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    1. Great news! The soundtrack for the acclaimed 'A Star Is Born' movie by Bradley Cooper with Lady Gaga debuts at #1 on the Billboard 200 with 231,000 units in which 162,000 are pure sales! It means that Lady Gaga now has FIVE #1 albums in this country with Born This Way, ARTPOP, Cheek To Cheek and Joanne! She becomes the first female artist this decade to have FIVE consecutive #1 albums in the US! Congratulations Lady Gaga & Bradley Cooper! Check out the official article about this week's Billboard 200 Top 10 here.
    2. Great news! The soundtrack for the critically acclaimed movie 'A Star Is Born' by Bradley Cooper and Lady Gaga debuts at #1 on the Official UK Albums chart with 31,816 units. It means that Lady Gaga now has FOUR #1 albums in the country with The Fame, Born This Way & ARTPOP! Congratulations Lady Gaga & Bradley Cooper! Source.
    3. Lady Gaga was interviewed by the French Magazine 'Public'. She shared stories about her past and confessed an emotional desire about her future. You can read her interview below translated by us. Public: Why did you choose to shoot in A Star Is Born? Lady Gaga: First because I'm a fan of Bradley Cooper, it's his first movie as a director! Also I was excited to act with him, but the truth is, I've always loved this story. You know, this film allows me to combine the two passions in my life: singing and acting. You say you feel "vulnerable" when you see yourself on the big screen. It's destabilising because it magnifies everything. Your face and your body are bigger. If you have an attractive physique it becomes more perfect, but if you haven't you only want to dig yourself! Is it about your nose? I am very happy with my nose today but it wasn't always like this. At school, they made fun of my aspect. I come from a family of Italian immigrants. I was different than the blond, blue-eyed, tall, well-behaved girls in the schoolyard. It was hard for me. Then I grew up. I realised that my nose and the rest of my body was a legacy and I should be proud. What I like the most about A Star Is Born is that I'm natural. It's my real hair color and I do not wear makeup. No make-up at the cinema? On the first day of shooting, Bradley was waiting for me in front of my house. When I came out, he approached me with a cleansing wipe. He said, "Stefani, I do not want any make-up." He wanted to show my vulnerability on screen. Have you ever been asked to show more than you wanted? When I wrote my first songs, people tried to give them to other singers. Why? Because I wasn't a very skinny and pretty girl. The producers did not want me, They liked my songs but felt that they should be interpreted by girls who were not cold-hearted and who would show their sexuality on command. From there, I started thinking a lot about myself. Are you scared of ageing? What scares me is that we never ask this question to a man. Ignorance, lack of compassion, children and teens who get bullied at school, that's what really scares me. You said that one day a student put you in the trash of a restaurant. Why did you hide it to your parents? Because I was ashamed! I was devastated. You know, you can have the most awesome and coolest family in the world, there are things you can not reveal. I was so shocked by this event, because the other person was one of my neighbours. Everyone made fun of me. I was the general joke, humiliated. On the other hand, having been harassed and ridiculed made me understand how much I am suffering, and it is precisely this suffering, these cracks that made me, I think, someone capable to write strong songs and with content. What do you mean by other cracks? Depression, anorexia, bulimia, I knew everything. It's hereditary in my family. I am Catholic, Italian and neurotic. Music is my cure. But even in my environment I've been abused. They made me sign contracts, they used me and they threw me away. I was hurt but I survived... Are your outfits a protection? They are a space of expression and always reflect my state of mind. If it looks crazy, it's because I'm crazy. If I look classic, it's because I feel very focused on something. (Laughter) I'm aware of having forced the line. I also admit that the more I added in my extravagances, the more I protected myself. Why did you post a picture showing your stretch marks on your chest? To show that I am not perfect. For many young girls, I am an example. So, of course, I could modify the picture, but it is essential that I show my fans that I have imperfections and that I'm proud of them. Is being a superstar hard for you? Yes, but it's my fault. I cut myself off from the reality. Every minute of my job is programmed, ultra secure. To avoid the crowd, I'm going through parking lots, discreet passages, back doors etc. I'd love to go back on the streets, sit at a table on the terrace and talk normally with people I meet. For years, I locked myself in a prison and threw away the key. What would make you really happy? A child. Being a mother, starting a family: I am ready to live this adventure fully. And, as my mother did with me, I will practice talking with my children. I believe very much in the virtues of dialogue. Source
    4. Bradley Cooper found the missing piece to his musical puzzle -- and the living, breathing inspiration for Jackson Maine, the romantic rocker he plays in A Star Is Born, his directorial debut -- strumming next to Neil Young in the middle of the desert. It was a balmy October night in 2016, and Young was playing classic rock festival Desert Trip with Promise of the Real, the folk-rock outfit fronted by Lukas Nelson, Willie’s son. After the performance, Cooper asked Nelson to be both a musical consultant and a contributor to the soundtrack of his grittier, twangier update on the classic love story. Before A Star is Born's much-anticipated release Oct. 5, Nelson spoke about his experience working with Cooper and his co-star, Lady Gaga. How did that first conversation with Bradley Cooper go? He’s a pretty serious actor and definitely takes his art very seriously, but in a level-headed way. I appreciate that very much. He came up to me and said, “I’d love for you to come and be a musical consultant on the whole thing.” I said, “Yeah, sure!” Stefani [Germanotta, a.k.a Gaga] came, and we ended up writing together a bunch. I produced it, and it just kind of grew from there. It was an organic sort of happening where we all really had a great thing going together, and then the band wound up being perfect for the movie, so, [Promise of the Real] ended up in the movie as [Maine’s] band. It’s kind of a full circle from Desert Trip to A Star Is Born, with those same musicians he was inspired by -- us with Neil. He just kind of made that the template for what he was doing with this movie, in a way, or at least how he wanted to portray the character. What was it like working with Lady Gaga? I’ve been around successful people for a long time, and I know real good talent when I see it, just from growing up in the family I grew up in. She fits the bill. She’s quite a performer; she’s an actress; she’s just an entertainer, you know? When we were writing together, we definitely saw eye-to-eye. We kind of finished each other’s sentences a lot of times when we were writing. It just felt really natural. It’s a great collaboration and it’s a beautiful friendship that we have. I cherish her and her abilities and her heart. Same with Bradley: we’ve become really close friends and we love each other. It seems more like an extended family with those guys. Does Jackson Maine remind you of anyone? Me! Oh, man -- he would study how I would hold a guitar, and then he would make it his own. We talked a lot about how to look and feel onstage, being in a band and what it’s like. It was so great to have Promise of the Real there in the movie… He was part of our band and that authenticity really shows. Cooper was clearly an eager student, so as the person guiding him through that musical education, was there anything that surprised you about that process? It was beautiful to watch him grow and see the level of dedication he put into it. Nobody will be able to say he didn't give 100 percent and more. I think that that’s paying off for him. A lot of people are excited, and I don’t think they’re going to be disappointed, either. I was surprised at his level of musicianship. I didn't realize that he was that into music and that he already knew so much. He’s definitely a musician; he just hadn't tapped into it, and now he’s gotten the chance to. I hope he