Saturday, December 20, 2025
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The New Yorker Disinvites Steve Bannon from Festival After Jim Carrey, Jack Antonoff Pull Out, Other Celebs Protest

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UPDATE: David Remnick has disinvited Bannon from the Festival. He wrote to the staff: “”I don’t want well-meaning readers and staff members to think that I’ve ignored their concerns. I’ve thought this through and talked to colleagues––and I’ve re-considered. I’ve changed my mind. There is a better way to do this.”

 

EARLIER The New Yorker has made a big mistake, it turns out. They invited much hated neo Nazi and white supremacist ex Trump White House shit disturber Steve Bannon to be part of their New Yorker Festival, interviewed by editor in chief David Remnick.

Now, a bunch of celebrities have pulled out of the festival in protest of Bannon’s appearance. Jim Carrey, Jack Antonoff, Judd Apatow, John Mullaney have each notified the world via social media they are out. And that means more will follow. What a mess.

Carrey wrote on Twitter: “Bannon? And me? On the same program? Could never happen.”

Antonoff: “i’m no longer going to be speaking/performing at the new yorker festival as long as steve bannon is there.i always saw the new yorker festival as a wonderful moment to celebrate culture. so when they told me it would kacey musgraves, zadie smith and mike birbiglia etc – i was all in. steve bannon — respectfully that’s a full no for me and normalization of white supremacy ”

Social media is jumping with comments against Bannon. Personally, I’d go, except the event is at the Ethical Cultural Society, which seems to be a contradiction of everything Bannon stands for.

The New Yorker staff didn’t think this through, obviously. Remnick wrote to the New Yorker staff this note, which didn’t help:

But it’s not just celebs who are protesting. Subscribers are saying they’re cancelling their subscriptions. There’s an open revolt among staff, some of whom are posting criticism of Remnick.

Even the Ethical Culture Society is upset. “Our auditorium was rented for this outside event, and we’re just learning about the lineup ourselves. Rest assured we stand against everything Steve Bannon represents, and will issue a statement shortly.”

 

Stay tuned, keep refreshing…

 

 

Jerry Lewis’s Labor Day Telethon Long Gone, Muscular Dystrophy Association Continues Yearly Drops in Revenue

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It was 2011 when MDA, the Muscular Dystrophy Association, committed fundraising suicide. They ousted their standard bearer, Jerry Lewis, and instigated the end of a nearly 50 year tradition of the Labor Day telethon.

Remember the Labor Day telethon? That’s what you’d be watching right now– Ed McMahon live from Las Vegas, everyone from Mitzi Gaynor to the Bay City Rollers showing up, the constant hope that Dean Martin would come and make peace with Jerry, the echoes of the Rat Pack keeping it all afloat.

By 2012, it was all gone. Lewis had been insulted and humiliated, MDA lost its network, the reason we even knew those initials began to disappear.

In 2016, according to their federal tax filing, MDA’s total revenue was down by $6.5 million, from $126.5 million to $120 million. In 2013, total revenue– already in decline– was still at $150 million. That was $7 million less than the prior year, 2012.

Certainly, a lot of families and individuals who are living with muscular dystrophy and associated illnesses must be feeling the financial crunch. They are also seeing a much lower public profile for their cause. For better or worse, Jerry Lewis kept them on the front burner of public consciousness.

You’ll be happy to know, though, that the CEO, Steven Derks, still making $550,000 a year, and that all the other executives are still pulling down six figure salaries.

Jerry Lewis died a year ago, at the age of 91. He was never thanked or apologized to by MDA. Their bad karma is only getting worse.

 

Diana Ross’s Tiny Memorial Arrangement for Aretha Franklin’s Funeral Was Dwarfed by Other Celebs Including Barbra Streisand, Beyonce and Jay Z, Mariah Carey

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Diana Ross had better check with her florist. The plant with her name and card on it was the smallest of the two dozen or more memorial arrangements that arrived at Greater Grace Temple on Friday.

Arrangements varied on size, most were on the large or innovative side, and very striking. The senders included Duke Fakir, the last original member of the Four Tops, Barbra Streisand, “The Carters” (presumably Beyonce and Jay Z), R&B great Sam Moore (who also sent a setting from the late Billy Preston), the family of the late Curtis Mayfield (a circle of red roses that read Loving Friend Aretha), Tony Bennett, the Elton John AIDs Foundation, Jimmy Fallon, the family of Aretha’s late producer Arif Mardin, Mariah Carey, the family of Otis Redding, the Ray Charles Foundation, the families respectively of James Brown and Mahalia Jackson, The Jacksons, and so on.

