PARIS HILTON - PARIS

in the credits she thanks the guy who does her eyelashes with the words "you are a true artist and i am your barbie doll"

...this is like a Marcello Carlin review of a Girls Aloud album, only a million fucking times worse.

sleeping beauty, the princess in aladdin...

she doesn't sing about it, she just acts like it. she sings about a) guys wanting her for her body ("i'm sexy and you know it - clap your hands!") and b) her wanting guys for true love

lex a friend of mine had lunch wiht her just TWO YEARS ago....and said she was stunningly gorgeous.

yeah, a friend of mine says her blue eyes are remarkably beautiful. (i think they're contact lenses, too!)

Did you know that Whitney Houston's debut LP, called simply Whitney Houston had 4 number one singles on it?

It's hard to choose a favorite among so many great tracks, but "The Greatest Love of All" is one of the best, most powerful songs ever written about self-preservation, dignity. Its universal message crosses all boundaries and instills one with the hope that it's not too late to better ourselves. Since, it's impossible in this world we live in to empathize with others, we can always empathize with ourselves. It's an important message, crucial really. And it's beautifully stated on the album.

The only thing Paris eats is penis. I mean, really, she's sickly thin.

That said, I really love the new single. It's plastic fantastic.

1) she opens the album with a little yelp of "yah! that's hott!"
2) 'NOT LEAVING WITHOUT YOU' is AMAZING. it starts off like k clarkson with a country twang, explodes into a glorious "we can dance! we can dance! we can dance!" chorus, features a TICK TOCK moment (surely mandatory now for every female popstrel to have one of these), and climaxes in a stomping conclusion plus RAP.

Paris Hilton - Screwed (Chopped and ...)?

So, the Lex has me curious enough to download it, though that faux-reggae/No Doubt bullshit had me turned off and the single mix I heard of Screwed didn't exactly motivate me.

Oh, that's been mentioned.

however, mcd otm regarding the title

http://www.last.fm/music/MU/_/Paris+Hilton

didn't you see my image post right there

"Don't ask me for my number, cause my numbers undercover."

If only it weren't soulless. I've heard more emotion from household pets.

now apparently things have changed and we have to go around being all beardy and sincere. WELL I WONT STAND FOR IT DAMMIT I WONT.

help me out here...

roffle

that's hot

I actually get the impression I'd like this, but theres no way in hell I could bring myself to line that evil bitch's (and I mean that in the nicest way possible) pockets.

http://myspace-111.vo.llnwd.net/00917/11/15/917025111_s.jpg

Paris and Nicole Fans
http://myspace-580.vo.llnwd.net/00811/08/59/811999580_s.jpg

Paris Hilton My Space FanClub(Im Not Paris Hilton)

http://myspace-384.vo.llnwd.net/00944/48/39/944089384_s.jpg


Paris

http://myspace-582.vo.llnwd.net/00909/28/57/909777582_s.jpg

Lisa (Paris Fan)

http://myspace-578.vo.llnwd.net/00280/87/58/280518578_s.jpg


*Paris Hilton Fan Site*

http://myspace-639.vo.llnwd.net/00722/93/65/722085639_s.jpg

the real paris hilton

http://myspace-457.vo.llnwd.net/00898/75/48/898458457_s.jpg

The Official Fan Site of Paris Hilton

http://myspace-555.vo.llnwd.net/00912/55/51/912481555_s.jpg


paris & nicole fansite

http://myspace-157.vo.llnwd.net/01004/75/10/1004710157_s.jpg


Paris 

http://myspace-735.vo.llnwd.net/00712/53/70/712740735_s.jpg


~PARIS HILTON FAN SITE ONLY~

http://myspace-255.vo.llnwd.net/00824/55/27/824197255_s.jpg


ALL ABOUT PARiS HiLTON

http://myspace-511.vo.llnwd.net/01068/11/59/1068919511_s.jpg

This is the problem with a lot of the Lex's writing about pop. He wants it to be accepted as Statement rather than just entertainment and applies a lot of quite rockist criteria to it.

I intend to listen to this album tonight, despite Stars Are Blind being one of the worst records I've heard this year.

I just don't understand why Lex would praise the album for its "unashamedly light, plastic" nature and then also single out Paris for providing its "beating, yearning heart" (keywords for "AUTHENTIC" if ever there were any). I mean, which one is it?

both, really.

i don't know why a lot of the people who will freely admit to loving, i dunno, britney spears or kylie minogue on both a superficial look-at-those-beats-and-her-tits level AND a 'deeper' emotional level, find doing this with paris so hard. the point of poptimism surely being that both superficial appreciation and emotional appreciation can co-exist at the same time for the same record and both are equally valid.

i mean, duh, of course the paris hilton album is entertainment. she is who she is. and of course it's a statement as well, by virtue of its having these lyrics and having that music and having this artwork. this seems self-evident to me. i think it succeeds as both.

When it comes to Paris Hilton, I think, everyone is a "decadent sophisticate" - it's impossible to approach her without a fuckload of baggage, an already-formed opinion which isn't going to be much swayed one way or another, so the options are something like
a) be 'serious' about the paris hilton phenomenon and decry it for how plastic it is, ruining good name of pop etc etc (or alternately be someone who doesn't like commercial pop and sees paris as symptomatic of how commercial pop suxor), so whatever the content of the music you won't be liking it
b) be ironic or post-ironic and say "yes it is plastic and also wonderful" (whether you think it's wonderful because plastic, or despite plastic, or in addition to plastic)
I don't think the option 'be completely serious and like it' is actually available for anybody. (which kind of hurts me to say because I don't want to believe I ever like music ironically, so maybe I should say one likes it 'knowingly' instead). The statement is an indivisible part of the entertainment: if you react badly to the statement you're not going to get any entertainment out of the product (unless going 'i thought this was going to be shit and i don't like it! i win at predicting my own reactions!' counts as entertainment).

i really want to hear this.

Actually i think paris is very silly and not too bright - i saw her being interviewed on a local music video show and it was just excruciating, you could see the wheels struggling to turn in her head as she mumbled the most inane answers to every question. She made Britney seem hyper-articulate.

