IT'S ALL ABOUT THE MONEY and PORACCIAs

They're supposed to have a relationship........another BOY -TOY.......or another bad done LIE for that "too old for dummies" Madonna?

Guess why this is a Lie?!?!?

PORACCE SPOTTED AT PLASTIC

OrnElla Muti versus Ilary "without TOTI i would be a perfect unknown" BLASI

good things always come to get banned

Fergie is totally a tranny full of plastic

We don't like Him...opsss....her ...at all

hey, did you see lost last night?

SHINING HAPPY PEOPLE

YUMMY

This is a Collaboration!

Must admit that Lady Gaga and Lady Elthon John really sucked.

This is a great collaboration, the less money you have the better you get.

You have loved
You were not alone
You have braved the weather
When the storm cut you to the bone
There was always shelter

My secred friend
I'll take you to the river
My secred friend
We can swim forever

In your skin
To die a little death
This time there's no code word
When everyday frays in hollow ends
Dream sweet love submersive

WEEEEEE DEFENETLY LOVE THIS NEW SHITTT

This electro-pop boy-duo look as though they've been styled by Helmut Newton, directed by Anton Corbijn and produced by Trevor Horn on a Martin Hannett tipù

Once upon a time, it was the law that all indie bands had to be moody and European, arty and pretentious. Then along came Oasis and the Thick Rock Lad took over. Still, thanks to today's new band, we can be reminded of a period when it was OK to namedrop obscure literary texts in interviews and resemble gaunt, starving artistes masquerading as stylish Italian models or actors in pseudo-y French existentialist movies from the 60s. The video to Hurt's debut single, Wonderful life, is so gloriously sombre and monochrome, it's almost obscene, although frankly, up here, we could weep with joy. The angular haircuts, the savage cheekbones, the darkly lit black-and-white setting, the pained stares into the middle distance ... it reeks of eau d'1983 – the year when half-remembered bands with names like the Lotus Eaters, It's Immaterial and Pale Fountains took the shaved-sideboards-and-suits look of post-punk into the mainstream. The song itself is surgingly sad synth-pop, with a mysterious lyric whose optimistic chorus ("Never give up, it's such a wonderful life") contrasts with the dour verses, filled with references to crying and rain. It's even got a Spandau-style sax solo while the video features a gorgeous Edie Sedgwick-alike who appears to be dancing to a completely different song.

Hurts – and that name is already splitting opinions because it's so self-consciously serious, which is precisely why we love it – come from the home of the grave, Manchester (well, when Joy Division and Factory Records dominated the city like shadowy colossi). Hutchcraft and Anderson used to be in a band called Bureau who later formed part of a pop outfit called Daggers and recorded some tracks with Richard (Kylie) Stannard and machine-pop maestro Richard X. Now they've streamlined the operation down to just the two of them and they're making lushly mournful electronic pop music like Illuminated and Unspoken, tracks that recall the epic synth melodramas of Ultravox circa Vienna, and Wonderful Life, which apart from being way better than the 1987 Black single of the same title, posits Hurts as a boy-duo styled by Helmut Newton, directed by Anton Corbijn and produced by Trevor Horn on a Martin Hannett tip.

cfr. P.L.

THIS is the NEW SHIT WE like

Amazing song, amazing beat, low fi video, human league touch.....

Who's her stylist? Stevie Wonder?

Probably brit brit is the first celebrity with a straight stylist, a gay wouldn't have permitted this.

She looks like a cheap venezualan actress of a tele-novela

.....and her smile and gaze......did she have a Lexotan and gyn COCKtail?

Her dress is ripped off too!!!!!!!!!!! AHAHAHAHAHAHA