otel heiress and mysteriously celebrity-like person Paris Hilton ruined the lives of millions this week with the announcement that in two years' time, she will retire from whatever the hell it is she does in order to start a family.

Mothers were crying in the streets and children were dumping out bottles of Hilton's best-selling "Sexpot" children's bubble bath in protest upon hearing the news, and at least twelve people had to be talked down from ordering extra dessert and totally going off their fad diets after the news struck.

Internationally, distraught internet bootleg fans lamented the long nine-month-or-longer wait to see Hilton's childbirth video on the internet. Millions expressed a vague sense of malaise at the thought that whatever Hilton is famous for doing, she won't be doing it any more twenty-four months from now.

According to local teenagers, after taking the "oops, somebody stole my sex video and now I'm really famous, isn't it funny how that works" route to career relevance pioneered by Pamela Anderson and ex-hair band dongmeister Tommy Lee, Hilton raised being famous for nothing to an art form, starring in a show about her being famous for nothing on which she didn't do anything, then specializing in ironic movie appearances that capitalized on her status as not an actress.

"She was in that, that uh, Troy movie," remembered ocelot trainer Doug Finken. "She was that pussy little brother that the Hulk had to bail out. Jesus, man, everybody remembers that."

"No way dude," disagreed Finken's companion, Artie Dolch of White Plains, Arkansas. "She was on that show Real World: Rich Bitches with Lionel Richie. How could you forget that shit? That shit was on TV for like, ten years yo. I never watched it though."

Others remembered Hilton's legendary career differently.

"I know she's got a casino in Vegas, that's for sure," explained a confident Lucia Weisman of the Bronx. "Is she European or something?"

"Oh man, she was hot in that one Winger video," added Staten Island's Frank White. "That one where she was eating that big fucking hamburger, you remember that? That bar-be-cue sauce was hot as shit."

Confident in our grasp of what slobs off the street think, we decided to head straight to the source: Paris Hilton's publicist, Liz Dick.

"She's a brand name," explained Dick.

Ookay. So, a brand of what?

"What's hot this week? Cell phones? Paris Hilton is a brand of cell phones. This week. Check back with us again next week, though, since I hear denim panties are on the rise. On second thought, don't call us again."

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It turned out in the end that the Bauhaus was a terrible place to raise children. First of all, it's more of a loose conglomeration of artistic ideals than it is a freestanding masonry structure or plywood shelter. That's the last time I trust a pink dolphin reading the New York Times. Huh, like the Times knows shit about shit. A mistake I chalk up to chalk and hallucinogenic sweater yarn.

Second of all, which of course is first of the subdivision following the above comment, uhm.... do you smell that? Nevermind. Second of all, them Bauhausers are just wierd goddammned people. I mean, you let loose a monkey in a dress wielding a monkeywrench in to the average person's bathtub and they don't fucking crawl under the sink and hide for three days, humming Wagner under their breath. Society just can't function on that level. You need straight-laced people who know the difference between tinfoil and galvanized tinfoil. Chumps.

So anyway, the third reason is that I never had any kids. I mean, shit, you'd think it wouldn't make much difference where you raise some imaginary kids you don't even have with some hot little dish you saw down at the DQ, but trust me my friends, it matters. See the tinfoil comment above for details. So yeah, if I ever had any kids with a little Latino in hotpants, there's no fucking way I'd raise them at the Bauhaus. That would be right after the frozen foods isle at the Safeway on my list. But that's another story. And you can quote me on that.º more columns

It's a question that I get asked on a nearly daily basis, and understandably: just what in the hell was wrong with American music in the 1950's? History has it that the 1960's were the decade of recreational and experimental drug use, citing such examples of delusionary flakery as Jefferson Airplane's White Rabbit, The Beatles' I Am the Walrus and Gregg Allman's hair. And while I wouldn't argue against these as prime examples of pharmaceutical excess, they pale mightily in comparison to the near-psychotic mutant trend of late-50's doo-wop music. John Lennon may have envisioned Mean Mr. Mustard dripping from a dead dog's eye, but even this game of Clue gone horribly wrong looks downright pedestrian next to a jabbering psychopath questioning who exactly put the ram in the rama-lama-ding-dong.