But this is only an issue w/r/t to her music if I choose to incorporate it into my enjoyment of it (or lack thereof). I'll make that decision when I've heard the album - I like "Stars Are Blind".

these are one and the same! all the pro-pop people decrying this are using exactly the same words as anti-pop people.

i don't think i'm being ironic in my love for it - these are genuinely fucking fantastic songs, whether that can be divorced from baggage in this case i don't know, but i do wonder how much my love of paris ANYWAY informs my love of her songs.

i will do you a cd cis.

yes. i think paris's, er, simplicity really helps form the persona on the album: every song basically falls into one of three pretty basic categories - a) boys want to come and get me because i'm so hott, and i like it, but i'm not really into them, but i am really hott; b) underneath my superficial hottness i really really yearn for an ideal of Real Love that i have constructed in my head out of high school rom-coms and fairytale archetypes; c) nicole richie is mean.

but I don't think you can assume that a statement HAS to claim to be more than mere entertainment (i.e. entertainment is full of statements, as much as it is full of things which don't claim to do anything other than 'be' (if this is possible)) so statements and entertainment are not necessarily compatible. I was complaining that matt's attack on lex implied that he wasn't allowed to take seriously paris's records as statements because they could *only* be entertainment (rather than *also* entertainment)

I like the idea that paris's baggage means we are all decadent sophisticates, but surely the baggage on paris is nowhere as bad as the baggage on Michael Jackson, say, and no-one sees him as not making statements, however crass and dull they are. When my brother bought a Sam Fox single aged 12 he knew she was a page 3 model (because my mother told him so in no uncertain terms to explain why she didn't like women like Sam Fox) but accepted this baggage -- does that mean he liked it knowingly?

i.e there is always mediation (first lesson in dialectics!) so yr initial opposition of statement to entertainment needs to be made in different terms (I take the difference to be one about ambition, statement says I am something else other than / as well as entertainment ). so-called 'poptimism' sometimes runs the risk of equating pop with spontaneity, but it would be more interesting to see pop as sophisticated i.e. statements, i.e. the things usually denied about it, despite the fact that the statements are really obviously all over it for everyone to see!

that'd be awesome, Lex, thank you!
"i do wonder how much my love of paris ANYWAY informs my love of her songs"
this is surely where pop lies! They can be fucking fantastic in their own right just like some anonyswede chart hit can be fucking fantastic in its own right, it's not the same as the kind of fucking-fantastic that they are because they're Paris Hilton songs off the Paris Hilton album, oh man, paris hilton made an album, that's so [insert adjective here].

no one else (sane) does

I don't think this is true! all the people who bought 'stars are blind'? they're not collectively insane, they have reasons, they must have truly liked it (for whatever mix of reasons, love of tune, love of paris-the-phenom, whatever else) else they wouldn't have bought it.

To take this further, it's not merely about distinguishing between entertainment and meaning and placing pop on the side of entertainment, but also putting other music on the side of meaning! Which is unfair to other music.

I don't see the point of cordoning off pop with special rules that apply to it and not to other music - in fact if anything my point of disagreement with Lex would be that he ocassionally appears to make qualitative distinctions based on what-pop-is (or what-not-pop-is - e.g. indie music featuring boys and guitars, and worst of all boys with guitars) rather than what-pop-does. I'm not sure if he is actually doing this though, it's probably just an impression that some of his rhetorical devices create inadvertantly.

Alex is right here: the word I like to use rather than "statement" is "strategy", which I think is less loaded with conventional notions of "meaning" in art. All successful pop is the result of a strategy-for-success, and this is also the cause of its ocassional sense of spontaneity: sophisticated strategies in pop can be so successful that we don't see them coming. What appears to be simplicity is as much a design so sophisticated you can't see the joins.

I guess the distinction i'd make is that one of the meanings of "style" is that it sort of exists for the purpose of identification - i.e. "I recognise this as a ballad".

Whereas for me "strategy" is about how music forces you to come up with new categories or notions in response, how it prevents you from merely saying "I recognise this as a ballad" and moving on indifferently. How it sneaks in some point of difference which might move Lex to paradoxically talk about the living, beating heart inside plastic pop. One of the implications of "strategy" is precisely that slightly Macchiavellian overtone of doing something in a way that can't be identified until it's too late and it's a fait accompli.

So "style" and "strategy" become two sides of the coin perhaps: familiarity versus surprise. Both of which are crucial to how we receive music.

this is surely where pop lies! They can be fucking fantastic in their own right just like some anonyswede chart hit can be fucking fantastic in its own right, it's not the same as the kind of fucking-fantastic that they are because they're Paris Hilton songs off the Paris Hilton album, oh man, paris hilton made an album, that's so [insert adjective here].

YES!

Lex, I suspect I will like it for reason b - it's astonishing how little pop actually deals with the notion of Real Love head-on when you think about it.

yes, Reason B is my favourite reason as well - and this reason is particularly effective because of who Paris is, the gilded princess with everything who not only hasn't found Real Love but also has no idea what it is beyond a hotchpotch of childhood references (but her Real Love fantasy is also very alluring...)

To prevent this from just being me hijacking this thread with random meanderings, my point here is that I agree that the danger of simple pop(tim)ism is the entrenchment of this notion of pop as simplicity/spontaneity/entertainment - and the problem with this notion is precisely that it unwittingly buys into notions of "manufactured pop" whereby people like a pop song just because it is the same as the last pop song they heard (pop fandom as consumption as brand loyalty).

The problem with this is not so much that it undersells pop, but more fundamentally that it's not how people actually engage with music - at least I don't think it is. I do believe that everyone likes music insofar as it slightly exceeds their expectations, and can't quite be explained simply by reference to their enjoyment of a prior song.

Ie Thom Yorke's attack on Blair no matter how noble matters less if the music is viewed as tedious and dreary by the majority of listeners, even those predisposed to like it. Whereas this piece of fantastically eurphoric Serbian Eurobeat about a bear may mean nothing whatsoever if everyone agrees about its sonic aceness.

If the statement and the music are both there, brilliant. But no one other than the usual rockist grouches are making the argument that the Paris album is shite because its a plastic pop album, it's because it's a BAD plastic pop album, especially compared to Britney, Xtina, Rachel, GA, whoever. What I was criticising Lex for is his assertion elsewhere many times before that the actual music of Stars Are Blind is of secondary importance to What Paris Is Saying.

I may be approaching this from a skewed point of view because I am very good at just not noticing hugely prominent celebrities ie I had no idea who Nicole Richie was before about four months ago and cottoned onto Paris relatively late as well, so I disagree totally that its impossible to listen to the album without baggage. I'm 90% certain, for example, that my mum doesn't know who Paris Hilton is.

