Tuesday, July 21, 2026

“The Hills” Star Heidi Montag’s Bad Pop Records from 15 Years Ago Resurrected Thanks to the Wildfires

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I have never understood who Heidi Montag and Spencer Pratt are. Years ago I thought they’d disappear, and eventually they did.

Now, sadly, their house in Pacific Palisades has burned down. To generate income, I guess they’ve been encouraging their fans (they hae fans!) to download Montag’s 2009-10 pop records. (Who knew?)

And so, the fans have spoken They’ve sent Montag’s 2010 album, the aptly named “Superficial,” to the top of the iTunes chart. The title single and another track have zoomed up the singles chart. A release marked January 3, 2025 is also selling.

It’s not music, it’s garbage. It’s forgettable disco that sounds like it was frapped in a Cuisinart. This couple is obviously good at marketing. They lost their house — it’s very sad — but they can make money off of it. It’s better than just doing a GoFundMe page, but please don’t listen. There’s so much good music in the world.

PS Who are they? They’re from the 2000s “reality” show called “The Hills.” I never watched it. It was scripted, like most “reality” TV. It was made for people who’d just received lobotomies.

How much money can she make from Spotify? Probably not enough to rebuild a shed.

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Roger Friedman
Roger Friedman
Roger Friedman is the founder and editor-in-chief of Showbiz411. He wrote the FOX411 column on FoxNews.com from 1999 to 2009, where he covered Michael Jackson, and previously wrote the "Intelligencer" column at New York magazine in the mid-1990s, where he covered the O.J. Simpson trial. He also edited Fame magazine. His bylines have appeared in The New York Times, The Washington Post, the New York Daily News, the New York Post, Vogue, Details, and the Miami Herald. He is a voting member of the Critics Choice Awards (Film and Television branches), and his movie reviews are tracked by Rotten Tomatoes. With D.A. Pennebaker and Chris Hegedus, he co-produced the 2002 documentary "Only the Strong Survive," which screened at Directors' Fortnight at the Cannes Film Festival.

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