Lorde Backlash Pamela Anderson, Tommy Lee Sex Tape Comments
In 1996, Pamela Anderson and her then-husband Tommy Lee's world was rocked when they discovered that their sex tape had been stolen alongside a safe from inside their home.
Although both stars did everything they could to get the tape back, it ended up becoming a global phenomenon when it was widely distributed without their consent.
Pamela, now 57, has always been incredibly open about how violated this whole incident has made her feel over the years, and she was first asked about the stolen tape during an interview with CNN in May 1996.
"It's devastating. But I really do believe that if anyone were to print those pictures, because it is stolen property, I really think they are going to pay for that, and I really strongly believe and have faith that's going to happen,' Pamela said at the time.However, by 1997, an online group had obtained the intimate footage and was streaming it online, as well as selling a physical VHS of the film.
In 2015, Pamela opened up about the legal battle that followed during an appearance on Watch What Happens Live, where she said of the tape: 'I've never seen it. I made not one dollar. It was stolen property. We made a deal to stop all the shenanigans.'
"I was seven months pregnant with Dylan and thinking it was affecting the pregnancy with the stress, and said: 'I'm not going to court anymore. I'm not being deposed anymore by these horny, weird lawyer men. I don't want to talk about my vagina anymore or my public sex — anything,'' Pamela recalled.
"If anyone watches it, if anyone buys it, if anyone sells it, it's just pathetic. You can't put a monetary number on the amount of pain and suffering it caused,' the star added in her 2023 documentary, Pamela, A Love Story.
Reflecting on how the tape has impacted her life over the last almost-three decades, Pamela shared: 'I was the punchline of jokes on a lot of talk shows. It was super humiliating.'"If [the public] fall in love with you one way that's it…' she began. 'After that, it just solidified the cartoon image of me, you become a character. I think that was the deterioration of whatever image I had."
In short, Pamela has made her feelings about her leaked sex tape incredibly clear — and that is why people were left stunned when Lorde made some pretty bizarre comments about watching the film after having a psychedelic therapy session in a new interview with Rolling Stone.
'She's not sure why, but she watched the whole thing,' the profile reads, with Lorde being quoted as saying: 'I found it to be so beautiful. And maybe it's fucked up that I watched it, but I saw two people that were so in love with each other, and there was this purity."
'They were jumping off this big boat.… They were like children. They were so free,' she went on. 'And I just was like: 'Whoa. Being this free comes with danger.''
Suffice to say, Lorde's comments have not gone down well, and the star was harshly criticized when her quotes circulated on X on Thursday. Referring to the singer by her real name, Ella, one viral tweet reads: 'A stolen tape that's basically revenge porn and you're using it as part of some bullshit 'psychedelic therapy sessions' lmfao you're not an alty angsty teenager anymore, Ella, you're just an adult loser.'
'A woman…..watching revenge porn of another woman….calling it beautiful. What the fuck is wrong with these freaks are all celebrities just fucking weird & gross??' somebody else wrote.'romanticizing what's essentially revenge porn this openly is incredibly anti-feminist and disgusting wtf…' another added.While one more pointed out: 'This had no reason to be shared and added nothing to the interview but rehashing of the very public trauma that Pamela went through just for album promo…………………' And one more concluded: 'that video was never meant for consumption and watching it is already disrespectful but analyzing and romanticizing it knowing what pamela said about it is just absolutely despicable."
What do you make of Lorde's comments? Let me know down below!