I'm not sure I like spontenaeity in pop really. I like it when an awful lot of work has gone into making something feel spontaneous, but that's a side issue.

Many xposts now .

all coat-trailing about urban sophisticates and ironists and entertainments and statements, soul and lack-of-soul apart, when it comes down to it, this is what it comes down to:

"i don't know why a lot of the people who will freely admit to loving, i dunno, britney spears or kylie minogue on both a superficial look-at-those-beats-and-her-tits level AND a 'deeper' emotional level, find doing this with paris so hard."

it's the songs, stupid!

i agree, though i'd insert the word 'only' before 'simplicity/spontaneity/entertainment' - i don't think there's anything wrong with emphasising these aspects of pop, but i do think it's a mistake to emphasise them to the exclusion of anything beneath them. and it's a mistake that lots of sites, eg popjustice, make - it's the kind of thinking which leads to a very conservative defn of pop as "a proper tune which the milkman can whistle".

it's the songs, stupid!

it's NOT a bad plastic pop album, and EVERYONE (except alex/tim/cis/myself) is criticising it purely because it's paris. it's a really fucking good album with really good songs which are made even better by the fact that it's paris singing them and that she gives them some sort of heart/meaning/statement.

I think it's a bit sad that so many people upthread seem to find it impossible to believe that P Hilton can have put her name to a terrific, or even good, pop record.

When I read you talking about it though Lex the impression I get is of someone who was determined to like it before he heard it. THERE IS NOTHING WRONG WITH THIS before the carpers start - I *love* that feeling of "This is going to be the best record EVER" before I play something for the first time. It just means I don't necessarily trust you on it.

i don't hate 'stars are blind' but 'a fucking fantastic song'? really?

I think the thing about the Paris Hilton baggage is that it's very simple and consistent - esp as opposed to the M Jackson baggage which can contradict and cancel itself (plus he was around before his bulkiest baggage came into existence, so if you want to wilfully ignore it that is, I think, more possible). It is more like the Sam Fox baggage, I guess, though I don't know that much about how her records played off her mythos (weren't they heavily sexualised? (the way that the 'stars are blind' is kind of shiny and listless and 'if you show me real love, baby, i'll show you mine' is really key, I think, it's like a comment on the paris-persona while also being a lovely dreamy pop song)).

(How long until the Coleen record comes out, btw? There must be one around the corner.)

Xpost - Tom OTM really. However I will freely admit to having a kneejerk reaction when the Tara Palmer-Tompkinson record comes out (which IS actually happening).

I agree.

when i read back what i wrote it reads like someone who has thought that and is indescribably happy that he has been proved right!

(in my plan b singles column, i wrote that i expected it to be amazing in a very specific way, but i was genuinely shocked that it was emotionally compelling as well - i mean, 'stars are blind' was certainly not what i was expecting)

OMG

:D

Worth noting because unlike The Lex, I didn't want to like/love Paris as pop star (or anything really).

I'm actually only criticising the one Paris record I've heard because it sounds like a bad UB40 cover

what makes it so bad exactly? inauthenticity? should it be 'stronger' in sound even tho this wouldn't be a true reflection of PH's personality (supposedly - she's playing up to a girly stereotype perhaps, but not necess. a bad thing)? this UB40 comparison seems pretty lazy.

;-)

xp

Tim -- 'style' = my term of the moment for thinking about things, makes slightly more sense with literature than music so I should have kept it to myself really. I think I agree with everything else you're saying.

Matt -- if poptimism means elevating the entertainment value of something above everything else, then I have no interest in it at all! Surely the correct name for this is 'hedonism' or possibly 'decadence'.

Bashment -- 'it's the songs stupids'. Julia Lennon principle -- where does the song start / stop? It's never 'just' a song.

Of course I haven't heard the Paris album, it may be drivel for all I know.

I personally do not rate Sam Fox's singles that much - "Touch Me" is OK but she's no Sabrina.

Yes, Paris didn't 'fall from grace' as it were. In many people's minds she started from zero/with nothing and her rep could only improve as a result. It's now v difficult to see how I could dislike her/idea of her more or as much as I did when The Simple Life first started showing now that she's made a pop album this is not bad (even if it's not in same league as Xtina or whoever), which seems like a good thing.

well indeed, but when you're paris hilton you surely have to work *double* hard to get the song right because you have nothing else going for you.

This isn't quite what i was saying though alan - I was saying that poptimism (in the sense of a style of talking/writing about music) can unwittingly buy into the same characterisation of pop as rockist decriers of "manufactured pop" use. In other words, I think it's a rhetorical failure to say "yes, it's nothing but entertainment, and that is why it is great!"

As much as it would be to say, "no, no, it's not just entertainment, it's filled up with meaning just like yr much vaunted rock!" Which is (I think) what Matt was accusing Lex of doing.

I tend to self-identify as a popist/poptimist though - I don't think these tendencies are fatal.

Where can I hear this record? Is the bear being mistreated?

this is a point i don't really get. why is paris hilton's sleb persona so repulsive? i don't see it as any 'worse' than britney, or j-lo, or kylie, all of whom get approval from poptimists. if anything the ludicrous nature of p hilton's fame makes her a BETTER candidate to be a popstar.

The first question I ask when I hear some music is "does this entertain me?". Obviously this isn't the only question I ask, and it may end up not being the most important.

haha there was a v sympathetic interview in the guardian about a month ago which made exactly this case. i guess it is easier to present someone as sentient in print. but it's not paris's person we care about, right? it's her persona which can include anything we choose to project on to her.

critics go O NOES

ironically, the actual critics in the uk have pretty much all given the album middling-to-good reviews, in a "haha these songs are actually ok despite her" way.

She is an 80s pop star, with 80s-sounding songs!

Curiously, Robbie is one of the few Very Famous Indeed popstars who most Poptimists (including the Lex) are ambivalent or outright hostile to.

Tom, isn't this question - even by itself - a bit more complex than it appears though? Or rather, it's a simple question which is referring to an operation whcih may not be simple. Needless to say, I don't think pop records which are entertaining are entertaining in the same way.

I mean, I'd even be prepared to accept that "does this entertain me?" is the only question we need to ask about any music, but then I'd define "entertain" so broadly that you could fit half the world of pop music criticism inside that one question.

