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Katy Perry’s Hair History: Her Best Looks … So Far!

Posted on April 13, 2012 by Benny Hollywood| Leave a comment

After Perry tweeted that she’s changed up her locks (again), MTV News remembers her more daring ‘dos. By Jocelyn Vena Katy Perry Photo: Steve Granitz/ Getty Images Breaking news: Katy Perry has changed her hair again! The singer took to Twitter to announce that she’s found a new hair color, but her fans will have to wait to find out what it is. “You know what’s great about having poison oak?! NOTHING #itchgasm Somehow in the middle of all this… I found time to change my hair color,” she wrote. “Finally… #takeaguess #foreverawalkingpantonepalette.” Despite not sharing too much about her hair color, she did offer up this tidbit of a tease about her current look: “Pretty stoked about my 90’s The Craft meets Garbage meets Tank Girl meets early No Doubt meets Ty from Clueless lewk 4 dis wknd #ohmygoth.” Perry had famously been sporting berry-blue hair since January, changing the hue and length but maintaining indigo as the base, strutting her blue self all over carpets, hitting up events and wearing it in an ad campaign for Adidas . “Of course, being Katy, she is a lot more edgy and she’s cooler and she likes to take a lot of risks. And I love that she’s like, ‘I’m feeling a little blue, let’s go blue’ — not in her energy, just in her hair color,” Perry’s hair colorist , Rita Hazan, explained to MTV News. “I felt like it’s the perfect color for her, because her eyes are blue and she has the perfect skin tone to be a really vibrant, really cool, intense blue.” Now, it seems that Perry has once again changed up her look — and Hazan said that’s just Katy being Katy. “She’s kind of this candy-coated sort of person,” Hazan said. “It’s nice to see her experiment with different things.” Fans might have to wait to see what Perry’s latest look is, but to tide you over, MTV News has rounded up some of Perry’s wildest, most memorable hairstyles — so far. 2010 Kids’ Choice Awards Perry kept it traditionally Katy, sporting what happens to be her signature look: black hair with cropped, Bettie Page-style bangs. To make the look even more Perry-fied, she graced the carpet in a multicolored, sparkly, showgirl-style bodysuit and sparkly heels. 2011 Grammys In a particularly glam moment, Perry softened her sometimes-severe hair and went for soft waves. Sure, it was still jet-black, but the middle part and the curls fit the occasion, giving her a truly old school Hollywood look, certainly matching her angelic ensemble. “Smurfs” Premiere Later in 2011, Perry began to get more and more experimental with her hair color. Transitioning out of the black, Katy hit up the “Smurfs” red carpet in July surprisingly not in blue hair, but in an ombre look that faded from blonde to strawberry blonde. She paid homage to Smurfette by donning a sequined dress with the character’s image on it. 2011 VMAs Pulling a completely funky move on her way through the rainbow, shortly after the “Smurfs” premiere, she hit up the VMAs in late August with piercing pink hair. It was a look she adopted right before going blonde and then settling on the blue. Dressed up like a couture geisha, Perry’s lavender-hued pink was flirty and fun. 2012 Kids’ Choice Awards Throwing her blue hair for a loop, Perry hit up the Kids’ Choice Awards last month with a multihued ponytail. With touches of purple and blue, the neon hair recalled lots of the colors she had been sporting over the last few months, serving as the perfect farewell to this phase of her hair evolution. Plus, it just happened to go perfectly with her bright-green outfit. Do you have a favorite Katy Perry hair look? Tell us in the comments! Related Artists Katy Perry

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REVIEW: Pablo Larraín’s Post Mortem Feels Around for the Feeble Pulse of Love, or of a Country