continues to do things as time goes by, musically, because he’s got a talent for it. He’s got an ear -- the same with Gaga and acting. In regards to writing, how did that differ from your experience writing your own music? Was it different to write from a fictional viewpoint as Jackson? Did you change anything up in terms of your approach? In a way, it was more like playing with Neil, because I’m playing sideman: I’m stepping back from my lead role and playing sideman to other artists, who were Bradley Cooper and Lady Gaga. Having that ability to be a lead, I think it’s also really important to know how to be in a band. The way that I approach my songwriting, I think there’s a lot of me in [A Star Is Born]. These are songs that I’ve written about my own life, and in a way they can be applied to any situation. You’re obviously very familiar with Kris Kristofferson; you know each other well and have worked together, too. He starred in A Star Is Born with Barbra Streisand. Have you and Kris ever discussed A Star Is Born? No, Kris and I didn't talk about it too much. But I know he’s really proud of Bradley and he’s happy to sort of pass the torch down. This movie’s been made four times, now; the first was in the ‘30s, almost in the silent film era. Then there was a later one with Judy Garland in the ‘50s, then in the ‘70s with Kris and Barbra Streisand, and then this one. There’s actually sort of a tradition of this movie being remade, you know, as time goes by. Scenes like the ones filmed at Stagecoach and Glastonbury really highlight Cooper’s commitment to that authenticity. Why was it important for him to make those festival appearances? I think [Stagecoach] was a big moment for him. Actually, we filmed the scene right before dad’s set. Dad actually cut his set short just a little bit to let us come on and film this little segment for the same crowd -- it was right after Jamey Johnson played. It was fantastic. It was a big moment for him to be able to get up there and just take charge and sing and sing it well in front of tens of thousands of people. That must’ve been cool for your dad, too, to witness your own major Hollywood moment! I don’t know; I think he was on the bus at the time. He might’ve been chillin’. [Laughs.] I’m sure he heard it! Do you enjoy musical theater and musical films, generally? I really loved O Brother, Where Art Thou?, which was a great soundtrack and a beautiful movie with good music. That’s the only one I can think of. Of course there was the last A Star Is Born, which was great; then there was that movie with… oh, god, I can’t remember. Whitney Houston -- The Bodyguard? Yeah, The Bodyguard! Right! I know that Stefani was really into that movie -- it was part of the inspiration, she mentioned, for her, and other movies as well. They all did their research, Bradley and Gaga. This is gonna be a good one. My favorite is probably The Blues Brothers -- the original Blues Brothers is fantastic. It has so many great musicians. Let’s talk about Stefani’s Americana chops: she’s such a versatile performer, but how did she take to this material? I think she’s just a consummate entertainer no matter what. Whatever she put her mind to, she’d do really, really well -- she’s just that type of artist. The last record that she put out, Joanne, was my first introduction to her, really; I thought it was just fantastic. I heard her hit songs and they’re all great, but there were some songs that resonated with me on that record. There are some songs in this movie that really resonate with me, the ones with Mark Ronson that she wrote, and the band actually played it, so it was great to be a part of that in a way. What happens after the movie premieres and you’re back to your life on the road? Will you incorporate these songs into your live shows? I mean, probably, especially “Music to My Eyes.” There are songs that I’d probably want to play and cover, absolutely. I’ve thought about covering some songs of hers from before, too. “Million Reasons” is a great song; that’s just a classic song. I heard Bob Weir from the Grateful Dead covering that song not too long ago. She’s got a good sense of songwriting and songcrafting and by anyone’s standards, not just an artist in the pop world. This article was originally posted here.
    5. Playing at the Toronto International Film Festival after making a big splash at Venice Film Festival is Bradley Cooper’s directorial debut ‘A Star Is Born‘ starring Lady Gaga, starring himself Also included in the film are Sam Elliott, Anthony Ramos, Dave Chappelle, Andrew Dice Clay, and Rafi Gavron. Based on the story by William A. Wellman and Robert Carson, the screenplay is by Will Fetters & Bradley Cooper and Eric Roth. The story is about a an famed aging, alcoholic country musician who mentors/is schooled by and then finds romance with a younger female star was first done in 1937 with Janet Gaynor and Fredric March. Judy Garland and James Mason starred in the 1954 remake, and Barbra Streisand and Kris Kristofferson were in the 1976 version. In the remake, Cooper plays Jackson Maine, a country music star on the brink of decline when he discovers a talented unknown named Ally. As the two begin a passionate love affair, he coaxes her into the spotlight, catapulting her to stardom. But as her career quickly eclipses his own, he finds it increasingly hard to handle his fading glory. While in Toronto, Bradley Cooper, Lady Gaga, Anthony Ramos, and Sam Elliot sat down with a handful of journalists, including Blackfilm.com, to discuss the making the of the film. Can you talk about including a backstory for Ally and Jack, because in previous versions there wasn’t any on the family. Bradley Cooper: It just sort of came out of the story itself. I always wanted … movies I like are movies where you get to know the people. And you’re right about that. I remember watching the James Mason version, going, ‘I don’t know anything about him,’ which is kind of incredible that I cared so much about his character when you don’t know anything. It was kind of wonderful. And in the writing process of this movie, I thought about that. I really cared about telling a true love story and one that … in order to tell a true love story, it all comes about what happened before. What made you the person you are. And specifically with these two characters, this relationship, it’s about trauma as a child and it’s one of the sort of themes that I was playing with in the movie. How that dictates your behavior for the rest of your life. Because of that, branched off into kind of a different story really than the other ones. I loved it. It was everything I was expecting. And you, oh my God, you can sing anything. Lady Gaga: Thank you so much. That’s very humbling. Bradley Cooper: You should have been on set. We all would just look at each other like, ‘What.’ When we stopped crying she would sing. For Lady Gaga, in your documentary, and the thing that stood out to me is at the beginning of your documentary you talked about how you were so confident and everything now, at that point in your life. The interviews that have been leading up to this film, you’ve been talking about how insecure you’ve been. Can you talk about that? What was the transition? If it was because you were taking on a movie star sort of role or … what changed? Lady Gaga: I don’t know that I have been necessarily insecure about the release of this film. It’s more just transforming into Ally was so different from who I was when I started my career. I just really believed in myself and was like, ‘I’m gonna make this happen,’ and I was running around New York City banging down doors, singing my ass off as much as I could. Just trying to speak my truth and tell my story. And I believed I was gonna make it and if I was not sitting here at this round table with you right now, with these incredibly talented people, I would still be in a bar in New York singing. But Ally has completely given up on herself. Taking my makeup off, having my natural hair color, living in that for a few months before we shot … it provides for a vulnerability that I’m not used to. And I was so lucky to have such a tremendous director that would say to me, ‘All you gotta do is trust me.’ And all I had to do simply was that. Was trust him and trust in the truth of the character. And Ally is very different from me. She gave up on herself, she did not believe in who she was, she didn’t think that she could make it, she didn’t feel beautiful, and the movie, I believe, begins to lift off because he believes in her and he loves her. And that inspires her to believe in herself. The movie is incredible. Both of you should be nominated this year. I just want say that first and foremost, you were just incredible in this film. Lady Gaga: Thank you. The movie deals with addiction, which is not an easy subject. How closely does the addiction storyline connect to either one of you as people? Bradley Cooper: The two things that I wanted to make sure would happen, hopefully, when people watch the movie … anybody who’s a musician, and anybody who’s gone through that will say like, ‘Yeah, that’s the way it is.’ That was really important. You try to do anything you can to personalize the story. For all of us, I think, you find what it is personal to you so that you don’t have to act. That’s the bottom line. I was really captured by the way you told the story using the semantics, the close shots, and then kind of weaving in the vocals. What informed your decisions on when to really come in and pull out? And when to just let the song and the voice kind of just lead the audience on where the story’s going next? Bradley Cooper: The movies that I love, and the filmmakers I love. It’s always form follows function. I’m not watching a Martin Scorsese shot and saying, ‘Oh, that was all one take.’ It’s sort of an afterwards. After you go through the emotion of it, you go, ‘Oh, wow. That’s why I felt that way, because he did that.’ Or some sonic variation. I love filmmaking and I’ve always loved films. And I think I’m definitely a visual audio person. Every shot and every close up has to do with where the character is. It’s not like, ‘Oh, here’s a cool shot.’ Jackson is constantly avoiding the camera in the beginning of the movie until he can’t. He has to face it. When she’s in the bed, the camera’s right in his face. His older brother is the same way. She’s the opposite. She’s not even aware that the camera’s there. She steps into the center of the bathroom on stage the first time you see her, not even knowing she’s about to be on stage. These are all just sort of things that you hope that the audience is feeling without recognizing the manipulation of what you’re doing. You can go over every detail of the movie and the performances, but the movie doesn’t work without the songs working. Can you just talk about creating the songs? Bradley Cooper: Yeah, I mean, they’re characters in the movie. Absolutely. There’s not one lyric that we have in the movie that isn’t at a specific point where either one of the characters is feeling that, hoping it, fearing it … absolutely. She was incredible, and we also had other wonderful writers and- Lady Gaga: We had so many songwriters. Bradley Cooper: Jason Isbell and Mark Ronson and Hillary Lindsay and Lucas Nelson and others. And it was a part of the development. The cultivation of the movie. It was happening simultaneously. Lady Gaga: And you. Bradley was in the studio all the time working with us and helping to craft the soundtrack. Jack’s sound and who he is as an artist completely came from him and it was so exciting for me to watch as a musician. I remember he came into the studio one day and we were working on something for him, and he was like, ‘This isn’t Jackson’s sound. This isn’t what he sounds like.’ I was like, ‘Oh, okay. I got a musician on my hands.’ It provided for such an inspirational experience, and he had his hand in absolutely every single thing that was a part of this movie. It was tremendous. It was tremendous to be in the midst of … just an honor to watch, really. Regarding Anthony’s character. Which is an essential link between the connection between the two of you. Can you talk about what you were looking for when casting that role? And then Anthony, if you can talk about kind of what you saw on the page and how it changed once you were cast? Bradley Cooper: With all the characters, I wanted to represent their relationship to fulfilling their dreams, having enough to fill their dreams, their relationship to celebrity or … all those things. The Ramon character, always to me, was the purest character. Was filled with hope and the joy of doing it. Being around it, whatever it is. I knew I wanted to cast someone and hope someone to come aboard who has an internal light that is just unwavering and that was him. Ramon has this joy and he brought that plus myriad of other things. Anthony Ramos: It was pretty special just being on set and playing that role. I think everyone needs a real one in their life. No matter what you do, and the more successful you become at whatever you do, you have to keep the real ones. I think that was what I kept playing in my mind. Yeah, I saw stuff on the page and I said what was on the page half of the time, but that was only cause Bradley was like … he’d have moments, he’d be like, ‘Yo, forget about the script. Let’s just try this.’ It was like to lead with the heart. The words are here, we’re gonna say this, but if something feels like it wants to do this, let’s go there. Let’s just try that and let’s do that. And Bradley would be like … We were shooting a scene with Andrew Dice Clay and Stefanie on the steps outside the house and I think it was one of my first days on set. I was nervous. I’m like, ‘What’s that?’ These incredible actors and director and Bradley’s behind the steps like this with the monitor. And we cut and he’s like, ‘Go there’ and he’s all up in it. And ‘Just try it this way. Move here. Feel her. Feel her. She’s leaving man, she’s leaving.’ We’re working together real great, and then Bradley just sneaks right back behind the steps and you can feel your director. When you feel your leader there with you, you just feel safe. You feel safe enough to just run around like a kid. It’s like a parent with their kid and their just like, ‘Here, here’s the sandbox, do your thing. But I’m right here, I’m watching.’ When you have that, it’s like, ‘Oh, look, we can fly. I can do anything.’ Was this character in the script written as a specific ethnicity? Or you were just open to anyone playing the role? Bradley Cooper: Oh, totally open. This film has multiple, beautiful complicated layers, but it still does have that muse and the broken man kind of message also. Do you still and this is for everybody, do you still feel that story has a place in modern times? Bradley Cooper: I don’t. I never saw her as being his muse. She didn’t inspire him to create art. She wasn’t a muse for him. It’s not like a Pygmalion story. That’s what I kinda loved about him, because he’s this child. I feel like Jackson never changed from when dad died, and when he came home. It’s like he’s 13. That’s why he’s the most childlike, like in the James Mason one, he takes off her prosthetic because he’s angry that the studio was telling her to do this. Jackson’s coming at it from a … he’s like a child, like, ‘Oh, what’s under here? Can I … oh, wow. Look at you.’ He’s just enchanted with her. Then all of a sudden he sees that she has something to say. He likes her voice, but it’s in the parking lot when she starts writing a song right there. That’s that moment when he’s looking up at her almost like a child and she’s on the stage, even though it’s in a parking lot, where he’s just blown away. He just selfishly wants to see what she’s is going to produce as an artist. I never saw it as the broken man and the muse. That was the hope. In your documentary, Five Foot Two, you say, ‘I can always bring my past with me, but I can never go back.’ For all of you, what is the one thing that, in your past, that you would want to go back to? If you could. Sam Elliott: Oh, man, I don’t know. I’ve had such a blessed career that … God, it’s gone on so long. Cause a lot of things I’d like to go back to. I’d like to go back to my mom. I’d like to see my mom again. Nothing to do with this film. It’s where I come from. It’s what you guys were talking about earlier about the Pygmalion thing and as Bradley mentioned it … it’s like the muse thing, I guess is what it was. It’s not really that. It’s like all these characters are who they are because of where they came from. And that’s real. That’s as real as it can be. For all of us. We’re in this movie or not. And if we’re fortunate enough to have come from a good place, then we’re fortunate enough to be sitting here with these guys. Anthony Ramos: I’m 26, man. So I’m still here. But you can do a lot of stuff in your 20s that you wish you didn’t ever do. Anthony Ramos: No. Look, you’re right. You ain’t lying. You ain’t never lie about that. I guess just a moment that I think I always wanna go back to are the most innocent moments, man. When I was a kid and I just wasn’t worrying so much about life. Because somehow, things have always worked out the way they needed to. And I think as a kid, you feel this like … those moments … We had a wrestling federation in the backyard. I grew up in the projects in Bushwick in Brooklyn. We’re like a bunch of heathens wrestling on this concrete with the jungle gym. But we didn’t care. I think I need to go back to those moments a little more as an adult. Worrying about where’s my career going or what … is this gonna work out? Is that gonna work out? But at the end of the day, I always went back home upstairs and ate my rice and beans and chicken that my mom made and went to bed. And I was like, ‘Everything’s good.’ And I have to remember the rice and beans and chicken. It’s all good, you know? And it’s always gonna be alright. Lady Gaga: For myself, I often have a vision of me when I was around 19 years old, living on the lower east side. It was just me and this teeny tiny studio apartment with my piano and my futon. I used to wake up and I would either go to the café down the street to write, or I would just walk the streets of New York by myself and I was just dreaming. I had no idea what was in store for me. But I loved the freedom of not knowing. I think something over the years, as my career has progressed, you start to have some idea of how things are going to go. You experience things that you’ve never experienced before. I miss the innocence that I had. But I needed that for this character. It goes back to what Sam was saying and also what Anthony was saying … is that it’s your past that makes you who you are. But I would say that that independence of being alone and just being a singular artist by myself with nobody around me, no manager, no stylist, no hair and makeup. I miss that time. Bradley Cooper: When you said the question, I thought, ‘Well, I go back all the time.’ I mean, that’s the beautiful thing about imagination. Hell, I go back all the time. Various things. I was at Bruce Springsteen last night in New York. I don’t know if any of you has gone to see his show, but that’s what that whole show’s about. He takes you back to the tree in his neighborhood and sitting there with his father and we’re just so lucky we get to be in a profusion where we get to do that for a living. But, man, I spend half my day doing that. I wanted to ask about drag in the beginning. And obviously it’s great to see Shangela (Laquifa Wadley) and Willam and so many drag queens on there. I was curious how that sort of came about. I was also curious because obviously I know you adore and love the drag community and it’s important to you. Have you watched drag race? Do you have a relationship with drag? Or anything like that? Bradley Cooper: In terms of the structure, the movie, I always wanted there to be a special moment when he first sees her and make it unique. And Eric Roth and I, when we were writing the movie, we sat down with Stefanie and I would record, very much like we are here, hours and hours, I would just ask her tons of questions. And then he and I would listen to it back and try to take things and think, ‘How could we mold this?’ We really loved the drag bar idea. I wanted her to sing, so I was just trying to fit these things together and that’s kinda how that came about. And then I met these incredible … Willam just blew my mind, and Shangela. Once I met them, and we were on the set, it was like the possibilities became endless of what we could do in this space. It was so exciting. Lady Gaga: And it was so wonderful. His curiosity as well about drag makeup. And- Bradley’s? Lady Gaga: Bradley’s. Yeah. I remember having a whole conversation with him about soaping the brow and how you get the eyebrow to stay down, and then you pat it with powder so that you can’t see it. Then we talked about doing the eyebrows and all of these little details. He was so interested in. I thought it made for such an authentic moment in the film and I’m so happy that it’s there. Bradley Cooper: Although, I do have to say, I just thought of it. One Halloween, Amy Poehler and I, in New York, I went drag and she had … now I remember that, yeah. I remember walking down New York City, and I was like, ‘Ah, I feel like a woman. Yeah.’ It was hard to find shoes that fit 13. Yeah, that was … yeah. I needed more prep. I needed more prep time. Was there a specific woman you had in mind? Bradley Cooper: No, my friend had this incredible wig so I just took her wig. There’s a photo somewhere. For today, what would be the one song that you would say you connect to the most? What do you go to right now that when you need to feel something? And this is for all of you. Bradley Cooper: Music’s amazing that way. I’ve worked with directors that play music during scenes to create an emotional atmosphere. That’s why I wanted to make a movie that had music as an integral part is because it’s just sort of mainlines it right to your soul. There’s no escaping it. I’m like all of you guys, there’s many songs that I’ll listen many different emotions. They’re also connected to a time period and who you were with in a setting, and a smell. Music is like … sound is like- Lady Gaga: Sensory. For me, ever since we left the Venice Film Festival, it was almost like we were on this extreme high and I got home and I just dropped and all I could think about was the film and the film just was preoccupied in my mind so deeply, the film affects me so much every time I see it. I kept thinking about the scene at the end. I actually have been listening to Bruce Springsteen’s Dancing in the Dark. That song actually plays back to my childhood. My father used to swing me around and dance with me to Bruce. So that’s what I’ve been listening to. Because even through the darkness, we can keep dancing. Anthony Ramos: There’s an artist, he’s on the come up, this guy named Ben Rector, and he’s one of the most beautiful story tellers I’ve ever listened to, yet. He’s got this song called The Men That Drive Me Places, and I’ll tell the story now at the end of my shows at the Encore. I had this driver in L.A. named Chris who told me that he came from the Philippines to L.A. to become a bartender and he has achieved his dream. And then I said, ‘Oh, so you’re driving in the mornings?’ He’s like, ‘Yeah, I do this so that my sister can come from the Philippines, so she can study to be a doctor and she doesn’t have to worry about her housing or anything.’ And the song is just about … it’s like this song just isn’t … he’s like, ‘Isn’t that just the way it goes? You dealt a good hand. And you get celebrated. Oh, how am I the only one who knows I’m half the man of the men that drive me places.’ And it’s just about how we … there’s so many unsung heroes and it’s like … we should never take for granted the guy that’s holding the door for you, or the woman that’s like … or the man that’s like, ‘You want another glass of water?’ These people are helping us live life and get to the next moment and get to the next step. And everybody’s got a story. That’s kinda who I’ve been listening to. Lady Gaga: Sam? Sam Elliot: It’s all deep around this town. I wouldn’t single out any particular piece of music or any artist. I sit in these interviews, and I’ve thought about it before while making this film. I started singing in a church choir when I was four years old in Sacramento, California. My mother dragged me to a congregational church and I sang all the way through grade school, middle school, high school, college, and I always thought that maybe I was gonna end up having some sort of a singing career. Just probably fortunately that I took a fork in the road and ended up acting. But I thought about that a lot when I was making this film. I was like, ‘What the fuck happened to that singing career?’ Listen to all these geniuses sing. And listening to Bradley over here that’s talking like me and singing like maybe I sounded, and it’s like … wow. Music is just the greatest, and I just … God, what a gift to be part of this whole thing and particularly to be anywhere in the same proximity to Stefanie is just … it’s just been mind boggling. Lady Gaga: There’s a lot of love here. There’s so much love here. And we felt it on set, and we still feel it now. Bradley Cooper: You should. You should. It’s a very touching movie. Lady Gaga: But that’s a testament to this guy, right here. Sam Elliot: That’s right. Lady Gaga: He created a family. And he nurtured us. He’s the nucleus to all of this. And I am just so forever grateful to have met you, Bradley. The interview was originally posted here.