Isn't the Robbie problem also in the gravitas of his Big Singles? I think he occupies a similar position for ze poptimists as do, e.g, Coldplay/Keane, this thing which sonically isn't pop (owing more to 'guitar music' or wvs) but is popular. But, yeah, Robbie's early career is really interesting in terms of self-positioning - from Freedom's "take back your singing in the rain" male-artist-goes-solo-as-George-Michael onward.

Yes sorry that was sort of what I was trying to imply - the second question might be "how?" and the third "why?" for instance.

The more I think about it, the more a lot of the kneejerk criticism (mostly from the mainstream press, not message board debate) is there's a sense that Paris for some reason isn't ALLOWED to be a pop star. In the UK market the Paris album is broadly aimed at (the Heat magazine demographic, to crassly put it), she's (ahem) screwed by two big things:

1. An established tradition of laughing at Paris (as Tom's pointed out elsewhere), from bad dresses to what happens when she tries to work on a farm on TV.

2. A general suspicion of presenters, actresses or other media personalities who turn their hand to releasing records. This goes right back to the 80s Aussie soap stars and only Kylie has really been allowed to transcend that (even J-Lo's still viewed with some suspicion). Mind you some Proper Pop Stars suffer from this as well, Rachel Stevens' album was fantastic and yet her Lads Mag persona was so offputting to its market that it scuppered sales. The exact same record given to Kylie would've been hailed as a classic.

Whereas the biggest pop stars (Britney, Madge, Xtina, Robbie) succeed because they ARE pop, it's not merely something to fill in the gaps between photo shoots. Likewise the moral disapproval side is maybe overplayed - R Kelly fucking underage girls didn't prevent Ignition from being a massive hit.

This is a totally rockist viewpoint to take but I reckon its pretty widespread outside the realm of interweb debates.

(I've now listened to Screwed and Nothing In This World - they're not outright awful and there's the basis of a good tune in both of them but the execution is poor. Melodically they lurch around uncomfortably and both the performance and the production are a bit limp and don't really take off).

If we'd been following the last couple of years of Skanky Ho Britney without her ever having released a record, she'd be considerably less favourably viewed even if the debut single was as amazing as Baby One More Time multiplied by Toxic.

Or, to magnify the point, imagine how it'd be perceived if Jade Goody released an album tomorrow?

dude, someone who proclaims she's in the same line as marilyn monroe and madonna has a few loose screws in her head. that's saying if she HAS any. she does take herself seriously and does really consider herself to be the shit (or hott). i think this is the main reason why i won't be able to enjoy the record, i have a pre-established notion of her being as self-absorbed. still i should give it a try...

In other words, the pop audience wants their popstars to at least come into their world with some mystique.

The more you know about a (pop) artist, the less you can be entertained. There's too much information, too much knowledge, so you can't build a dream, can't mirror yourself on the artist.

nathalie: i think " a few screws loose", "thinks she's hott" and "self-absorbed" as all v good qualities in a popstar.

The more you know about a (pop) artist, the less you can be entertained. There's too much information, too much knowledge, so you can't build a dream, can't mirror yourself on the artist.

i find this interesting - so for all the focus on people not taking paris seriously because she's fake...this makes more sense, not taking her seriously because her life is so public that we think we know what she's like already - and we think she's too dumb to get in character for a song, so essentially we are saying that paris hilton the popstar is too REAL!

this i understand. i find all the lyrics which double as both lovely dreamy romance words and comments on Paris The Celebrity cute, but we know how badly meta plays with many people, so...yeah, when she sings something like "since i'm already screwed" or "if you show me real love baby i'll show you mine" that could be TOO MUCH of what we perceive to be the 'real' paris impinging on the song.

in fact i did say on poptimists that i felt there was too much conflating of paris-the-persona and paris-the-person going on - and this interview reveals that curiously, paris herself has a good grip on the situation.

Hilton says the baby voice she uses on the reality TV show "The Simple Life" is an act.

"I'm always playing a character," she says. "I don't talk like this really -- like a baby. I don't act like myself in public, because I don't really want to show everyone the real me. Because I have no privacy whatsoever, the only thing I have is who I really am."

that's a really good quote actually.

*not v good or detailed as originally intended to be capsule review in the print mag until i missed the deadline, idiot me

Very true. :-)

I said in my Uncut review that reason people are fascinated by Paris isn't her hottness - which the record is obsessed with - but her wealth. The record could have been fantastic if the writers had the wit to completely up the bling ante - Madonna meets Marie Antoinette meets Grace Kelly - that's where Paris stands out. By trying to focus on her supposed sexxiness, the record was always bound to fail.

I'm disappointed the PSBs would sooner produce for him than her (esp. given their fine pedigree working with female vocalists...Kensit and even Minelli not being that much of a step up from Hilton really!)

http://www.outputrecordings.com/leanne-&-paris.jpg

I said in my Uncut review that reason people are fascinated by Paris isn't her hottness - which the record is obsessed with - but her wealth. The record could have been fantastic if the writers had the wit to completely up the bling ante - Madonna meets Marie Antoinette meets Grace Kelly - that's where Paris stands out. By trying to focus on her supposed sexxiness, the record was always bound to fail.

i agree that this would have been a really interesting avenue to pursue - i would have loved it - but i think the general public would have been v turned off by it. but the record doesn't really focus on her sexxiness - sure there are those three songs about turning people on, boys fighting over her &c but the bulk of the album is all about how much she wants to be loved and associated Real Love fantasies.

Unless it sounded like Confessions of a Pop Group, which it totally should.

