"I travel around the world constantly promoting my projects and endorsing products. Yes, I do get paid to go to parties; in fact, I'm the person who started the whole trend of paid appearances. But when you see me at a party, I'm always working or promoting something"
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Paris Hilton doesn’t apologize here; she itemizes. The line reads like a defense, but it’s really a reframing of celebrity as labor, delivered in the plainspoken language of someone who helped turn attention into an invoice. In the early-to-mid 2000s, “being famous for being famous” was treated as a punchline, a kind of cultural fraud. Hilton flips that suspicion into a business model: if the job is visibility, then a party is not leisure, it’s a worksite.
The rhetorical move is blunt and surprisingly modern. She concedes the allegedly embarrassing part (“Yes, I do get paid to go to parties”) before upgrading it to origin story (“I’m the person who started the whole trend”). That’s not just bragging; it’s a claim to authorship in an economy that often pretends it has no authors. She positions herself as an entrepreneur of social life, someone who understands that the room is a medium and her presence is inventory.
The subtext is also a preemptive strike against moralistic tabloid narratives. You can call her shallow, she suggests, but you can’t call her idle. “Always working” becomes a shield against the accusation that her fame is unearned, while quietly admitting the truth about the system: the promotional apparatus doesn’t pause just because the setting has cocktails. It’s an early articulation of influencer logic before “influencer” was a respectable noun, and it lands because it’s honest about the transaction everyone else was pretending was spontaneous.
The rhetorical move is blunt and surprisingly modern. She concedes the allegedly embarrassing part (“Yes, I do get paid to go to parties”) before upgrading it to origin story (“I’m the person who started the whole trend”). That’s not just bragging; it’s a claim to authorship in an economy that often pretends it has no authors. She positions herself as an entrepreneur of social life, someone who understands that the room is a medium and her presence is inventory.
The subtext is also a preemptive strike against moralistic tabloid narratives. You can call her shallow, she suggests, but you can’t call her idle. “Always working” becomes a shield against the accusation that her fame is unearned, while quietly admitting the truth about the system: the promotional apparatus doesn’t pause just because the setting has cocktails. It’s an early articulation of influencer logic before “influencer” was a respectable noun, and it lands because it’s honest about the transaction everyone else was pretending was spontaneous.
Quote Details
| Topic | Marketing |
|---|---|
| Source | Help us find the source |
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