Paris Hilton's parents helped her remain 'grounded'

Paris Hilton has always been a "down-to-earth girl".
The 44-year-old star has credited her parents for instilling a "strong work ethic" into her, and Paris believes she's been unaffected by her own fame and success.
Paris - who starred on the reality series 'The Simple Life' between 2003 and 2007 - told HELLO! magazine: "I feel as though I've been the same my whole life. My parents instilled a strong work ethic in me from when I was very young and that has always kept me grounded.
"I remember when the very first 'Simple Life' episode aired, my mom took me aside and told me that my life was about to change forever but that I should never stop being the same down-to-earth girl I am. I've never forgotten that."
Paris has always been very ambitious, and she doesn't have any intention of slowing down.
The reality TV star explained: "I love making entertainment. I love making products. I love being creative and making people happy. That is what I've tried to do my whole career.
"I feel lucky that I've been able to do everything and be successful at it at the same time."
Earlier this year, Paris hailed 'Stars Are Blind' as the "most iconic pop song ever made".
The blonde beauty released the hit single back in 2006 and Paris still sings the song in the shower.
She told Us Weekly: "I was actually just singing it in the shower this morning because it's the most iconic pop song ever made. My favourite song."
Paris has enjoyed success in various fields, but she's "always" thinking of new ideas.
Paris - who is married to entrepreneur Carter Reum - shared: "I have ADHD so my brain does not stop moving, and I'm always thinking of ideas.
"I'm such a night owl even if I'm trying to go to bed. So it depends. If I have to wake up at like six in the morning for work the next day, I will force myself to go to sleep at 11 or 12. But some nights I just cannot sleep and I love watching TV [even though] my husband goes to bed early."