The arrangements were lined up in the church lobby on display before they were taken to the cemetery for internment. Diana Ross’s small blue plant was dwarfed by those around it. The arrangement from the Four Tops was like a Christmas tree with a big musical signature note on the top in silver. All the arrangements stood up and were spectacular (crosses made out of flowers from both Sam Moore and Mariah Carey.

Ross’s was a tiny blue plant set in a plastic holder that sat on the floor. At first I didn’t notice it until a woman I didn’t know sort of gasped behind me and exclaimed, “That’s all Diana Ross sent!” Ross and Franklin, contemporaries, grew up in Detroit and many friends in common. I replied, “Well, you know, it’s a funeral, we shouldn’t…”

The woman, who was local and African American, said, “Don’t start defending Diana Ross!”

Well, Aretha would have loved the gossip aspect of this.

I loved the note on Sam Moore’s arrangement, it made me cry, “Re, you know I always loved you to bits and pieces, even when we would fuss. Rest now in God’s Almighty loving heavenly embrace. ”

Amen. Hey, at least she sent something. Several people who shall go unnamed were MIA.

Elton John:

The Carters– Beyonce and Jay Z

 

 

“Crazy Rich Asians” Hits $111 Million, A Milestone for Original Non-Sequel Comedy-Drama

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Every hit this summer was either a comic book movie, a sequel to a comic book or a sequel to something.

Not “Crazy Rich Asians.” A totally original comedy-drama, the Asian-American-Asian phenom is a sequel to nothing. Today it hits $111 million at the box office, which is a milestone if not a record, and much to be congratulated. Hurrah!

Of course, soon there will be two “Crazy Rich Asian” sequels, but this one will be the template for success. In a year that brought us the huge success of “Black Panther” and the critical success of “Blackkklansman,” the soaring triumph of “Crazy Rich Asians” should also teach Hollywood that there’s a world out there, and it doesn’t all look like the executives.

Meantime, crappy pictures like “Happytime Murders” and “Papillon” are DOA.

 

 

TV: Emmy Rossum Is Leaving Showtime’s “Shameless” After 9 Seasons So She Can Have a Movie Career

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Emmy Rossum is leaving “Shameless” after nine seasons. Believe it or not, she’s only 32. If she leaves now, she can have the movie career she was supposed to have. She was starting to make headway in movies when she got “Shameless,” and that became her career. Smart and beautiful, and really talented, Rossum is going to hit the movie world big time. She’s already got one film, called “Hard Powder,” with Liam Neeson and Laura Dern, set for 2019.

She posted a lovely explanation on Facebook about her departure:

It’s a hard thing to put into words, feelings. But I’m going to try.

This business is always an adventure, full of travel and opportunities to tell stories. Usually as an actor, every few months, you travel to a new place, start a new project, build a new character, learn new rhythms, new inside jokes with your crew, make new friends.

Until “Shameless” came into my life 8 years ago, I led that kind of transient wonderful life of an actor. And I never realized how much I actually craved the kind of continuity that this show has given me. And given all of us in the crew. Season after season I’m amazed that our same crew comes back. And it’s not just because it’s a wonderfully written, wonderfully layered show. There are these real connections, real friendships that bring us back season after season after season.

See, in real life, unlike Fiona, I’m an only child. I never had a big family. Being ensconced in that messy Gallagher family love is something I’d always dreamed of. But even off set, it feels real. We’ve watched the kids grow up into the strong, talented, independent human beings that they are. I taught Emma to shave her legs. I was there when Ethan learned to drive. Shanola and Jeremy and Joan and Bill danced at my wedding in New York last year. Our fearless leader John Wells thankfully held Sam and me up on those rickety chairs during the hora. I’ve spent the Jewish holy days in temple with David Nevins and his wonderful wife and kids. It really feels like a family.

This kind of stability, this family, has nurtured me and made feel safe enough to stretch and grow creatively. The way John Wells has shepherded me as an actress, and more recently how he’s encouraged me wholeheartedly as a director and a writer, has been an honor and a privilege.

We have made over 100 hours of television. That’s no small feat. There’s a new study that says it takes 100 hours to become friends with someone. The Gallaghers have been in people’s living rooms for 100 hours. So, it makes sense. We can feel your connection to us, to these characters. In the airport, in restaurants, on the street, when people call out “Hi Fiona” “Oh my god, it’s Lip” or “Screw you Frank!”… it feels good.