Posted on April 11, 2012 by Benny Hollywood| Leave a comment

In the States, at least, it may seem odd to make a bitterly funny movie about glum working people caught in the crossfire of political upheaval and state-sanctioned murder. But Pablo Larraín pulls it off with Post Mortem , a modest, mordant little drama set in 1973 Santiago, Chile, just as a military coup is spelling the end for democratically elected President Salvador Allende and setting the stage for the ascent of dictator Augusto Pinochet. If you were a Chilean citizen in the middle of all that, you probably wouldn’t be smiling much, and sure enough, Larrain’s protagonist here, a dour coroner’s assistant named Mario, sets the tone for the movie from the beginning: He’s a gaunt, living ghost, with lank, longish blonde-gray hair – he’d almost be hip, if only he had the energy. As the movie opens, whatever problems Mario (Alfredo Castro) has seem to be of the personal sort. We see that he’s a regular at a local cabaret – the faded, crackled letters on its façade read “Bim Bam Bum” – and learn that he’s infatuated with one of the dancers, Nancy (Antonia Zegers), an enervated-looking girl with hollowed-out eyes that nonetheless know how to calculate. Nancy is Mario’s neighbor, although they meet for the first time when Mario steals backstage one day, just as Nancy is being fired by her boss for being too skinny. He introduces himself tentatively. “Hello, neighbor,” she responds, eyeing him as a cat surveys either a mouse or another cat – it’s hard to say which. Mario and Nancy don’t exactly court – it appears she has a hunky Communist activist boyfriend, which presents something of an obstacle. But Mario’s tenderness toward her is clear: He prepares plates of food for her, hoping to tempt her to eat. When her home is nearly destroyed in a mysterious raid – she’s not home at the time — he enters the wreckage and rescues her injured dog. Nancy begs for his help in finding her father and younger brother, who have been missing since the raid. But the destruction of Nancy’s home is just one element of the violence and paranoia that’s erupting all over the city: Soldiers begin dumping anonymous bodies at the morgue where Mario works, demanding that autopsy protocol be waived; the corpses pile up daily in alarming numbers. Ultimately, those soldiers make him part of their ranks, bringing him in to assist in one extremely significant autopsy — the man lying on the table isn’t just a human being, but a political turning point. Post Mortem starts out at a crawl, but it gathers emotional momentum as it pushes forward. Larraín – director of the 2008 Tony Manero , in which Castro also starred – takes his time letting the story unfold, and most of the movie’s action is implied, framed by sparse lines of dialogue. Still, Larrain manages to do a lot with a little: The picture has a pale, worn-out look, as if the blood is being drained from it even as we watch – like the characters who populate it, it looks ready for some kind of rejuvenation that may never come. That’s particularly true of Castro’s Mario: Castro is a lanky figure who looks preternaturally careworn, in the David Strathairn/Peter Coyote mold. His Mario carries so much worry that it appears to have worn grooves into his bones. What’s happening to his country? Why does this woman, whom he loves so much, torture him with her indifference? And might one be a metaphor for the other? Post Mortem asks all those questions, in a way that’s more emotional than clinical. Rather than rushing to determine the cause of death – of love, or of a country — it stubbornly keeps listening for a heartbeat, even though there may not be one. Follow Stephanie Zacharek on Twitter . Follow Movieline on Twitter .

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Far East Movement Promise ‘Booty Popping’ On LMFAO Tour

Posted on April 9, 2012 by Benny Hollywood| Leave a comment

Sorry for Party Rocking Tour kicks off May 22 and also features Quest Crew, Sidney Samson, Eva Simons and Natalia Kills. By Jocelyn Vena Far East Movement Photo: MTV News Far East Movement clearly aren’t preparing any apologies for their upcoming Sorry for Party Rocking Tour with LMFAO. When MTV News caught up with the fellas of FEM recently, they shared what the motto is for the 26-date trek, which will also feature the Quest Crew, Sidney Samson, Eva Simons and Natalia Kills. “It’s gonna be a whole lot of bass and a whole lot of showers,” J-Splif explained. “Bring your raincoats.” “There’s going to be a little bit of wiggling going on,” Kev Nish added. “There’s gonna be shuffling, booty popping, a lot of movement. That’s what both crews like to do. Big shout-out to [LMFAO’s] RedFoo and the Party Rock Crew and [our label] Cherry Tree, really, for putting this all together.” The tour will kick off in Columbus, Ohio, on May 22 before partying all around the country, including stops in Seattle, Los Angeles, Atlanta and Miami. The tour will wrap up on July 4 in Toronto. And, given the two groups’ long, rambunctious history with each other, it should come as no surprise that their focus will be on having fun. “We’ve been friends with LMFAO since, like, the diaper days,” Nish continued. “We was all partying in diapers, chilling in the crib. But, yeah, we’re grateful to them, all the love they’ve shown us. RedFoo actually co-directed/executive produced the video for ‘Live My Life,’ and we took the energy of the tour that we’ve already been on and put that on camera.” May 22 also happens to be the day Far East Movement drop their new album, Dirty Bass, which features Justin Bieber on the lead single, “Live My Life,” and Tokio Hotel’s Bill Kaulitz on “If I Die Tomorrow.” Are you planning on seeing Far East Movement and LMFAO live? Leave your comment below! Related Artists Far East Movement Lmfao

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Martenson Interviews Khosla Ventures: The US Is Massively Underfunding The Innovations Critical To Its Energy Future

Posted on April 7, 2012 by Benny Hollywood| Leave a comment

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Submitted by ChrisMartenson.com Khosla Ventures: The US is Massively Underfunding the Innovations Critical to Its Energy Future “The age of cheap oil is over,” agrees Andrew Chung, partner at Khosla Ventures, arguably the most knowledgeable venture capital firm spearheading next-generation energy projects. While perhaps more optimistic than Chris on the odds that the world can transition off fossil… Broadcasting platform : YouTube Source : zero hedge Discovery Date : 07/04/2012 01:05 Number of articles : 2