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ABC News

32 minutes ago

• ABC News

Raygun's Olympic breaking broke the internet and continues to polarise

Australia achieved its greatest-ever medal haul at the Paris Olympics, but 12 months on, the enduring memory is of a white, middle-class, 30-something B-girl in a cheap green-and-gold tracksuit crashing out of the breaking competition in the first round. Going by the name Raygun, Rachael Gunn seared herself into the collective imagination with a series of moves that failed to impress the judges but launched a torrent of memes, vitriol, and hot takes. Was she punking the Olympics? Was the routine, with its imitations of kangaroos and sprinklers, ironic – a playfully knowing appropriation of Australian iconography? Or was she simply having an off day? Whatever the case, Gunn's routine, the reaction to it, and how she subsequently carried herself, combined to create a confounding cultural moment. "To be honest, I get mental whiplash thinking about this topic," marketing strategist Christina Aventi tells Australian Story. "It's just a confusing mess. And it's hard to make sense of." There are so many strands to the Raygun phenomenon that it's hard to neatly untangle any of them. Even the initial responses to her routine were wildly varied and often contradictory. Back in Australia, some simply saw it as funny – something in the spirit of Roy and HG's The Dream – and didn't care if it was serious or a piss-take. But for others, the Olympics represent a rare opportunity for Australians to punch above their weight on the global stage, and thanks to Raygun, people all around the world were laughing at us. "It's clear that it really touched a nerve around our cultural, athletic identity," Aventi says. "It was our best performing Olympics yet, that was somewhat overshadowed by this routine that looked more eisteddfod than Olympics." There is, of course, a rich tradition of heroic Olympic failures — think Eddie the Eagle, Eric the Eel, the Jamaican bobsled team, even Australia's own Steven Bradbury, who speed-skated to victory, only because all his competitors crashed out. But as Aventi points out, Gunn does not fit neatly into that pantheon of losers. "They have backstories that people respond to really positively because they're hard-luck stories; they're against-all-the-odds stories," she says. "And in this case, we've got a uni professor who doesn't look like a breaker, who's wearing a green-and-gold tracksuit that looks like it's straight out of Lowes. "It just doesn't quite stack up to some of those other stories we love." Criticism of Raygun's routine did not just come from Australians with a bruised sense of national pride. For some in the international breaking community, her performance was insultingly amateurish. "The anger that came from Raygun's performance at the Olympics comes from a lot of different places," explains New York artist and breaking pioneer Michael Holman. "A slice of that pie came from people who knew what breaking was, saying, 'Wow, you know, that's not great breaking.'" But a bigger issue for Holman — and one that Gunn, an academic interested in the cultural politics of breaking, seemed oddly unprepared for — was that of cultural appropriation and insensitivity. "Part of the magic of hip hop culture is the fact that it was created by marginalised teenagers, poor and working-class black and Puerto Rican kids who came from nothing," Holman says. "So her being white and Australian and jumping around like a kangaroo, that's going to be a loaded gun. "Whether she intended it or not, the end result was mockery." She was ridiculed by US tonight show hosts, eviscerated by countless bloggers, and falsely accused of everything from gaming the system to being responsible for breaking not being part of the 2028 Olympics. There were concerns for her mental health in the days after the event. Australia's Olympic chef de mission Anna Meares defended Gunn publicly, calling out "trolls and keyboard warriors" for their misogyny and abuse. Even Prime Minister Anthony Albanese came to her defence, although "Raygun had a crack" was perhaps not the most ringing of prime ministerial endorsements. Initially, Gunn seemed to handle the situation well. Although the criticism clearly stung, she appeared willing to make fun of herself, breaking into an impromptu routine and throwing kangaroo poses as the Australian Olympic team prepared for the Closing Ceremony. "I think there was a sense that it was a cultural moment," says journalist Jordan Baker, who covered the Paris Olympics for The Sydney Morning Herald. "She gave an unusual performance. It was fun. We'll rally behind her." It was a musical, of all things, that changed all that. Comedian Stephanie Broadbridge didn't even watch Gunn's Olympic routine but became fascinated by how she handled herself in the aftermath. Broadbridge had been through her own social media pile-on in 2023 when a video of her trying not to laugh as a male comedian told a joke was viewed more than 150 million times, provoking a torrent of cruel and misogynistic comments. She was traumatised by the experience and found something admirable in Gunn's refusal to apologise for herself. "Raygun never backed down, and I was like, I love this. This is such an interesting thing from a woman," Broadbridge says. "Women don't usually behave like that publicly, and I was so excited that there was one around my age doing that." Broadbridge looked at the heightened emotion around the Raygun phenomenon and decided it had all the elements of a musical. "She's the hero that Australia needed; the female Shane Warne. The one that's flawed but we love her anyway," she says. "I wanted to tell that story. I wanted an Australian larrikin story that was a woman." And that's when things got weird. Days before the opening performance of Raygun: The Musical, Broadbridge received a cease-and-desist letter from Gunn's lawyers demanding that the show not go ahead because it violated her intellectual property and could damage her brand. "The dance moves were copyrighted, the silhouette was trademarked. Basically, every element," Broadbridge explains. Baker says this was "the point where a lot of people lost sympathy for Rachael". "People who had backed her the whole way felt like this was a betrayal of their support for her," she says. "When the heavy-handed legal threats started coming, it seemed mean-spirited; it seemed like she was no longer even remotely trying to lean into the joke." When Gunn addressed the outcry in an Instagram video, it only made things worse. It seems that in Australia, a far greater sin than athletic underachievement is taking yourself too seriously. "When she's trying to halt a musical, when she's trying to trademark something like a kangaroo hop, that's about her," Aventi says. "I think if she stood for something a little bit bigger – maybe resilience, strength, owning your own truth – that would have given a different centre of gravity to the story. "I know she's been through a lot, but a little bit more vulnerability might have helped people warm to her a bit more. "I feel really uncomfortable saying that. It's like Lindy Chamberlain all over again – why should we expect someone to be vulnerable? But vulnerability is something that connects and opens people up." Now the dust has settled on Raygun's cultural moment, what have we learned? That Australians don't like people who take themselves too seriously? That we like our athletes to win? That we're suspicious of academics? That the internet expects women to behave in a certain way and reacts violently when they don't? Or was it just, as Shakespeare once wrote, "a tale told by an idiot, full of sound and fury, signifying nothing?" In the end, Broadbridge got to keep her musical, albeit with the lead's name changed to Spraygun and the title changed to Breaking: The Musical. And Gunn has her trademarked moves and a great story to tell someday. And after their crash course in public relations, she and her team might get the marketing right when she does. Rachael Gunn declined to be interviewed for this story. Watch Australian Story's Break It Down, 8:00pm, on ABCTV and ABC iview.