The opportunity to play Fiona has been a gift. There are few characters — female or otherwise — as layered and dynamic. She is a mother lion, fierce, flawed and sexually liberated. She is injured, vulnerable, but will never give up. She is living in an economic depression, but refuses to be depressed. She is resourceful. She is loyal. She is brave. I knew it the second I read the pilot script, this was different, this was special. I tirelessly prepped the audition with my coach Terry Knickerbocker. I walked to the appointment in the rain so I looked disheveled. During my third audition, when I got the part IN the room, I literally jumped up and down screaming in joyous relief and disbelief. Quite simply, the last eight years have been the best of my life.

Malcolm Gladwell says it takes 10,000 hours to become truly good at something. To become world class. Well by my calculation, 100 episodes, 7 days per episode (plus Chicago weeks), 12 hour days, we’re just at about 10,000 hours. So I guess we’re finally good at this. I can say for certain that this cast and crew, who I’ve been have truly honored to work alongside, are world class. I am proud and I’m filled with gratitude.

I know you will continue on without me, for now. There is much more Gallagher story to be told. I will always be rooting for my family. Try not to think of me as gone, just think of me as moving down the block.

With love, always.

RIP Susan Brown, Beloved Actress Played Gail Baldwin on “General Hospital” for 15 Years

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Soap opera fans are mourning Susan Brown, the beloved actress who played Gail Baldwin on “General Hospital” from 1979 to 2004.

Brown was 86 years old. Her TV career began in 1955, and she went on to be a regular in the New York soaps, taking roles in “As the World Turns” and “Edge of Night” among others. In the early 70s she starred in a short lived NBC soap called “Bright Promise” with two other actors who would go on to “General Hospital” with her, Anthony Geary and Ivor Francis. She was also featured in a number of prime time TV shows.

Brown was so elegant and well spoken that I always thought she was British. She came from San Francisco, as it turns out. But her poise and intelligence made her a standout on television.

Brown’s “General Hospital” husband, actor Peter Hansen, died last year.

Crazy Rich Asians Get Richer at Box Office: Will Cross $100 Mil Mark Tonight in US, Already There Worldwide

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Except for the very good “Operation Finale,” this Labor Day weekend is pretty much about holdovers from the summer.

Today, “Crazy Rich Asians” will get a lot richer. Jon M. Chu’s breakout hit will cross the $100 million line in the US. Thanks to its release in just four countries– none Asian– the comedy is already at $101 million internationally. Just wait til it really starts playing around the world.

“Mission Impossible: Fallout” will hit the $200 million mark in the US tonight. It’s the most successful of all the “MI” movies, and Tom Cruise’s biggest hit since the last episode. In between, he’s had a string of duds. Cruise is the sequelizer. He was hoping his “Top Gun” sequel would extend that run in 2019, but the update has been postponed until 2020.

“Solo: A Star Wars Story” made just $13,000 last night on its 99th day of release. Total $213 million, worldwide including US $385 million.

Eminem Drops New Album Called “Kamikaze” on Day of Aretha Franklin’s Funeral, Reviews are Bad

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Eminem is back. Marshall Mathers decided to drop his new album, called — seriously– “Kamikaze” — on the day of Aretha Franklin’s funeral. She and all the great singers in heaven must be LOL.

Anyway, of course “Kamikaze” is number one on the iTunes album chart right now, and all of its tracks have hit the singles charts. Mathers as spots numbers 1 and 2.

Ironically, Aretha’s “30 Greatest Hits” is number 4. Eminem will never have 30 Greatest Hits.

Reviews are bad, but the fans are not so discerning. They’re happy to get whatever Em releases. On Metacritic “Kamikaze” has a 67 among critics. Among fans, they’ve rated it at 8.3.

None of the tracks can be played on the radio– they are drenched in foul language. And screeching. There’s no “Stan.”