Like a drugged-up visitor from deep space, doo-wop appeared seemingly out of nowhere, holing up in the chests of America's great pop stars in the late 50's and early 60's. From this parasitic enclave it communicated with the world through a bewitching combination of di-dits, bompa-bomps, ding-dangs, shooby-doos and doh-dohs. Why did it come, and what was it hoping to communicate to us? Nobody knows, though our best guess is that it had to do with seeking therapy for a stuttering problem.

The earliest known recording of the mutant doo-wop style was the Orioles' 1948 tune It's Too Soon To Know. During the recording of what was, by all reports, a fairly normal song, lead singer Sonny Til suffered the massive variety of nervous breakdown and began singing rhyming gibberish vaguely related to his ex-wife winning custody of their home and the recent transmission failure of his Oldsmobile. Fearing for their own lives, the band continued to play and discovered to their dismay that when they had finished the take they were at the end of their studio time. As was a common practice at the time, the record company had only secured them ten minutes of recording time to record and mix the song, and they'd had to sell bass player Johnny Reed's virginity in the process as they were obligated to pay for the studio time themselves.

Low on options and wary of bat-wielding record company thugs, the band played it cool, acting as if the recording session had gone fine. The record was released as-is by record company execs who were so outside of the loop that they once released a recorded armpit fart as a single, snookered by an engineer with a sense of humor. Back in that day all of the record companies were so desperate for a hit they would release anything, sometimes even recordings of other records held up to a microphone, as the execs in charge all listened to marching bands and had no clue what the record-buying teens of the day were into. They seldom listened to the records they put out, which led to the infamous "My Ding-a-Ling" scandal of 1972.

It's Too Soon To Know wasn't a huge hit, but it sold surprisingly well considering the totally bugshit nature of the vocals. It also proved to be heavily influential for a young aspiring songwriter named Richard Lewis, who crashed his car into a grocery store the first time he heard it on the radio. Many say Lewis never recovered psychologically from the incident, but he did go on to form The Silhouettes, and pen the 1957 mega-hit Get a Job. That song introduced the stuttering, nonsensical vocal stylings that came to be known as doo-wop to the world.

Some purists and historians have argued that Get a Job was only a hit because Lewis' uncle owned the Junior Records label and made sure the song was played on Dick Clark's American Bandstand, which guaranteed it would be a hit among the easily-led youth of the day. Others might disagree, but the success of the 1959 hit Dog Barking in the Back Alley seems to lead credence to the theory, since the rare sound-effects single likely would not have reached #1 if it had not been featured on American Bandstand earlier that year.

Whatever the reason, Get a Job was a smash single, and Americans were quick to concede that if it's what everyone else was listening to, then they were into lyrics like "Yip yip yip yip yip yip yip yip ma ma ma ma ma ma ma ma" and colossally embarrassing bass singers, too.

Other bands smelled the money train and were quick to follow, solidifying doo-wop as a legitimate musical movement and a bad name for a hair salon. Not long after, The Marcels released the doo-wop manifesto Blue Moon in 1961, daring America to make sense of their statement of purpose: "Bom bom ba-bom ba-bom ba-bom bom ba-dang a lang lang a ding a dang ding Blue Moon…"

But by late 1961 doo-wop was beginning to lose it's luster, beginning with Barry Mann's hit Who Put the Bomp?, at which point fans began to suspect that the magic was gone and that doo-wop artists were just bullshitting them now. What began as a street movement had been exploited to the limits of credibility, and all of the bomps and sha-na-na's had begun to ring hollow.

By 1964 doo-wop was a mere ghost on the American musical landscape, as record-buyers turned away from the bubblegum of their youth and embraced the British Invasion of more vital artists, replacing their embarrassing Shep and The Limelites platters with the more mature pleasures of Manfred Mann's Do Wah Diddy Diddy. The rest, as they say, is history.

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