded with controversial moments and taking aim at many others with a number of ‘diss tracks‘. Among them was Machine Gun Kelly who came under attack on the song ‘Not Alike’. Kelly then hit back with the diss track ‘Rap Devil‘ – mocking his single ‘Rap God’. The feud dates back to 2012 over comments Machine Gun Kelly made about Eminem’s daughter on social media, tweeting that she was “hot as fuck.” However, Eminem has since stated that this was not the reason for him writing the track. “The reason that I dissed him is because he got on—first he said, ‘I’m the greatest rapper alive since my favorite rapper banned me from Shade 45,’ or whatever he said, right? Like I’m trying to hinder his career”, he said. “I don’t give a fuck about your career. You think I actually fuckin’ think about you? You know how many fuckin’ rappers that are better than you? You’re not even in the fuckin’ conversation.”

Get ready for album two... After a string of hugely successful collaborations, Dua Lipa has revealed that she’d most love to work with Pink, Frank Ocean and Alicia Keys next. The singer, who was recently ranked amongst the powerful and influential women in music by the BBC, is set to re-release her huge-selling self-titled debut album – loaded with collaborations with the the likes of Miguel, BLACKPINK, Calvin Harris, Diplo, Martin Garrix and Sean Paul. Now, she has her sights set on more huge names. “There are so many incredible artists. I’d love to collaborate with Pink. I would love to collaborate with Frank Ocean. I would love to collaborate with Alicia Keys,” Lipa told E. “There are just so many artists that I admire so much and I feel like something that I want to do with collaborations is always try and work with people who do something maybe a bit more different to what I do or something that would bring something new to the table… “It’s always interesting because I don’t know what’s going to come next.” The ‘Electricity’ singer has recently been on Twitter to tease fans about progress on her next album. As well as revealing that she’s currently in the studio working on album number two, she said that she already has a title for her new album and it’s “feeling quite conceptual”. The new material Lipa has been working on has been influenced by Prince, Outkast, and Gnarls Barkley, and the star said the songs had “some throwback elements.” “I’m excited about [that] cos it’s a new direction for me and I’m looking forward to it,” she said in another recent interview. ‘Dua Lipa – Complete Edition’ will be released on Friday October 19.

"We’re not friends now, and I’m not sure we could ever after what’s happened" Peter Hook has spoken out about the new documentary from his former band New Order, as well as dismissing the chances of relations improving between the two camps. Last month saw the premiere of New Order’s new documentary ‘Decades‘ – showing the band preparing with the artist Liam Gillick and a 12-piece synthesiser orchestra ahead of their performance at Manchester International Festival 2017. The documentary also offered an ‘unprecedented take on their history’ featuring interviews with some of their closest collaborators. Hook left the band in 2007, before a legal battle over royalties ensued. Asked if he’d watched ‘Decades’, Hooky told NME: “No I didn’t, I’m not a big fan of fiction, me. Sadly, with New Order, everyone always used to complain about the amount of synths we used, so I thought the thing at the top of most people’s list would be to hear New Order without all that crap! “That’s my personal opinion. It was quite an ambitious project. I didn’t hear it, and I’m not in the unfortunate position where I’d want to.” He added: “It’s on public record about the way they treated me when they reformed in 2011, which was far from satisfactory. We’re not friends now, and I’m not sure we could ever after what’s happened. Would you try and get back in touch with an ex-girlfriend?” Speaking to NME last year about settling his legal dispute with New Order, Hook said: “The thing is, the English Justice System is difficult and once you’re in it it is very difficult. I would advise anybody to take that step lightly. You’re not only fighting the system – you’re fighting for justice. I’m happy to get my life back and I’m happy for my family. I haven’t got that hanging over me. “I don’t think there will be a reunion soon, sadly – but you know, that’s life.” New Order have announced their only UK gig of 2018 at London’s Alexandra Palace on November 9. Tickets are available here.

Many of Bush's albums have been unavailable on vinyl for at least a decade Kate Bush is releasing remastered versions of her entire album back catalogue on vinyl and CD. The collection, which is available to buy in November, also features some rare tracks that have never been pressed on vinyl. In total, 18 vinyl discs will make up the complete collection. Bush’s discography on vinyl will be split into four boxsets. ‘Remastered in Vinyl I’ includes her debut number 1 album, ‘Wuthering Heights’, as well as ‘Lionheart’, ‘Never For Ever’ and ‘The Dreaming’. Read more: Celebrating Kate Bush at 60 ‘Remastered in Vinyl II’ includes ‘The Sensual World’, ‘Hounds Of Love’ and ‘The Red Shoes’. The third boxset features ‘Aerial’, ’50 Words For Snow’ and ‘Director’s Cut’. ‘Remastered in Vinyl IV’ comprises a double-sided album of rare tracks, remixes, and an album of covers including Elton John’s ‘Candle in the Wind’ and Marvin Gaye’s ‘Sexual Healing’. On CD, ‘Kate Bush: Remastered’ is divided into two bundles: part one and part two. The second release includes the original mastering of her live album, ‘Before The Dawn’. The first two vinyl collections and the first CD bundle are released on November 16. The final two vinyl boxsets and the CD equivalent are released on November 30. The two CD remasters are priced at £59.99, with the vinyl versions each being £89.99. Pre-order here. How To Be Invisible, a book of lyrics selected by Bush, will be published on December 6.