Here are the lyrics to the title track, from genius.com:

[Intro]
Okay, how do I say this? (fack, fack, fack)
Last year didn’t work out so well for me
(fack, fack, fack) (fack last year)
2018, welp (fack, fack)

[Verse 1]
Yeah, I’m a fuckin’ kamikaze crashin’ into everything
You beat me, Islamic Nazi, that means there is no such thing
I’ve been goin’ for your jugular since Craig G “Duck Alert”
Wedgie in my underwear, the whole bedsheet and the comforter
Stuck up in my rectal crack, kiss my disrespectful ass
I’ll ride through your cul-de-sac
Window cracked, bumpin’ your reference tracks
You collaborative effort rap, I have never said his raps
Overstayed my welcome, stepped in crap
And ruined your welcome mat
So spit that shit from the heart, you didn’t write like you wrote it
While I teabag the microphone ’cause I go nuts on it
Like a fighter jet lined with explosives that’ll strike any moment
Headed right at opponents and I’m the fuckin’ pilot that flown it
I’m ’bout to—

[Chorus]
Smash into everyone, crash into everything
Back and I’ve just begun, “FACK” 2017
Fack, fack on everyone
Fack, fack on everyone
Fack, fack on everyone
I’m a Kamikaze, gonna
Smash into everyone, crash like an F-15
Damage already done, y’all shoulda let me be
Fack, fack on everyone
Fack, fack on everyone
Fack, fack on everyone
I’m a Kamikaze, gonna

[Verse 2]
I turned to rap ’cause it made me feel tough when I wasn’t (wasn’t)
From the moment I heard rap was cussin’, I was in (was in)
Which is why I identify with the guy
Who I was invented by, Dre’s Frankenstein
Energized like a nine volt, ice cold
Like Snake Eyes, twice in a row on a dice roll
But if the only reason I blowed is ’cause I’m white though
Why don’t every other white rapper sell what I sold? (ooh)
Kamikaze pilot, I wrote my suicide note
Here come the guys in white coats tryin’ to stop me
‘Fore I jump behind the controls and try to fly into foes
‘Cause I’m takin’ y’all with me when I go cyclone
I don’t think this typhoon’s lettin’ up any time soon, here I go
Eyes closed, blindfolded, I’m ’bout to—

[Chorus]
Smash into everyone, crash into everything
Back and I’ve just begun, “FACK” 2017
Fack, fack on everyone
Fack, fack on everyone
Fack, fack on everyone
I’m a Kamikaze, gonna
Smash into everyone, crash like an F-15
Damage already done, y’all should’ve let me be
Fack, fack on everyone
Fack, fack on everyone
Fack, fack on everyone
I’m a Kamikaze, gonna

[Bridge]
Smash
Kamikaze, kamikaze
Kamikaze, kamikaze, kami-kamikaze
Look at what I’ve done

[Verse 3]
I heard your freestyle on Shade 45, that shit was embarrassing
There is no way we ever hear that shit again, I guarantee
That way that shit was so ass it’s somethin’ we wouldn’t dare re-air
And the shit’s embarrassing as me rear-ending Tara Reid bare
In my therapy chair, my dick is the hair length of Cher
Each nut is the chair width of an acorn, stairlift beware of me
Lyrically I’m terrible, better get your lyrics prepared
Richard Ramirez is here, serial killin’ every beat there is

[Outro]
Wait, wait, got the eeriest feelin’
Somethin’ evil is lurkin’, I’m no conspiracy theorist
But somethin’ here is afoot—oh yeah, it’s my dick
Get the measurement stick (what?), twelve inches of wood
Wait, but I’ve been goin’ for your jugular since Craig G “Duck Alert”
And I’ve come to pay respects
‘Cause if you sleep you’re fucked—other words, you get laid to rest
And I hope your butt is hurt
Put me on a track, I go cray on it like a color book
You got some views, but you’re still below me
Mine are higher, so when you compare our views, you get overlooked
And I don’t say the hook unless I wrote the hook
And now I’m just freestylin’ in the vocal booth
And you know I’ve always spoke the truth
You lyin’ through your teeth so much you broke a tooth
And it ain’t somethin’ I need a phone to do
When I say I can’t wait ’til I get ahold of you
And I don’t know what I’m s’posed to do
Line up the rappers, take my pic like a photo shoot

Aretha’s Spectactular 48 Hour Send Off Included a Gladys Knight Brouhaha and A Pastor Who Loses His Mind

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Aretha Franklin’s family and friends designed a 48 hour send off so spectacular that the city wound up naming a park for her.

The Friday funeral– lasting seven hours– was broadcast so many people got see the incredible performances and the fiery speeches.