Martenson Interviews Khosla Ventures: The US Is Massively Underfunding The Innovations Critical To Its Energy Future

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Martenson Interviews Khosla Ventures: The US Is Massively Underfunding The Innovations Critical To Its Energy Future

Posted on April 7, 2012 by Benny Hollywood| Leave a comment

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Submitted by ChrisMartenson.com Khosla Ventures: The US is Massively Underfunding the Innovations Critical to Its Energy Future “The age of cheap oil is over,” agrees Andrew Chung, partner at Khosla Ventures, arguably the most knowledgeable venture capital firm spearheading next-generation energy projects. While perhaps more optimistic than Chris on the odds that the world can transition off fossil… Broadcasting platform : YouTube Source : zero hedge Discovery Date : 07/04/2012 01:05 Number of articles : 2

Martenson Interviews Khosla Ventures: The US Is Massively Underfunding The Innovations Critical To Its Energy Future

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Steve Angello Proves ‘Size’ Matters As Miami Music Week Wraps

Posted on March 26, 2012 by Benny Hollywood| Leave a comment

Size Records label head packs his lineup with all-star beatsmiths like Max Vangeli, AN21 and Junior Sanchez at closing show. By Sam Hendrick and Akshay Bhansali Tim Mason performs at the Fountainbleu in Miami on Sunday Photo: MTV News MIAMI — As Miami Music Week wrapped up, MTV News went back to where it all began, heading again to the Fontainebleau on Sunday for another massive record-label showcase. Swedish House Mafia stalwart Steve Angello , joined by the brigade of ferocious all-stars that make up his Size Records, took over the same stage that deadmau5 and his Mau5trap crew owned just a day before. But while the Mau5strap set inspired fans through experimental sonic patterns, Size came with one mission in mind: To lay down banger after banger, many of them Beatport.com -charting hits produced by members of the Size team. The third edition of the always highly anticipated Size Records party featured proven beatsmiths — some EDM vets, some newcomers. Indeed, Angello presided over a staggering lineup that included Max Vangeli, AN21, Junior Sanchez, Third Party, Tim Mason, Qulinez and Wayne & Woods. Size newbies Wayne & Woods kicked off the night. The duo were followed by Qulinez, who delivered an impressive set highlighted by their smoldering bomb “Troll.” Tim Mason pleased the crowd by covering hit singles “The Moment” and “Anima”; Third Party took over from him with a strong set that featured their 2011 smash “Duel” and their newest single, “Feel.” Feeling a bit of hometown nostalgia, MTV News was excited to see the return of legendary New York house icon Junior Sanchez to the Size closing party. The Brobot boss kept the hands in the air for virtually his entire set, playing recent anthems like Otto Knows’ “Million Voices” and the Dirty South/ Usual Suspect collabo “Walking Alone.” Junior also drew smiles from the crowd with his unique blend of Jay-Z and Kanye’s “N—as in Paris” and Swedish producer Avicii’s “Levels,” a mash that was appropriately titled “N—as in Sweden.” Coming on last (but certainly not least) on the long list of talented openers were Max Vangeli and AN21, who were greeted with the energy one might expect for two of Size’s original signees. Showing no signs of nerves, the pair put on a set fit to introduce their label’s frontman. They doled out heavy party tracks like Dada Life’s “Kick out the Epic Mother—-er”. Sir Steve finally hit the decks, and partygoers at the Fontainebleau bum-rushed the stage, eager to rock out with the Size boss. And Angello obliged, unleashing track after track by tapping his SHM arsenal and much more. Fans danced in fits to Swedish House Mafia’s “Greyhound”; Michael Calfan’s “Resurrection” fused with Cold Play’s “Paradise”; and Nari & Milani “Atom,” among other hits. Angello just smiled, seemingly well aware of the euphoric chaos he was creating. Unfortunately, Angello was forced to cut his set short at around 11:30 p.m. Still, what fans will probably remember is that the Size guys came correct this year, laying down the perfect ending to Miami Music Week. Miami Music Week is a wrap, but stick with MTV News as we continue to roll out the latest EDM news and behind-the scenes interviews with your favorite dance music stars! Related Artists Swedish House Mafia

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REVIEW: Abel Ferrara’s 4:44 Last Day on Earth — Apocalyptic Howler or Love Letter to NYC?