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Producer James Ford (Arctic Monkeys, Fontaines DC) didn't try to cover up the band's idiosyncrasies. 'When we started off, that was the only way we knew how to do it anyhow,' Cocker says. 'And there was no such thing as Pro Tools or anything, so you couldn't massage things and make them perfectly in time. But what's the point of human music-making if it hasn't got some of that personality?' After Pulp, Cocker stayed in the public eye, but his mates went back to Sheffield and embraced ordinary life. The enjoyable 2014 doc Pulp: A Film About Life, Death, and Supermarkets has a scene where Nick Banks boasts about sponsoring his teen daughter's football team, while she rolls her eyes about 'me dad's crap band.' 'Nick's in this Sheffield band called the Everly Pregnant Brothers, who play in town,' Cocker says proudly. 'They do folk-tinged covers of famous songs, but with the words changed so it's about South Yorkshire. 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But it was also about unfinished emotional business. 'It was my attempt to tidy up,' Cocker admits. 'I thought that Pulp kind of fizzled out in a not-so-good way. Also [guitarist] Russell [Senior] had left the group and I kind of felt bad about that.' Senior was a major creative force in the band until 1997, when he quit at the peak of their fame; he's now a local antiques dealer. 'We invited him back,' Cocker says, recalling the 2011 tour. 'He did play with us for a while, then he was coming to America, but he won't go on a plane anymore. He tried to get on a boat, but that wasn't available either. He just gave it up.' Anyone lucky enough to have seen that tour can tell you it was a triumphant success, musically, commercially, and emotionally. 'I thought that was going to be the full stop,' Cocker says. 'To finish it in a nice way and make it a pleasurable memory, rather than a slightly painful memory. Which it DID do.' For the core quartet, there's a shared history that goes back decades. 'That's the good thing about it,' he says. 'Because we don't really hang out as friends. We might see each other, but before we started playing again, it might have been once or twice a year. So it was a pleasure to realize that we could still play together and make something together. I think everybody's been quite happy about that.' Certainly, the warmth in their onstage camaraderie is palpable even from the audience. 'I'm glad that it comes across like that — maybe we're just naive,' he says. 'I saw Fleetwood Mac with Lindsey Buckingham, before he got chipped out again. I could see why he was slightly irritating, overzealously talking to the audience, and you could see the rest of them. [Loud sigh.] We're lucky that none of us has pissed the others off. Too bad. We're still talking to each other.' 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And so I learned about stuff through them, a very female perspective.' That became part of his adolescent sexual confusion. 'It was difficult enough for me anyway, to start dating, because I was quite shy,' he says. 'But those mixed messages certainly didn't make it any easier.' Yet that's always been a crucial part of what made Cocker an icon and an unlikely sex symbol — unlike a lot of his fellow Nineties Britpop stars, he always had a fascination with female characters, in classics like 'Inside Susan' or 'Underwear.' 'I always made friends with women easier than I did with men because I had more experiences of hanging out with women, and that's okay,' he says. 'I've written songs from a woman's perspective, presumptuously, because I don't know exactly how it feels to be a woman. But a lot of those songs are really me commenting on my own actions from a female perspective.' One of his newfound inspirations on More is a rock poet he'd never given much attention until lately. 'I started listening to Bob Dylan, for the first time,' he says. 'I started on the train. It was practicalities, because the Victoria line is really noisy. You can only bear it if you ride with your fingers in your ears. So I thought instead of doing that, I could listen to Bob, with Blood on the Tracks. I got hooked on 'Tangled Up in Blue,' and then what's the next one — 'Simple Twist of Fate.' He tells you a story in such a magical way.' For a fan as eccentric as Cocker, it figures that he'd schedule his teenage-Dylan-freak phase for his sixties. 'I started listening because I saw him in London, on the Rough and Rowdy Ways tour. The stage was very dark, but I liked that — you felt like you were watching a seance, like they were trying to make contact with some spirits. He was playing the piano, just leaning on it. He did that song 'Key West' and that was just the most amazing song — it seemed so on the edge of disappearing. I looked up Key West — it's almost like an island, isn't it? But I still don't know what that song is about. 