Amazingly, that long-to-materialize album (it's hard to call it highly anticipated) turns out to be shockingly good — and not just according to a grading curve for actors-turned-singers. After all, Paris was never an actress to begin with; she was a media creation who peddled the same image to a number of different formats, and it just so happens that her sexy, spoiled, shallow act is perfectly suited for bubblegum pop. Of course, it helps that she has a crack team of professionals supporting her on Paris, chief among them songwriter Kara DioGuardi and producer/co-writer Scott Storch, who is name-dropped on the first song "Turn It Up," and leaves a heavy imprint on the rest of the record producing just over half of it and serving as one of the executive producers along with Tom Whalley and Paris herself. They come up with a sound that's casually modern and retro with enough heft in its rhythms to sound good at clubs, yet it's designed to be heard outdoors on the sunniest day of the summer. This is exceedingly light music, as sweet and bubbly as a wine spritzer, yet it isn't so frothy that it floats away. Like the best lightweight pop, Paris retains its sense of fun through repeated listens, long past the point that the novelty of Paris Hilton releasing a good album has worn off. Make no mistake, Paris is a very good pop album, at times deliberately reminiscent of Blondie, Madonna, and Gwen Stefani, yet having its own distinct character — namely, Paris' persona, which is shamelessly shallow and devoid of any depth. Where that might be irritating within a movie or within pop culture at large, when placed in a shiny, hooky dance-pop album it works splendidly, particularly because the songs are strong and Storch and company know how to keep things light — and everybody involved knows that it's fun to play around with Paris' image, no matter if it's her murmuring "that's hot" at the beginning of the record or covering Rod Stewart's "Do Ya Think I'm Sexy," or writing about her feud with Nicole Ritchie on the delightful "Jealousy." But for as much as Paris is about Paris, she doesn't necessarily stand out here; her voice — which is almost certainly auto-tuned and tweaked by a computer, yet it's nevertheless appealing, more so than Britney Spears' often awkward squawk — may blend into the production, yet that actually helps the recordings since it emphasizes the melodies above everything else. And there are some irresistible melodies here: the breezy "Stars Are Blind," the gilded rush of "I Want You" driven by a "Grease" sample, the sweet "Time After Time" rewrite "Heartbeat," and the great power pop of "Screwed," for starters.

Yes, there is no denying that this is a pure piece of product, but it is indeed pure as product. Paris makes no apologies for being mass-market pop, but everybody involved made sure that this was well-constructed mass-market pop. It may not bear the mark of an auteur the way Christina Aguilera's Back to Basics does, but it never feels tossed-off, and track-for-track it's more fun than anything released by Britney Spears or Jessica Simpson, and a lot fresher, too. It's easy to hate Paris Hilton — lord knows that she and her friends like Brandon Davis are walking advertisements against the repeal of the estate tax — but any pop fan who listens to Paris with an open mind will find that it's nothing but fun.

Almost certainly!

YA DONT SAY!

why?

lex's rhetoric on this one has just been 'everything you think is bad, is actually good'. but the strongest assertions -- that the songwriting is top-hole, that paris's soul comes through blah-blah-rockist-blah, that she has a great popstar persona -- are just bollocks.

i don't see how the thematic breakdown ('her songs are about the search for Real Love!!' yeah and?) helps matters.

being taken up with prom queen/princess cliches deep in your twenties is also not especially endearing.

But it's way easier to be cynical and notice that everything about her vocal work is completely undistinguishable. She hired a hitmaker so she sounds like the rest of Storch's resume. B.F.D. I hear crap like this and kneel down at the altar of rockism with complete confidence.

but the point is that it IS paris hilton. it's a pop song so the person matters as much as the song itself!

-- Nathalie (stevi...), August 24th, 2006.

well yes. and it's paris hilton. so the hateful non-singing minor celebrity matters almost as much as the unobjectionable-but-hardly-outstanding lite-reggae track. fan-bloody-tastic.

well similar songs got airplay when the name No Doubt was attached to them!

so the hateful non-singing minor celebrity

why is she hateful? i don't understand why paris hilton provokes so much ire compared with, oh, any other given popstar/entertainment sleb who get, if not admired, then not reviled.

xpost

despising poor people - i refer you to paris's own quote upthread re "the real me"

There's also a private school/blowjob gag here but I can't be bothered to make it.

http://observer.guardian.co.uk/comment/story/0,6903,1572890,00.html

the things she does are no more morally dubious than what, i dunno, jessica simpson or mariah carey or j-lo or britney have been said to have done - so i don't understand why people who aren't repulsed by them are repulsed by paris. it doesn't mean any of them are nice AND I WOULDN'T WANT THEM TO BE

"I don't see why people loathe her and they don't loathe (list of pop starlets that people often say they loathe)!"

I wonder if Lex is pooh-poohing Britney because she has been partially rehabilitated ("you know, "Toxic" is a really great song!).

Dan, Mariah didn't do stairs.

I think this is an important point - when those false-leaks were going around there seemed to be a lot of excitement over that Sweetbox song, "human sacrifice", which is strong/brash/angry (vulgar?), one set of paris-attributes; instead we ended up with this insipid, sweet, languid thing, which also fits the 'paris' image but from a completely different direction.

haha otm.

what i find sad is that plan b didn't have to be so indie, and it never set out to be (ffs KELIS was the planned cover star for issue 1, and only got pulled because she doesn't do photoshoots), but bejesus the demographic it appeals to now is beyond words.

                    88                      88 88
                         88                      88 ""
                         88                      88
                         88 8b,dPPYba,   ,adPPYb,88 88  ,adPPYba,
                         88 88P'   `"8a a8"    `Y88 88 a8P_____88
                         88 88       88 8b       88 88 8PP"""""""
                         88 88       88 "8a,   ,d88 88 "8b,   ,aa
                         88 88       88  `"8bbdP"Y8 88 `"Ybbd8"'

                    88                      88 88
                         88                      88 ""
                         88                      88
                         88 8b,dPPYba,   ,adPPYb,88 88  ,adPPYba,
                         88 88P'   `"8a a8"    `Y88 88 a8P_____88
                         88 88       88 8b       88 88 8PP"""""""
                         88 88       88 "8a,   ,d88 88 "8b,   ,aa
                         88 88       88  `"8bbdP"Y8 88 `"Ybbd8"'

                    88                      88 88
                         88                      88 ""
                         88                      88
                         88 8b,dPPYba,   ,adPPYb,88 88  ,adPPYba,
                         88 88P'   `"8a a8"    `Y88 88 a8P_____88
                         88 88       88 8b       88 88 8PP"""""""
                         88 88       88 "8a,   ,d88 88 "8b,   ,aa
                         88 88       88  `"8bbdP"Y8 88 `"Ybbd8"'

                    88                      88 88
                         88                      88 ""
                         88                      88
                         88 8b,dPPYba,   ,adPPYb,88 88  ,adPPYba,
                         88 88P'   `"8a a8"    `Y88 88 a8P_____88
                         88 88       88 8b       88 88 8PP"""""""
                         88 88       88 "8a,   ,d88 88 "8b,   ,aa
                         88 88       88  `"8bbdP"Y8 88 `"Ybbd8"'

                    88                      88 88
                         88                      88 ""
                         88                      88
                         88 8b,dPPYba,   ,adPPYb,88 88  ,adPPYba,
                         88 88P'   `"8a a8"    `Y88 88 a8P_____88
                         88 88       88 8b       88 88 8PP"""""""
                         88 88       88 "8a,   ,d88 88 "8b,   ,aa
                         88 88       88  `"8bbdP"Y8 88 `"Ybbd8"'

http://observer.guardian.co.uk/comment/story/0,6903,1572890,00.html

Is this sarcasm? I didn't read a single sensible sentence in that whole article.

