|THE PILL BOX|
A CATALOG OF CULTURE & BARBARITY
pro-paris rave from poptimism's leading dissident (boy, gay, 20-ish), followed by sceptical discussion from (mostly non-freaky trigger) elements of the popt massive
i quite like her lack of affect as an "expressive" device: nostalgia on my part for an old-skool postpunk trick, really (if she had a nice middleclass brit accent this would be more glaring) (cf flying lizards for example)
the judgement of paris: further wars w/i the popt clan!! bah i never got this response when i endorsed the cråzy frøg >:(
funny, i was comparing her to edie sedgewick the other day- the sad/blank eyes, the sense of the likelihood of imminent doom...
It would be iteresting to somehow cross ref this strand with the Brit 'class' one going on in another comment box. Regardless of 'what you think of her' it is true that Paris brings out a lot of latent media misognyny for her supposed 'empty headedness' - in a way that, say, the empty headedness of Sid Vicious or Liam Gallagher doesn't/didnt. The latter represents, I'm sure, some kind of generational turning point I just couldnt go along with; I thought that in Ryder there was still a pearl of itchy disatisfaction/intel, but the idea that Liam's sub-Joe Lampton reborn act was refreshing and 'natural' made me feel ill. Does this mean my "working class" credentials are therefore suspect? (Paradox: me, as ex working class aesthete, I prefer a strand of 'camp' pop qua Grace Jones to Paris that a middle class properly gay aesthete like Savage would probably abhor and prefer the supposedly more "real" rock n roll rebellion of Oasis. Pick the bitty glittery contradictions out of that one... camp isnt MEANT to LOOK 'real', but it may tell us a lot ABOUT Real life contradictions. I found the spectacle of middle class journos leading around the LIAM act = like that little 'monkey man' Graham Norton leads around in Father Ted, or, perhaps, KASPAR HAUSER.
If women icons/performers appear to signify 'empty headedness' it = fluffy, worthless, death of western civilisation, undermining of the gruff, muscly 'Real' of rock. If boys seem to singify empty headedness, then a certain sort of male middle class journo (and not *necessarily* gay, or, shall we say, not passing, t hee) seems to, er, lap it up. There is obviously a sex vibe here which relates back (i think, distantly) to some other strand that was goin on here briefly, in which 'theatrical' middle class gay ideology of 50s/60s seemed to double the individuals own taste for dockside or Holloway rd toilet 'rough trade'. (Damn: I wish I'd found a way to work the word 'convenience' into that last bit.)
One of the things that's changed massively in both light entertaiment and pop is the relationship with the tabloids... (and i would hazard that P Hilton's 'relationship' with media is far, far more self conscious and self determined than anything Liam G or Shaun R ever had... but i'm not sure I know what that 'means'.
(I (re) read both Joe Orton Dairies AND the EDIE book recently... and there was at least as much 'class' in the latter as the forer. People forget tht Edie's 'doom' was hardwired ito the strange DNA of her weird weird weird hot house upper class family.)
(There has always been an uneasy 'looking across the dancefloor' relationship between 'punk' and 'fashion' which - oh, that is TOO huge a subject for this little box. But if you like, simplistically, the McLaren/Pistols/Clash wing led to Indie dullness and riff conservatism of Oasis et al, whereas the Westwood wing led to The Face and ... sorry; my head is starting to hurt. I need more coffee.
The review of her LP in The Independent was soooo bloody sniffy...
ie ("Tracks to download: You're kidding, right? ") ...that I immediately wanted to check it out.
7 quid in woolworths: I was sorely tempted.
It's like Paris is the 'antichrist' to Charlotte Church, who represents everything Paris ain't ('self-made', religious background, physically robust, fame based on talent, articulate, unlikly to starve herself to death to please celeb mags).Post a Comment
Tellingly, Church seems to be 'sold' to an older audience, one that probably finds the very idea of Hilton replulsive...
This thought occured to me with that trailer that's been on C4 constantly. Funny how the schtick of the trailer attempts to emphasise her 'realness' vs. media image.
Of course it's unlikely that either of them will make the pages of Uncut or Mojo...