    6. Tom Ford used a new version of Lady Gaga's cover of “I Want Your Love” on the runway for his new collection. The song, produced by Nile Rodgers, will be featured on Chic's new album "It's About Time" available from September 28 here. Lady Gaga was also featured on Tom Ford's 2016 Campaign.
    7. The SAG-AFTRA Foundation will present this year’s Artists Inspiration Awards to Harrison Ford and Lady Gaga at its third annual Patron of the Artists Awards. The event will be held on Nov. 8 at the Wallis Annenberg Center for the Performing Arts in Beverly Hills. The SAG-AFTRA Foundation annually honors two artists who have used their platform to advance humanitarian and philanthropic causes with Artists Inspiration Awards. Previous honorees include Leonardo DiCaprio, Lionel Ritchie, and Kate Winslet. “We are honored to recognize two of the most iconic and beloved artists worldwide who have not only made indelible impacts on our culture and the arts, but who have chosen to use their influence to make a difference for others,” said SAG-AFTRA Foundation Board President JoBeth Williams. “Lady Gaga, whose monster career as a performer and actor has won her hundreds of millions of fans around the world, has also worked tirelessly on behalf of young people, focusing on mental wellness and building a kinder, braver world through her Born This Way Foundation. Harrison Ford and Lady Gaga are shining examples of how extraordinary success and true legacy are about creating a better world.” Gaga has won six Grammy Awards and will next be seen in Bradley Cooper’s directorial debut “A Star Is Born,” which premiered Aug. 31 at the Venice Film Festival. She has supported charities including the American Red Cross, the National Alliance to End Homelessness, Re*Generation, the MAC AIDS Fund, and efforts for Haiti disaster relief. The Patron of the Artists Awards benefits the foundation’s assistance and performers programs for SAG-AFTRA members and its children’s literacy program Storyline Online. This article originally appeared Here.
    8. As director Bradley Cooper’s high-profile remake debuts at the Venice Film Festival, producer and indie veteran Lynette Howell Taylor opens up about the one thing that star Lady Gaga insisted upon. Bradley Cooper's A Star 
Is Born, in which the actor makes his directorial debut starring opposite Lady Gaga, will be unveiled Aug. 31 at the Venice Film Festival before traveling to Toronto's fest and hitting theaters Oct. 5. The $36 million Warner Bros. release is the fourth telling of the time-tested showbiz love story (the first was in 1937) about a male star whose career nosedives while that of the female star he discovers rises — and for producer Lynette Howell Taylor, it is the most high-profile project of her career. A native of Liverpool, England, Howell Taylor, 39, first worked 
on stage productions for East of Doheny before 
segueing into independent film with such critical successes as Half Nelson, Blue Valentine and Derek Cianfrance's 2012 The Place Beyond the Pines, where she first collaborated with Cooper, who invited her to come aboard Star two years ago. Her new production company 51 Entertainment, which has three employees, has also partnered with Shivhans Pictures on the currently filming Wander Darkly, directed by Tara Miele and starring Sienna Miller and Diego Luna as a couple in the aftermath of a devastating car crash. She and husband Graham Taylor, co-president of Endeavor Content, live in Pacific Palisades with their young children, daughter Avery and son Atticus — and a third is on the way in October. But they don't spend much time talking shop, says Howell Taylor with a laugh. "With two children and soon a third, when we get home, we talk about schedules, who's going to be where and who takes what shift." Why is A Star Is Born such an enduring story? Ultimately, it's a love story, and audiences love to watch stories about love. It's also a love story told with music, which is why it is timeless and why it is fresh. The music is fresh to this generation, and each previous incarnation has very much been about that time period when the movie came out. So this new one stands alone as its own contemporary retelling. Even though you shot the film before the Time's Up movement, has the balance between the male and female characters changed? I don't think it changed the story. The movie is about a woman in a man's world. There are not a lot of women in the film, and that's by choice, because the music industry has been very dominated, especially behind the scenes, by men. That's very much a part of the 
contemporary telling of this story. You were the fifth producer to join the project. How did you each divide up roles? Jon Peters made the '70s version. Bill Gerber came on in 2009, and he had very much been spearheading it. Todd Phillips and Bradley are producing partners and have 
a wonderful creative collaboration. So we all collaborated and supported Bradley's vision. Each individual producer on any project could often do what the other producers are doing, but on any given day, you naturally fall into a rhythm — OK, today I'm going 
to sit with the first A.D. and do the schedule and you're going to deal with how to get Coachella to let us film there. Does working with a first-time director like Cooper change 
the dynamic for you as a producer? I've been working with first-time directors since I started. My first movie Half Nelson was with Ryan Fleck and Anna Boden. And I've worked with several actors turned directors, like Matt Ross and Brie Larson. What I love about actor-directors is they so fully understand what everybody needs in front 
of the camera. They're always so great at getting performances 
out of other actors because they really understand the craft. Lady Gaga hasn't had a lot of 
experience as an actor. Did you make any adjustments, like 