I can't say that I've a good idea why in some instances I hear a personality to take in my feelings and in others I don't.

Stephen Thomas Erlewine:

They come up with a sound that's casually modern and retro with enough heft in its rhythms to sound good at clubs, yet it's designed to be heard outdoors on the sunniest day of the summer. This is exceedingly light music, as sweet and bubbly as a wine spritzer, yet it isn't so frothy that it floats away.

Erlewine is a frog on a bump on a log, and I often think he's wrong, but he's a good critic, because he's willing to be surprised by albums and because he tries to be as articulate as possible about why he likes or dislikes something. In any event, I don't hear Paris the way Erlewine does. It's "light" in the sense of being unassuming and not coming across as trying to communicate anything weighty. But the actual sound is rather thick, layers of overdubbed vocals finding their way to choruses that often enough contain guitar chord upon guitar chord, the dense beauty of the vocals buried headfirst in the guitar thicket. The consistency I spoke of isn't just quality but timbre, different producers using the same strategies (maybe following Hilton's instruction). I don't know another album that has quite this sound. Paris's voice is itself unifying, something of a fuzzy uninflected hum from back in the throat. Compare the Gottwald-written "Nothing In This World" to the Veronicas' Gottwald-written "Everything I'm Not." On "Everything" the singers are up there in the bright high pitch, working you over with ingratiating come-hither/fuck-off vocals. Whereas in "Nothing"'s pretty harmony section, Paris stays down in her comfy burr, relaxing. Not as arresting as the Veronicas, but not as irritating, either.

i'm not surprised, really, since you don't actually say much about the album you simply slag people off for not liking pop then call the readers losers (not just here but in the review itself). the worst thing they do is rise to the bait.

http://apawboy.blogspot.com/2006/08/stars-are-blind-i-actually-think-this.html

Banarama's "Love In The First Degree" just came on TV and I was inexplicably reminded of "Stars Are Blind".

The single should have been called "Stars Are Bland."

anybody who like jacques lu cont should check it out.

oh yeah, i like the album too, though i like the rock/disco side of the album a whole lot better than the "club banger" side.

oh Banksy you wag

Obviously you mean this version, xpost? Or where they just having a 'laugh at the CD' party?

if Banksy could use less obvious targets next that would be nice - i approve of the CULTURE-JAMMING itself.

just writing CUNT on the front isn't very situationist and won't get the art students chortling, i predict.

Whereas with PARIS you just have to laugh.

Perhaps Waterstones could get Gordon Ramsay avec baseball bat to coem in and work his peculiar magic with Banksy's books.

New caption: It's me or the baby!

http://www.flickr.com/photos/charltonlido/203061848/

with some ironic stuff about drive bys in hoxton:(:(:(

i'm with banksy on this one.

he was pissed because banksy was tagging and stenciling in this rasta compound in jamaica.

banksy is really shitty.

50 in total.

also :

http://www.youtube.com/watch?v=lxUl9Mxbh1E

Everyone's a critic nowadays.

i was going to bump this thread to talk about the second single 'nothing in this world' and its wonderfully cheesy video, but feared you would all be too nasty about her :(

PARIS HILTON - PARIS
is this a real person or a joke?

Right above the blurb about Paris' colourful 'live' performance is one entitled Yoga Helped Aniston Recover From Pitt Split

I read it as Yoda Helped Aniston Recover From Pitt Split

"Get over him you will, young Jeni"

'screwed' should have been a single! (i suspect that there may be no more singles, sadly.)

they should recognise that it's their own prejudices though! ie it is THEIR problem and very little to do with paris herself.

whether i buy someone is immaterial to whether i get enjoyment out of their music marcello.

but the lex says it is...

OMG WHO TO TRUST?

*ears prick up*

I think the most interesting stuff I've read on Paris has been David Moore's posts on his blog, talking about the assumptions pro AND anti PH critics have been making about how the music must have been made and written.

I have a problem with people who buy their fame.

I have a problem with people with no (or very questionable) talent, but who make claims that they "deserve" fame or respect for what they do. She hasn't earned anything.

If she wasn't such a nasty, spoiled little twit (the vowel of choice for that word is actually an 'a') I wouldn't really have any opinion of her. Unfortunately her media-whoring mouth has made that impossible. Sorry if she rubs me the wrong way dude.

Lex, it is highly clear to the majority of the population that if Paris does have some good sounds on it that Hilton had virtually nothing to do with it. I mean for cryin' out loud, she couldn't even get through a lip-synching event! You're completely entitled to have your opinion, as am I. You might win the popularity contest on this thread, but you know you have a steep climb against the rest of the population.

Shorty largely OTM there though the artist "virtually having nothing to do with it" doesn't as a rule bother me that much. With Paris, though, I'm happy to make an exception.

what it does suggest is that the whole 'people not taking her seriously as pop star' thing hasn't been so damaging and it's just that the album is deemed average on it's own terms.

Thatcherism was bad enough first time around. We don't want it back, thank you very much.

i don't care if she wrote all the songs or none.

i don't even care if it isn't her voice at all.

it'd still be underwhelming.

Definitely can see your point there ben.

i work for the feeling's record company?

Just as I know the sun will come up tomorrow, I know that Hilton would not have released an album at this juncture in her life if her pockets didn't reach down to hell.

so? I mean, seriously, so what? what earthly bearing could this have on whether the music is good?

i like the fergie album, it's...odd in that it's properly good rather than obnoxiously good!

this is an argument which recurs all the time, and not just about paris, but about virtually every sleb ever - that you must 'earn' or 'deserve' your fame. wtf? this is mentalism. it assumes a) that fame is something so beyond-mere-mortals wonderful and brilliant that only special people are permitted to have it, and b) that fame and celebrity status are intrinsically rational in the first place! both these assumptions are nonsense & a far more pernicious manifestation of ‘celebrity culture’ than any amount of daddy’s girls who just wanna have fun.

this is an argument which recurs all the time, and not just about paris, but about virtually every sleb ever - that you must 'earn' or 'deserve' your fame. wtf? this is mentalism. it assumes a) that fame is something so beyond-mere-mortals wonderful and brilliant that onlhat fame is something so beyond-mere-mortals wonderful and brilliant that only special people are permitted to have it.