The latter included an Atlanta pastor selected to give the eulogy– although god only knows that by the time Rev. Jasper William Jr. got to speak there had been several eulogies. Williams completely offended the crowd of 4,000 invited guests by declaring “black lives don’t matter.” Then he launched a tirade against Aretha’s father, the late Rev C.L. Franklin, that was inappropriate, out of place, uncalled for, and frankly, crazy.

If there had been an actual hook, many in the audience would have used it. To be sure, Williams won’t be invited to preach again in Detroit any time soon.

Then there was Ariana Grande’s hideous rendition of “Natural Woman.” I guess she was chosen because she’d performed it on the Tonight show. But Grande screeched and howled, was off key, and wore a short, short dress totally inappropriate for a funeral. Her whole contribution was a hot mess.

But so many great people offset Ariana’s ridiculousness. Gladys Knight made a surprise appearance at the end of the funeral. She was not on the schedule, but had been on the one for the prior night at an outdoor show at Chene Park. She simply didn’t show at Chene, then arrived at the funeral and told local press that she and Aretha had cancer in common. This led the reporter she spoke to report that Gladys has pancreatic cancer. So, during Aretha’s funeral, this story took off like…cancer.

From Greater Grace Temple I contacted Gladys’s husband, William McDowell, who told me she does not have pancreatic cancer. She once had breast cancer, and was trying to make a comparison. Oy vey. Also, she hadn’t shown the previous night performing at the US Open for Serena Williams and Emirates Airlines. Ironic, since Aretha loved the US Open and tennis in general. But there you go.

Anyway, in the 7th hour of the marathon funeral, Gladys showed up and sang “Bridge Over Troubled Water” and was just sensational. She pretty much stole a “show” that had already boasted amazing performances by Chaka Khan, Jennifer Hudson, and Shirley Caesar. It was announced that Chene Park, the venue of Thursday night’s 5 hour show that included Jean Carne, Sarah Dash, Johnny Gill, the Four Tops, and a dance piece by famed choreographer George Faison, was going to be officially renamed Aretha Franklin Park.

Meantime, there were the expected dramatic and fierce speeches from Bill Clinton and Jesse Jackson. There was also an unexpected one from Michael Eric Dyson, who attacked Donald Trump alliteratively and was preceded by Rev. Al Sharpton coming after Trump, too. Aretha would have loved that.

Detroit was lit up pink for Aretha’s farewell. There were dozens of pink Cadillacs lining Seven Mile Rd in front of the church, a reference to the pink Cadillac from “Freeway of Love.” Cadillac responded by taking out full page ads — all pink– in newspapers. Many Detroit skyscrapers posted pink lighting on Thursday and Friday. I’m not even sure Aretha really liked pink so much, but the effort was a nice one.

Thousands of Detroiters lined up for Aretha’s public viewing, which has already been described vividly in other places. Thousands more tried to get into the Chene Park concert, and also lined up for the funeral procession. The cars were parked five deep at the church. Did Aretha have any concept of her fame at this point? She’d been so sick for the last year, and fighting cancer in secret since the end of 2010, I don’t think she did. What a testament to her incredible talent, her presence, her importance to Detroit, on so many levels.

Next up in Detroit is a movement to get an Aretha Franklin museum built. It would be a tribute to her, to her famous musical family, and maybe honor non Motown Detroit music greats. I hope this comes together.

More on the performances, speeches, and Aretha’s send off later on Saturday…Meantime, shout outs to her niece, Sabrina Garrett-Owens, and her sister in law, Earline Franklin (widow of brother Cecil Franklin). As one guest observed, “They had two weeks, no experience, and basically staged the Oscars.”

Lady Gaga Soundtrack to “A Star is Born” Coming October 5th Has 12 New Songs and Judy Garland Nod with “Over the Rainbow”

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I did tell you some time ago that the soundtrack to “A Star is Born” would be mostly Lady Gaga originals. And so it is. On October 5th Interscope releases the music. There are plenty of Gaga originals– a dozen in fact, plus a few by director and co-star Bradley Cooper.

Very clever– there’s a nod to Judy Garland, who starred in the 1954 “Star” — Lady Gaga sings “Somewhere Over the Rainbow.” (It’s from “The Wizard of Oz,” but it’s Judy’s most famous song.) Cool idea.

I’m told the big “11 o’clock number” is “I’ll Never Love Again”– that’s the song Gaga will take to the Oscars. Interesting, they’ve decided not to qualify for the Grammys this year, but for 2020 instead.

This is a Gaga album, kids, meant to sustain a year’s worth of sales. There are a million reasons to be excited!