extra rehearsal time, for that? It was not about extra rehearsal time. It was about the environment that Bradley created on set that allowed everybody to bring the best that they had to give. All the music in the movie was sung live, which was something that Lady Gaga insisted on to have the most authenticity. Bradley fully embraced the idea and committed to it. And she was a real warrior. She performed both weekends at Coachella — and 
then we shot on their stages, 
and brought in our own crowds, during the week. Live Nation also produced — what was their involvement? It was a financial partnership on the movie. And music is such a huge part of the movie, there was an element of that, too, in terms 
of support. Did your background in indie film come into play? Obviously, it was very much 
a Warner Bros. movie, and you have the support of the Warner Bros. back office and the wonderful people who work at that studio. But then there's never enough money to make movies like this, and you have to get really creative — Bradley called Kris Kristofferson, who [starred in the 1976 version and] was performing at [the] Glastonbury [Festival], and asked if he could have part of his set, 
and Kris gave us four minutes. Bradley went with our cinematographer and one camera and our sound guy, and they went up on the stage and he performed a song twice, and 
it has a very electric feel to it. That was more in the spirit of independent filmmaking — beg, borrow and steal — and sometimes 
it makes the film feel more alive. With the emphasis on hiring more women and minorities, how was that reflected in your staffing? Bradley's a very inclusive filmmaker, so there was a lot of diversity on the set. That 
happened naturally. Our first 
A.D. was a woman, our costume designer, our production designer, our music supervisors were women. The area that needs to be addressed is on the union level. It's not that there aren't amazing, competent people available; it's that the unions in certain departments haven't caught up 
to that. If you're shooting a movie in Los Angeles and you want 
to hire a diverse, female location manager but the person you want is not in the union, the union 
is telling you to go through its list before you can hire a non-union person, and that list is full of men. There's your conundrum. Source
    9. Bradley Cooper was warned. Friends discouraged the American Sniper star from choosing A Star Is Born as his directorial debut. Aside from it being one of a handful of takes on the tragic romance, the project had stalled for years in Hollywood, attracting directors and stars like Clint Eastwood and Beyoncé, respectively. “I had a lot of people tell me, ‘Please don’t do this’ — people I respect and who care about me,” says Cooper, 43, on a hot afternoon in the Hollywood Hills while being interviewed for this week’s cover of Entertainment Weekly. “I just knew this could be the end of everything if it doesn’t work. It’s like, ‘Who’s this guy making the fourth [version] of this movie? Shut up already.’ But I still could not deny what I felt deep down, and that’s why it was this movie. It sort of ignited something in me.” The actor admits this is a story that’s been building in him since his childhood. “I used to write songs — that’s like the first time I’ve ever said that,” reveals Cooper. “I used to always hear verses and songs in my head as a kid. And I wrote a couple down. I’m talking from like [age] 8 to like 19. So I knew that there was something that I hadn’t pursued that maybe I could actualize one day in a movie.” Cooper’s Born, in theaters Oct. 5, charts the tumultuous relationship between alcoholic rock star Jackson Maine and burgeoning singer-songwriter Ally, played by pop icon Lady Gaga, 32. As Jackson falls deeper into addiction, Ally blazes a path toward superstardom. Much in the way Jackson helps lift Ally, Cooper has directed Gaga to her most accomplished and dramatic performance to date. “It just has changed me,” says Gaga of Born. “Watching Bradley work was phenomenal and then having him believe in me — it gave me more ammunition to believe in myself and I just feel so blessed to have had that experience.” Cooper, who also co-wrote the script with Eric Roth and Will Fetters, has reshaped the story into an exhilarating, emotional rock epic with electric performance scenes shot at real festivals like Coachella and Glastonbury. “I never wanted to be in the crowd,” says Cooper of his decision to have the cameras on stage with the actors. “I always wanted the audience to feel what it would be like if you were the person performing.” Born features a stirring original score (collaborators include producer Mark Ronson, singer Jason Isbell, and Willie Nelson’s son Lukas), a career-best performance from the actor, and — yes — a career-redefining role for Gaga. The film, which will world premiere at the Venice Film Festival, has already generated awards talk for its two leads. “I think the reason it’s so outstanding is because of the deal they made at the beginning,” explains producer Bill Gerber (Gran Torino). “She said, ‘People are gonna think you’re a rock star.’ And he said, ‘People are gonna think you’re an actress.’ They both accomplished what they said they would do.” The pair’s electricity on and off screen is undeniable as is their bond. “I think the biggest thing I learned is that sky’s the limit if you find a companion artistically, and you have a project,” says Cooper of working with Gaga. “There is no dreaming too big. What people can do together is so much more powerful than what they can do by themselves.” Adds Gaga, “I think what I learned from Bradley [is] it’s okay to be relentlessly sure of your vision, and to go after it with every fiber of your being, and to never stop white gloving what you’re making. Sometimes, as an artist, I second-guess myself when I go, ‘Am I pulling the thread? Am I unraveling the whole blanket now? Do I need to stop?’ It’s changed the way that I work today.” For much more with Gaga and Cooper, including their friendship and the day Barbra Streisand came to set, pick up the Fall Movie Preview issue of Entertainment Weekly on stands Friday. Watch the first interview below. Click on "cookie policy" to remove the popup This article originally appeared here.