With all due respect Lex, I think your logic is quite flawed here. Hilton is the one who feels she is beyond mere mortals ("I'm way more famous than any of these people. If anyone deserves a star it's me!") and doesn't have to tow the same line as most other people who have actually proven their talent, live or recorded.

Fair enough?

Paris said:
If anyone deserves a star on the Walk of Fame I do

'nuff said for me. Unfortunately there is much more if you insist that I search for it.

"I'm always playing a character," she says. "I don't talk like this really -- like a baby. I don't act like myself in public, because I don't really want to show everyone the real me. Because I have no privacy whatsoever, the only thing I have is who I really am."

of course i had a positive prejudice towards the paris album! and i was proved right.

Good thing you're not a judge Lex!

I mean, some people are famous, some like it, some don't. Big fucking deal. Some people deserve their fame, for like pulling of some amazing feat of physical or artistic endeavour, some don't. It's NOT INTERESTING.

(It might still be more than that - but the Lex's second-hand po-mo clothes don't feel like an interesting fit on it.)

xpost Shorty so your argument boils down to "Spoiled woman thinks she should be included in notorious monument to vanity O NOES"?

no i agree and this is a big part of why the last STreets album was so hard to engage with (the other parts being all that terrible singing and weak production)

People generally want to either idolise or mock their celebrities. They don't want to empathise with them, unless they get cancer or do something else that brings them down to the level or 'mere mortals'.

I dunno, I just respect people that accept their praise and/or criticism in stride, and don't get visibly pissed off when the public (or whatever awards organization) doesn't share in their self-perceived recognition.

Someone said "I love humanity, it's just the people I can't stand!" Something like that applies to me.

Besides, there are tons of people who accept their recognition gracefully (at least while in public).

http://img237.imageshack.us/img237/8761/thatshot6anthnz4.jpg

On the other hand, there's no such thing as bad publicity, so thanks!

Can we maybe talk of the new Diddy album? Are people hating on this for the same reason?

Worked? You have got to be joking! Even though she's not to inherit that many millions - to many cousins and whatnot to share the dough - she's never worked in her life unless you count that sex tape she did with Shannen Doherty's ex and holding a cellphone to her ear. (It's entirely possible she signed a contract with some medical reseach center to see if obsessive usage of a cellphone can create brain cancer. She's got'em fooled of course as she has no brain.) But that is beside the point. So what if you worked 24 hours per day, the end result is what matters.

I like her in some weird ass way.

lol @ people still arguing over the fucking PARIS HILTON record.

*stares at thread title*

aka THE YEAR THE ALBUM CAME OUT

have you ever seen the state of the participants in celebrity come dancing/cooking/hairdressing/badger baiting, etc? I reckon the average person on the street would be hard-pressed to name even half of the participants in these programmes before they begin. they may become celebrities afterwards, but that's another story.

rather than meaning 'celebrated' or 'lauded', it now just seems to mean 'somebody that some other person, somewhere, has heard of... once'.

there have long been people like paris hilton, it's just that in the past they didn't have sex tapes, they dressed classier, and didn't always think they needed to *do* things like films and records to justify themselves.

Except Dickens had talent.

why are people so hung up on the question of her "talent" anyway? what kind of talent are they referring to? countless musicians with no discernible ability to sing (from bob dylan to britney spears via every indie act ever) or write songs (almost every popular entertainer in the history of pop music) are feted. what is it about paris which needles people so much more?

absence of proof is not proof of absence.

um re talent -- it's not just her talent that's in question, but her producers', writers', etc.

in the case of bob and britney, not that I'm a fan of either, they may not be able to sing like nusrats or buckleys or christinas, but at least they're distinctive, they have character and charisma. you'd recognise their voices in a millisecond.

however, paris's singing voice, while also not exactly technically great, is entirely bland and strangely featureless...much like paris herself. it's the vocal equivalent of special K, and I want coco pops, dammit! with chilli!

coco pops with chilli sounds vile.

paris's voice is very distinctive.

Transcribed, the quotation is:

And here comes Hurst! He's got...

(Wolstenholme's attention is diverted by some of the crowd spilling onto the pitch)

Some people are on the pitch! They think it's all over!

(Geoff Hurst scores to put England two goals ahead)

It is now! It's four!

ITV's commentary for the match as the final concluded with "It's four! It's four!" is not quite as notable, as per the BBC's dominance of the British media at the time.

The fourth goal was allowed to stand, although it was scored as a pitch invasion was in progress. The laws of the game clearly state that in such circumstances, the game has to be stopped because of outside interference of any kind [1].

[edit] In pop culture

The phrase, along with other calls from English football matches, appears in New Order's song "World In Motion". The British band The Dentists called their first album Some People are on the Pitch They Think It's All Over It Is Now in Wolstenholme's honour; the LP begins with a sample of Wolstenholme's original commentary. Track #3 on british folk metal act Skyclad's EP Jig-a-Jig is called "They Think It's All Over". The song contains the phrase "They think it's all over. Well is it now?" in its chorus and includes several references to the '66 World Cup.

The quotation was also used as the title of the BBC's satirical sports quiz show They Think It's All Over, which has appeared on BBC One since 1995. The show has heightened the popularity of the phrase in recent years, though Kenneth Wolstenholme was reportedly unhappy with the use of the phrase for the title of the show.