'Murder Most Foul' — when I first heard it, I really couldn't believe it.' For such a staunch advocate of pop trash, Cocker is surprisingly tuned out from modern radio. The airwaves are full of young stars spinning narratives with a Jarvis-style eye for junk detail, from Chappell to Billie to Olivia. But asked about any of them, he smiles politely and says 'I'll have to check that out.' (Just to pick the most glaring example, 'Pink Pony Club' is a Pulp banger if there ever was one.) 'I've got no knowledge of modern pop,' he admits. 'I used to listen to the chart show in the U.K. — it was always on Sunday — but I haven't done that probably this millennium. So my picture of pop is a very antiquated one. Taylor Swift, I heard her because Mark's daughter really likes her — he's taken her to see her sometimes. I don't really know the songs.' He's bemused to learn that young fans are discovering Pulp on TikTok. 'Really? I've never even been on TikTok. I tried Twitter first and I absolutely couldn't stand that — I was gone within half an hour. But Instagram I liked — it's like sending a postcard.' But the timing for More is perfect, especially in America, where Pulp are far more famous now than they were in their lifetime. Cocker is openly baffled by the band's cross-generational appeal. 'I did put a lot of my life into writing songs,' he says. 'And sometimes my real life suffered because of that, because I would say things in songs that I wouldn't say to people I was in a relationship with. That got me in trouble. Not a nice thing to do. But the thing is, you're not really in control of it. Sometimes you sit down and try to write a song, but nothing happens. It's horribly frustrating. That's why I have tried to retire a few times, but I've always come back to it. It's like a magic trick, isn't it? You're in touch with something that you don't quite understand, and the more you try to understand it, or control it, the more it slips away. If you grab at it, it'll disappear.' 'Grownups' is a song he spent years trying to grab, but it ended up as the centerpiece of More — in so many ways, he and the song grew up together. 'I was shivering on crutches,' he sings. 'More dead than alive/It was Christmas 1985.' It's an autobiographical tale of his shambolic youth, from when he was 22. 'That was when I got out of hospital,' he recalls. 'I'd fallen from a window, and they let me out the day before Christmas. I suppose that was a step in me growing up. I'd left school and was trying to do the band and it wasn't really working. But I ended up falling out the window and that gave me quite a lot of time to lie there and think about stuff. I decided that I was going to have to get out of Sheffield and go try something else.' That winter he also entered what turned out to be a long-term romance. 'The night I describe in the song, when I went around to her house for the first time — that was a very pivotal moment for me,' he says. 'It was strange actually because the next morning there was news about the [Challenger] space shuttle that exploded. At that point in my life, I used to take any events in the outside world as portents. I was a child who thought, 'I'm going to space when I grow up!' But the fact that the spaceship blew up made me think, 'Oh, that's it. Now you're in a relationship and you can't go to space anymore.' Very immature thought patterns, anyway.' But that immature 22-year-old ended up crafting this song for years, turning 'Grownups' into a grand statement of purpose. 'The last part I finished was the spoken section about that dream of going to another planet, looking back and seeing where you come from, but you can't get back there. That was a dream I had ten years ago. It seemed to fit in with the mood. It's the oldest song, but it's also now the longest song on the record—it's got the most words in it. So at least when I finally got around to doing it, I put some work in on it.' For a career full of lucky accidents and bizarre disasters, More is a summary of how Cocker and his Pulp bandmates have traveled through the years. 'It felt quite easy,' he says, with a slightly guilt-ridden grin. 'Which might seem like I'm lazy or whatever, but that's something I've learned — when things are working properly, that's what it's like. You have to be ready to accept the message when it's there. And if you're thinking too much, then it kind of bounces off you. But if you're open to it, then it comes through, and then you alter it a bit as it passes through you. But it's not like you made it. Some of the songs are old, some are new, but it was all just ready to happen. It could only have happened at this moment, after going through all the other stuff that hasn't been that pleasurable.' It's in his nature to be wary of good fortune, but he's finally learning to accept it. 'Music is supposed to be simple,' he says. 'I mean, LIFE is supposed to be simple, but it isn't always. So it's great when it is.' Best of Rolling Stone The 50 Greatest Eminem Songs All 274 of Taylor Swift's Songs, Ranked The 500 Greatest Albums of All Time