    10. In a recent exclusive interview on GRAMMYs website, Lukas Nelson had some things to say about 'A Star Is Born'. "It was great, man. Bradley [Cooper] and [Lady] Gaga, I mean Bradley being a great musician and Gaga being a great actress, I'm really looking forward to seeing people's reactions to the movie and seeing how they like it. I think they really will. I think they'll like the music, it's all original that we wrote, and Promise Of The Real is in it. And there's music from Dave Cobb and Jason Isbell. Mark Ronson produced a bunch of stuff. And then Bradley's just so fantastic. I mean he put his heart and soul into it. So I'm really looking forward to when that comes out. " Source
    11. EXCLUSIVE: Multiple sources tell Deadline that Bradley Cooper’s A Star Is Born is headed to the Venice Film Festival. Although no one is officially confirming it, we have been told the festival will screen the Warner Bros movie out of competition as a world premiere on Friday, August 31. It should certainly turn out to be one of the hotter, more anticipated titles when Venice formally announces its schedule next Wednesday — a day after we get the first wave of films from the Toronto Film Festival which has its press conference Tuesday. A Star Is Born is also expected to be listed among TIFF’s North American premieres The first screening of the film, which marks Cooper’s directorial debut and in which he co-stars with Lady Gaga, was actually held by Warner Bros for exhibitors Wednesday at the state-of-the-art Dolby Screening Room at Hollywood and Vine. Reaction from top exhibs was through the roof, at least those I heard from. One major theater owner predicted Oscar nominations across the board including Picture, Director, Actor and Actress, and big box office when it opens October 5. Another from a large chain said the film was “fantastic” and noted the sound in the concert scenes made you feel as if you were actually there live. He also predicted Oscar buzz for both leads and was particularly impressed by Cooper’s singing. Cooper appeared in person at the screening to introduce it. Buzz has been steadily building for the film. Even Barbra Streisand, who of course starred in the 1976 version, has offered praise for it since seeing “parts of it” that Cooper showed her. “I’m really proud of him — he did a great job on this film,” she told me when we spoke last month. “I think it’s a story that works. It’s interesting to see my version, it’s interesting to see Judy Garland’s (1954) version, you know even go back to 1937 (Janet Gaynor’s version). The story works every time.” As the nascent awards season takes shape, it feels like Warners is going to be in it big-time with this rebirth that was produced in association with Live Nation Productions and MGM. As reported yesterday, the upcoming edition of Venice that runs August 29-September 8 is shaping up to be another with a heavy major studio presence for Oscar contenders, with Universal having grabbed the opening-night slot for Damien Chazelle’s Neil Armstrong tale First Man, starring Ryan Gosling as the legendary astronaut who was first to walk on the moon in 1969. Source
    12. Boys Noize says he wrote a hit with Lady Gaga. Speaking to Boiler Room, the German electronic music producer and DJ, real name Alexander Ridha, praised the “Million Reasons” singer as one of the most down-to-earth artists he has ever worked with and revealed that they recorded a song for one of Gaga’s upcoming projects. “[Lady Gaga] is so cool,” he said. “She is definitely one of the coolest artists I met that is ridiculously famous, but so down to the ground. She asked me, ‘You know [UK techno DJ] Surgeon?’ and I was like, ‘Are you f—ing with me?’, and she was like ‘Yeah, he’s my friend, he opened some of my shows.'” He continued: “She’s down to techno and what’s crazy is that she got into modular stuff too. I brought my modular system—and she spilled water on it, by the way—but it broke the ice and then we wrote a f—ing hit. But now she’s into modular, she bought a system, and we used that on some of her songs.” Lady Gaga is currently busy working on at least three upcoming albums: a follow up to the 2014 jazz collection Cheek to Cheek with Tony Bennett, the soundtrack for her debut film A Star Is Born with Bradley Cooper, and her fifth solo studio album, which is rumored to be released in 2019. Source.
    13. Lady Gaga's cover of 'I Want Your Love' which we already heard a first version on the Tom Ford commercial, will be released on Chic's new album! Nile Rodgers just confirmed on Facebook.
    14. Lady Gaga is five-foot two inches tall and still growing. “I’m actually five-foot three and three quarters,” she clarified at Saturday’s MTV Movie and TV Awards. The New York-born pop magnet, whose “Gaga: Five Foot Two” won best music documentary at the MTV event, has been largely out of the public eye since ending her Joanne World Tour in January, which grossed over $95 million in ticket sales. Sitting backstage after the MTV taping, draped in black, she tells Variety she’s been holed up in the studio, readying for what could be the most pivotal year of her career, which will see her first major movie role in “A Star Is Born” opposite Bradley Cooper, a two-year Las Vegas residency that kicks off in December, and oh yeah, she’s working on a new album. “I’m just always making music, I’ve always been that way and I think you see in ‘Five Foot Two’ that I’m a studio rat,” the 32 year-old says. Netflix and Live Nation’s cinéma vérité-style doc, released in September, featured Gaga in her most vulnerable state yet, from rehearsing a high-wire performance at the Super Bowl to more down to earth moments like cooking at home, sitting poolside, topless, skewering “bulls-t” men and having a meltdown on the set of “American Horror Story.” “All my insecurities are gone, I don’t feel insecure about who am I as a woman,” she says in the doc. She tells Variety, “I made a decision really early on that I wanted Chris (Moukarbel, the film’s director) to have full access to me and my life. I just blocked the cameras out so they could capture the realities of my life.” Moukarbel’s raw look at the global superstar also chronicled her battle with fibromyalgia and chronic pain, stemming from a hip injury she suffered three years ago that eventually cut her European tour short. She hopes by revealing the invisible illness it helps raise awareness and tackle ignorance about the disease. “To anyone that doesn’t believe in fibromyalgia: I dare you to spend five minutes in my body on a day when I’m in pain, and then try and say it again,” she said of her condition. Moukarbel, who has directed a handful of docs, including HBO’s “Banksy Does New York,” said his intention was never to make a movie about fame. “I think it happens to be a documentary about an artist who is famous. She has an opportunity to do a lot of things that other people haven’t. At the same time it also comes with all of these other conditions that she has to work against to make her art.” “I wouldn’t call it a compromise,” Gaga says of her immersive lifestyle, “It’s more of a special gift called passion. And I’m just so passionate and what keeps me going is being inside the vortex of my art and creating and making things that are not only meaningful to me but hopefully to other people.“ “When I’m with Tony Bennett, and we hang out, we always joke that we never work a day. Because we love what we do.” Source
    15. Before the invasion of disco sticks and leotards, before Born This Way birthed a new breed of superfan and Joanne galloped away with the world’s collective heart, the first chapter in the legend of Lady Gaga’s career rested on little more than a throwback beat and a wide-eyed girl with nothing to lose and only pop cultural domination to gain. Now, one decade after Gaga splashed onto the scene with her debut single “Just Dance” (and ushered in a new era of glistening electro-pop on mainstream radio), EW caught up with its creators — longtime Gaga producer RedOne and recording artist Akon, who helped launch Gaga’s career via his KonLive record label — to celebrate the track’s 10th birthday on April 8. Below, the pair dishes on the songwriting process that almost placed “Just Dance” in the hands of other artists, why Akon’s smooth, featured vocals were replaced by newcomer Colby O’Donis’ on the final version, and what the success of the song means to them. [EW contacted Gaga’s team for an interview, but a representative indicated she was unavailable to contribute to this article.] REDONE: At that time, I just did my first hit with Kat DeLuna called “Whine Up.” After that hit, I told my management that I wanted to work with established artists. But they called me and said, “Hey, we [want you to work with] this girl…. She’s talented if you want to meet her for five minutes.”