Stop! may refer to:

* Stop! (album), a 1988 album by Sam Brown
o "Stop!" (Sam Brown song), a song from this album
o "Stop!", this same song was later covered UK R&B singer Jamelia
* "Stop!", a song by Jane’s Addiction from their 1990 album Ritual de lo Habitual
* Stop!, a 2004 Indian film starring Dia Mirza

Let Go is the first album by pop rock singer Avril Lavigne, released on June 4, 2002.[1] It was highly successful, being certified platinum six times in the United States and seven times in Australia. In Canada it received a diamond award for surpassing sales of one million. It has sold over 15 million copies

Contents [hide]
1 Track listing
2 Singles
3 References
4 Further reading

[edit] Track listing
"Losing Grip" (A. Lavigne/C. Magness) – 3:53
"Complicated" (A. Lavigne/The Matrix) – 4:05
"Sk8er Boi" (A. Lavigne/The Matrix) – 3:23
"I'm with You" (A. Lavigne/The Matrix) – 3:44
"Mobile" (A. Lavigne/C. Magness) – 3:31
"Unwanted" (A. Lavigne/C. Magness) – 3:40
"Tomorrow" (A. Lavigne/C. Frasca/S. Breer) – 3:48
"Anything but Ordinary" (A. Lavigne/The Matrix) – 4:12
"Things I'll Never Say" (A. Lavigne/The Matrix) – 3:43
"My World" (A. Lavigne/C. Magness) – 3:27
"Nobody's Fool" (A. Lavigne/P. Zizzo) – 3:57
"Too Much to Ask" (A. Lavigne/C. Magness) – 3:45
"Naked" (A. Lavigne/C. Frasca/S. Breer) – 3:29/4:27 1
Enhanced track: "I Don't Give"
1 A longer version of "Naked" was released in several European countries. The song includes longer instrumental parts.

[edit] Singles
"Complicated" was the first single from the album. Its release had a major impact on Lavigne's career, and significantly increased sales of the album. It peaked at number two on the U.S. Billboard Hot 100, number three on the UK chart, and number one in Australia. "Complicated" remains Lavigne's most successful song to date.

"Sk8er Boi" was the second single released from Let Go, with a punk edge. The song went top 10 in the US, UK and Australia, and number 1 in Canada. Nonetheless, it remains one of Lavigne's biggest songs to date. After the upbeat songs "Complicated" and "Sk8er Boi" had their runs globally, Lavigne decided to release a ballad from her album. "I'm with You" performed a little bit better than "Sk8er Boi", peaking at number four on the Billboard Hot 100, number seven in the UK, and number eighteen in Canada.

The alternative rock-influenced "Losing Grip" was the fourth single. It barely gained any airplay or video play in the U.S., peaking at number sixty-four on the Billboard Hot 100, more than fifty spots lower than its three predecessors. It managed a twenty-two place in the UK, and went to number twenty in Australia, probably its highest chart position anywhere in the world. Otherwise its release was unsuccessful. "Mobile" was the fifth single released from the album, and was released in Australia as a radio-only track. It was later used in the 2004 film Wimbledon with Kirsten Dunst.

All four of Avril's singles earned Grammy nominations though none have garnered her an award.[1]

[edit] References
^ AvrilLavigne.com
Avril Lavigne Bandaids Avril Lavigne Fansite
Avril Lavigne Wiki Entry on Let Go

[edit] Further reading
Lyrics
hey my name is guneet & m a screwd up fan of avril & i wana be with her & to do that m starting singing her singles

Retrieved from "http://en.wikipedia.org/wiki/Let_Go_%28Avril_Lavigne_album%29"

The state of being in a band.

I figure, the practice amp i have now is enough for just me, this would be a purchase for bandom.
by jared Jan 17, 2005 email it

Certainly bona fide porn stars might question the professionalism of her sex tape, pointing to her serious lack of expertise, an expertise which can surely come only from many hours of practice. Nick Carter has already been openly scathing on this point.

But in the field of the kind of pop music Paris makes - fluffy pop music light on vocal pyrotechnics - who are her competitors? Britney obv... Emma Bunton? Mandy Moore once but she now seems so pseudo-deep indie...

Do such singers "earn" their fame? Britney was instantly famous when "Baby One More Time" was released. Emma likewise via the Spice Girls. Mandy was probably pretty big, but has certainly worked hard to swap this in favour of indie cred.

Arguably Paris has worked harder to prepare the way for the emergence of the pop star Paris than most other pop stars of the same style do: the millions leading to the sex-tape leading to the trashy club image leading to the reality TV show culminating in the music. She's really like Britney in reverse.

Also can I emphasise that I'm not criticising her album because it's her. I'm criticising it because it is a poor pop record.

I've heard the forthcoming Emma Bunton album and it's great!

(multiple Stevem xpost)

She can hang out with Jade Goody, Danielle and Jo O'Meara now!

Actually, meh. I already hated her.

I still like "Stars Are Blind," though. Hopeless.

indeed -- even though she's just prussian blue w/ better production values.

Has anything like that happened before to anyone here?

-- StanM (Stan10...), February 2nd, 2007.

or Merzbow at full volume played over a studio orgy and The Greatest Hits Of Gary Glitter

-- to scour or to pop? (papiermachealamphibia...), February 2nd, 2007.

-- to scour or to pop? (papiermachealamphibia...), February 1st, 2007 6:10 PM.

Woah, I was under the impression that time flowed in a straight line.

Oh, and as for the future...

What wa it? Was it something scary?

T.S. Eliot
Leni Riefenstahl
Ezra Pound
Jonathan Swift
Mick Jagger
Paris Hilton
Sizzla.

That is all.

what rapists?
wtf

"In March 2004, a Texas college student accused Francis of raping her in his Miami hotel room. She alleged that he had drugged her and had sex with her because she woke up the next morning in his bed and could not recall the events of the previous evening. Francis reported that he had consensual sex with the woman. The state attorney's office declined to press charges and noted that a blood test did not show any evidence of drugs[15]. Francis has sued his accuser for over $25 million - plus sixteen dollars - for defamation[16]; the $16 representing the breakfast she had and charged to the hotel room after the alleged rape."

Seriously WTF?!

Dropped by Warners for being generally shite and everyone agrees.

Also being sued by UB40 for the "Stars Are Blind" rip-off.

"In the future, I plan on taking more of an active role in the decisions I make."

http://www.zinserlaw.com/eagle.gif

UB40's record label, the Sparta Florida Music Group, are suing V2 Music Publishing, Warner Chappell Music, and Paris Hilton's songwriter/producer for $500,000 in damages in London's High Court.

The band claim that their classic song "Kingston Town" features heavily in Paris Hilton's debut single "Stars Are Blind" and are suing her for breaching copyright laws.

The Sparta Music Group are going to use information from the internet and a musicologist, to prove that "Stars Are Blind" used a large amount of the UB40 1990 single.

UB40's "Kingston Town," written by Kendrick Patrick, reached number four in U.K. charts, while "Stars Are Blind" released last year, reached number five.

As Paris Hilton has been dropped from her record label, Warner Bros., she isn't being sued directly. However, she is still in the wrong side of the law as she starts her 23-week sentence in Century Regional Detention Facility in Los Angeles today (June 4).

lol

So, any guesses on what the prison album will be like?