PS Just a thought. But Gaga sings “La Vie En Rose.” Madonna has been singing the French classic at parties and for her fans lately. I hope she wasn’t thinking of putting it on new album. C’est la vie!

 

Track listing for A Star Is Born soundtrack:

1. Intro

2. Black Eyes – Performed by Bradley Cooper. Written and produced by Bradley Cooper and Lukas Nelson.

3. Somewhere Over The Rainbow

4. Fabulous French

5. La Vie En Rose – Performed by Lady Gaga. Written by Louiguy and Edith Piaf. Produced by Lady Gaga and Brian Newman.

6. I’ll Wait For You

7. Maybe It’s Time – Performed by Bradley Cooper. Written by Jason Isbell. Produced by Bradley Cooper and Benjamin Rice.

8. Parking Lot

9. Out of Time – Performed by Bradley Cooper. Written and produced by Bradley Cooper and Lukas Nelson.

10. Alibi – Performed by Bradley Cooper. Written and produced by Lady Gaga, Bradley Cooper and Lukas Nelson.

11. Trust Me

12. Shallow – Performed by Lady Gaga and Bradley Cooper. Written by Lady Gaga, Mark Ronson, Anthony Rossomando, and Andrew Wyatt. Produced by Lady Gaga and Benjamin Rice.

13. First Stop, Arizona

14. Music To My Eyes – Performed by Lady Gaga and Bradley Cooper. Written by Lady Gaga and Lukas Nelson. Produced by Lukas Nelson.

15. Diggin’ My Grave – Performed by Lady Gaga and Bradley Cooper. Written by Paul Kennerley. Produced by Lady Gaga and Lukas Nelson.

16. I Love You

17. Always Remember Us This Way – Performed by Lady Gaga. Written by Lady Gaga, Natalie Hemby, Hillary Lindsey, and Lori McKenna. Produced by Dave Cobb and Lady Gaga.

18. Unbelievable

19. How Do You Hear It?

20. Look What I Found – Performed by Lady Gaga. Written by Lady Gaga, Mark Nilan Jr., Nick Monson, Paul “DJWS” Balir, Lukas Nelson, and Aaron Raitiere. Produced by Lady Gaga, Mark Nilan Jr., Nick Monson, and Paul “DJWS” Blair.

21. Memphis

22. Heal Me – Performed by Lady Gaga. Written by Lady Gaga, Mark Nilan Jr., Nick Monson, Paul “DJWS” Blair, Julia Michaels, and Justin Tranter. Produced by Lady Gaga, Mark Nilan Jr., Nick Monson, and Paul “DJWS” Blair.

23. I Don’t Know What Love Is – Performed by Lady Gaga and Bradley Cooper. Written and produced by Lady Gaga and Lukas Nelson.

24. Vows

25. Is That Alright? – Performed by Lady Gaga. Written by Lady Gaga, Mark Nilan Jr., Nick Monson, Paul “DJWS” Blair, Lukas Nelson, and Aaron Raitiere. Produced by Lady gaga, Mark Nilan Jr., Nick Monson, and Paul “DJWS” Blair.

26. SNL

27. Why Did You Do That? – Performed by Lady Gaga. Written by Lady Gaga, Diane Warren, Mark Nilan Jr., Nick Monson, and Paul “DJWS” Blair. Produced by Lady Gaga, Mark Nilan Jr., Nick Monson, and Paul “DJWS” Blair.

28. Hair Body Face – Performed by Lady Gaga. Written and produced by Lady Gaga, Mark Nilan Jr., Nick Monson, and Paul “DJWS” Blair.

29. Scene 98

30. Before I Cry – Performed by Lady Gaga. Written and produced by Lady Gaga, Mark Nilan Jr., Nick Monson, and Paul “DJWS” Blair.

31. Too Far Gone – Performed by Bradley Cooper. Written and produced by Bradley Cooper and Lukas Nelson.

32. Twelve Notes

33. I’ll Never Love Again (Film Version) – Performed by Lady Gaga. Written by Lady Gaga, Natalie Hemby, Hillary Lindsey, and Aaron Ratiere. Produced by Lady Gaga and Benjamin Rice.

34. I’ll Never Love Again (Extended Version) – Performed by Lady Gaga. Written by Lady Gaga, Natalie Hemby, Hillary Lindsey, and Aaron Ratiere. Produced by Lady Gaga and Benjamin Rice.