…. I met her outside of the Sony building in New York, and I liked the vibe I was getting! She was like, “Oh my God, I love ‘Whine Up!’” [Laughs]. In those five minutes, I felt like she was so special. And those five minutes turned into a few sessions. [Despite multiple attempts, EW could not reach Vincent Herbert for comment.] REDONE: We were talking about rock like Mötley Crüe, you know, “Girls, girls, girls!” but we needed “Boys, boys, boys!” instead…and that created the sounds for the whole album. For “Just Dance,” I wanted to do a rock song with big drums but instead of guitars, it’s synths. That’s what “Just Dance” is! The opening [synths] are like a guitar chord…. [I began] taking her to every session I had with other artists, too, but as a writer. And every artist got scared of her and asked me to not bring her again. I remember telling her, “Gaga, you’re an incredible artist and they feel your energy!” She was so creative, giving them ideas about how to dress and how to behave, and they started feeling so small. And Gaga started crying, like, “I just want to help them!” I said, “Yes, but keep those ideas for yourself. You’re an incredible artist.” In one of those sessions, I presented her to an [industry friend] named Efe, and the first time I played her music he was like, “Oh my God, this girl is the next Madonna!” AKON: I [was struck by] her in general. When I see a star, I just know it. From the moment she walked in [for our first meeting], her appearance and her attitude felt brand new and fresh. She was so fearless. When I [had discussions with] Jimmy Iovine, from that moment everything ignited. We got excited about her, started making records, and started to craft her image. At that time, she was doing jazz-type music, and I think she needed someone to hear it all the way out and see what made sense with her idea, her look, and then pairing her with music that meshed it all into one platform. REDONE: After that, we did all the [iconic] songs: “Just Dance,” “Poker Face,” “LoveGame”…and Akon said, “Red, hold on to that file. Don’t give it to anybody until I come for it, because I want to take these songs to Jimmy so we can make her a priority!” AKON: I was contracted to do songs for The Pussycat Dolls and I had writer’s block the day of, so I asked RedOne if we could collaborate together to open our minds…and “Just Dance” was originally going to be submitted for The Pussycat Dolls. When we finished, there was no way “Just Dance” could be for them. REDONE: We met with Jimmy and he heard the songs. He said, “I love the song. Can I give [it] to The Pussycat Dolls?” And Akon was like, “No! It’s Gaga! She can be the next big thing!” Jimmy said, “Okay, but one thing: I have a problem with [Gaga’s similarities to] her highness.” I was like, “Who is her highness?” And he said, “Gwen Stefani. She reminds me of Gwen Stefani.’” And Akon goes, “No, she’s totally different!” [EW spoke to Iovine. Though he did not want to be quoted directly for this story, he felt that both Akon and RedOne were correct in expressing a desire to keep the song for Gaga.] AKON: Literally every song that we wrote was done within 30 minutes to an hour. It was all chemistry. The Fame was done in 30 days: mixed, mastered, and ready to push out. That was another reason I was so excited about working with her, because the ideas and things she sparked were so fresh. We opened our minds and tried everything. No bars, no barriers, whatever we felt that felt good, whatever we wanted to say, we said it. It was the first time she had no one telling her what she should be doing or how she should be doing it. REDONE: She reminded me of an artist who was the whole inspiration of the Gaga sound — her name is Leila K, from Sweden back in the day. I said, “Gaga, I want to play for you this artist because if we can do what she did and make it now, it can change the world.” That’s how I wanted to do an album that was different at the time for everybody — with synths, big drums, big hooks — but with the attitude of Gaga inspired by Leila K. AKON: I featured on the song originally, but Universal didn’t clear my vocals. [Several contacts at Universal and Interscope did not respond to EW’s request for comment.] It was a crazy moment…so I got Colby O’Donis to feature on it and do my verse. But, I kept my background vocals on the song, because background vocals aren’t considered a “feature.” There was a lot of politics going on, a huge competition between Interscope and [parent company] Universal, and I like to think that because I claimed my record deal at Interscope instead of [directly with] Universal, where I was actually signed as an artist, they were kind of getting me back for that. It was so political that I didn’t want to fight it. The song was done, finished, ready to go all the way until two days before we shot the video, and that’s when we got the notice that we couldn’t get clearance. It was a huge shock to Gaga [because] this was her first megaproject and her first real moment! [O’Donis did not respond to requests for comment.] REDONE: The melody is so good anyway. Whoever heard it didn’t care if it was Akon or not. They just heard a good song. It was written as a good song. REDONE: We dropped it [on April 8, 2008], and it took a long time for people to love it. It wasn’t accepted in America, [but] she became No. 3 right away in Sweden because that’s the country of pop and they loved it! AKON: My motto has always been to not put a label on any record, and let it find its own audience. That was one of the biggest challenges, even in the beginning, and why it took so long for it to hit on radio. We tried working radio in the U.S., and they didn’t bite because it was an ‘80s-sounding record, and that wasn’t the [popular] sound at that time. “Just Dance” didn’t fit the format. It wasn’t a song that a DJ could play before or after any song that was a top hit at that moment. We flew out to the U.K. and tried to do things over there, but it didn’t work. When we went to Canada, that’s when it hit. There’s an international crowd there that’s more daring as far as what they’re willing to listen to [and] Gaga whipped their airwaves. Then, the U.S. caught it and it changed the whole game and created a new movement, [especially] on the West Coast and in San Francisco, where the crowds were really eclectic and gave her a shot. The gay community was the one that actually was like, “This record is a f—ing anthem!” and they supported her from that moment, and that became her core audience. From there, everyone else caught the wave. AKON: Everything on the radio sounded exactly the same…you had a brand new artist coming out with something fresh! [We didn’t] try to A&R it. We let the audience choose. That was [what I said] to every station that I went to. I was like, “I know you guys have a specific playlist that you set up, but can this one record that doesn’t sound like anything else be chosen by the audience? Just give us a fair shot! You don’t have to give us a full-time rotation, just play it one time a week. Give it to the audience raw and let them make the decision!” It took almost a year to pop [in the U.S.] When we did the Interscope promo tour, we didn’t get a full [run], so I took her on my personal promo tour for my album. We couldn’t give up. I refused to because I knew she was a big star; it was just a matter of the stations giving her a fair chance. I’m happy I did that. At the end of the day, it opened up for a new genre and wave of music. It was worth the fight! REDONE: Every time I hear it, it’s like yesterday. It’s so beautiful. It’s the song that changed our lives. The lyrics are Gaga. I can’t take any credit for the genius lyrics. It comes to her so fast. I love perfection and she gives you perfection every time. She’s a machine! It spoiled me because everybody I was working with that was talented and globally known, they [couldn’t] match how Gaga spoiled me with class and genius lyrics. I helped her with words here and there, but I can’t say I wrote or co-wrote the “Just Dance” lyrics. but I can take credit for melodies, chord progressions, and production. AKON: The artists that have the door open to be themselves are the ones that win. Their opinions should be the first thing that matters. The moment record companies get involved and try to tell you to go in one direction for this sound or to try something else for a certain amount of hit records, that’s bulls—t. It’s about if you bring something fresh and new to the game and it works, everyone else is going to cling on and try to do the same. If you’re the creator, you have the longevity in the business and it gives you the creativity and freedom to try something else new and fresh, and it always works. REDONE: People always tell me, “Oh my God, I thought she was saying red wine!” This is the story of my life, that the world thinks she’s saying “red wine!” Especially because Gaga sings, “I’ve had a little bit too much” at the start. People think she’s talking about alcohol! Like she had a little bit too much red wine. I’m still happy that we made history, so I don’t care! It’s a beautiful thing I was a part of. We created history that will last forever. Source