Perth Now

3 hours ago

• Perth Now

Margaret Cho slams 'not nice' Ellen DeGeneres

Margaret Cho has slammed Ellen DeGeneres for being "not nice" to her. The 56-year-old comic first crossed paths with the former talk show host on the stand-up circuit in the 1980s, so she always found it "really weird" that Ellen would pretend they had never met when she appeared on her eponymous daytime programme. Speaking on The Kelly Mantle Show, Margaret said: "Ellen was really weird and not nice to me for most of my career. "I opened for her in the 1980s, when she was a headliner in comedy clubs. Later, when I would do her talk show in the 2000s, she would act like we just met. "And I'm like, 'B****, what?' That's weird. We go way back. It's so creepy and weird." Margaret will never forget one particular incident when, after she had attended a David Bowie concert in a "Chinese emperor outfit", the 'Heroes' hitmaker - who died in January 2016 -praised the elaborate costume during an apeparance on The Ellen DeGeneres Show the following day, but his remarks were edited out of the final broadcast. She said: "It made me so mad. "The producer, who was a really good friend of mine, had to call and tell me, 'I can't believe she did this but she cut it out of the show. But you need to know that he was going on and on about your outfit! God said your name.' '[It's] so rude! I don't know if it was personal, maybe it was [cut] for time. But still, I'm going to take it personally just because I decided to.' Margaret isn't the only comic to have criticised Ellen because Rosie O'Donnell recently admitted there is still unresolved "stuff" between herself and the Finding Dory star - who she previously accused of pretending she didn't know who she was - but insisted she doesn't bear any "malice" towards her. Rosie told Us Weekly magazine: 'I don't want to fight against another gay woman. It's not like we're tenaciously opposed to each other. We're just very different people. "We have had some stuff in the past that we never resolved. And not in any way as, as partners or lovers or anything like that, just as friends and comedians, but I wish her the best. I seriously do."

Perth Now

2 days ago

• Perth Now

Chrishell Stause: I'm back on the IVF hell train

Chrishell Stause is "back on the IVF hell train". The 43-year-old TV star has revealed via social media that she's beginning another round of in vitro fertilization (IVF) treament - but Chrishell admits that it could be her "last attempt". Chrishell - who announced her marriage to music star G Flip in 2023 - said on Instagram Story: "Back on the IVF hell train. I think this may be my last attempt. There are other alternatives, but this route needed to be tried first bc of timing. So if it's meant to be it will be. If not, pivot [heart emoji] (sic)" Chrishell also thanked her followers for the support they've shown her throughout her IVF journey. She said in a separate post: "Live footage of me reading all the beautiful supportive messages on the last slide. THANK YOU [prayer emoji] (sic)" Chrishell split from Jason Oppenheim, her former Selling Sunset co-star, in 2021 because he didn't want to have children. But the reality TV star previously suggested that she was close to realising her long-held ambition of becoming a parent. She told Us Weekly: "We are feeling really positive about where we're at currently. And I will tell you this - nobody will be happier to report good news than me when it's that time. So, until then, I just really feel like everything happens for a reason." At the time, Chrishell was remaining coy about her family situation. However, the reality star revealed that she feeling optimistic about her hopes. Chrishell - who began starring on the hit Netflix series Selling Sunset back in 2019 - explained: "Let me, you know, not get ahead of myself. But we are actively hoping to have good news one day where I can't, I won't have to be quiet about it. And I'll be the first person to actively tell you the good news. "But until then, I will just say: yeah, we're trying, we're being positive, and hopefully we'll have good news at some point that I can't wait to tell you."