Posted on March 23, 2012 by Benny Hollywood| Leave a comment

If you happen to live in a neighborhood with no Jehovah’s Witness ladies around to remind you that we’re living in the last days, wackadoodle director Abel Ferrara’s latest, 4:44 Last Day on Earth , is here to drive that truth home — or at least make you think about it just a little bit. Willem Dafoe plays an actor, Cisco, facing what he, and everybody else, knows is the Earth’s last day, thanks to an ozone layer that dissolved faster than anyone expected. He spends that last day writing in his journal, watching video footage of some fake-inspirational guru-dude, reaching out to his daughter and assorted pals via Skype and, most importantly, making sweet, crazy, soft-core love to his dishy, much-younger girlfriend, painter Skye (Shanyn Leigh), in the couple’s artsy, faux-ramshackle Manhattan loft. What a way to go! And yet, for an Abel Ferrara movie at least, 4:44 Last Day on Earth is surprisingly restrained. It doesn’t have the loosey-goosey dress-up-box vibe of the director’s 2007 Go Go Tales (also starring Dafoe), or the lackadaisical silliness of his 2005 Blessed Virgin thriller Mary (which featured a post- Big Fish , pre- La Vie en Rose Marion Cotillard, though I don’t remember a thing about her performance). 4:44 is, like the aforementioned movies, often laughable — watching the excessively craggy Dafoe and the excessively nubile Leigh roll around on their pre-Apocalyptic mattress was certainly good for a giggle. But the picture is also weirdly compelling, maybe most notably for the way Dafoe’s character — who is, in this respect, perhaps a stand-in for the Bronx-born Ferrara — seems to be grappling less with the idea that the world is ending than that the city is ending. Ferrara integrates lots of — perhaps too much — found TV footage of people around the world worshiping, lighting candles, and doing whatever it is people would be likely to do on the Earth’s last day. This stuff is boring and kind of dumb. But Ferrara brings some surprising gracefulness to the mix too: At one point Cisco and Skye order take-out, as any red-blooded New Yorker would do — when the world is ending, who has the energy to cook? When the Vietnamese delivery boy shows up, Cisco asks him, patronizingly, if he knows what’s going on. (He also tips the kid what might be $40 or $60, because, well, why not?) Then he asks, more kindly, if he can do anything for the boy, who responds by indicating that he’d like to contact his family back home via Skype. He speaks with them for a few minutes, but the movie’s sweetest moment comes just after he closes the lid of the MacBook: He stoops down to kiss it. Ferrara has some fun exploring both the high-tech and low-tech ways in which a human being, on the last day of mankind’s existence, might reach out to others. At one point Cisco steps out on his roof deck and lift a pair of field glasses to his eyes, the better to peep through his neighbors’ windows: He sees groups of people huddled together quietly; he also sees a man who’s just cooked a steak for himself, cutting a portion for his begging dog. In the city, looking through other people’s windows is sometimes voyeurism (benign or otherwise), but often it’s just a casual means of human connection, a point Ferrara makes beautifully here. And then there’s the Internet, which connects us all for better or worse. Ferrara can’t seem to get enough of Skype — but then, who among us can? After Cisco and Skye have a lover’s spat that really might be the end of the world, she rushes to her computer to Skype with mom, and what should pop up on the screen but the blessedly unfixed and unadorned face of Anita Pallenberg, who, in a voice that sounds either like the Devil or a lifetime of too many cigarettes (or both) tells her daughter how much she loves her and that she’s proud of her. She also tries to comfort her in the world’s last moments with a piece of advice that’s halfway between outright howler and sage mommy wisdom: “Just go to another sphere and it will be all right.” That’s sort of a metaphor for the act of watching Ferrara’s movies — going to another sphere is always required. At least in the case of 4:44 Last Day on Earth , it really is kind of all right. Read Movieline’s profile of 4:44 Last Day on Earth director Abel Ferrara here . Follow Stephanie Zacharek on Twitter . Follow Movieline on Twitter .

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REVIEW: Abel Ferrara’s 4:44 Last Day on Earth — Apocalyptic Howler or Love Letter to NYC?

Posted on March 23, 2012 by Benny Hollywood| Leave a comment

If you happen to live in a neighborhood with no Jehovah’s Witness ladies around to remind you that we’re living in the last days, wackadoodle director Abel Ferrara’s latest, 4:44 Last Day on Earth , is here to drive that truth home — or at least make you think about it just a little bit. Willem Dafoe plays an actor, Cisco, facing what he, and everybody else, knows is the Earth’s last day, thanks to an ozone layer that dissolved faster than anyone expected. He spends that last day writing in his journal, watching video footage of some fake-inspirational guru-dude, reaching out to his daughter and assorted pals via Skype and, most importantly, making sweet, crazy, soft-core love to his dishy, much-younger girlfriend, painter Skye (Shanyn Leigh), in the couple’s artsy, faux-ramshackle Manhattan loft. What a way to go! And yet, for an Abel Ferrara movie at least, 4:44 Last Day on Earth is surprisingly restrained. It doesn’t have the loosey-goosey dress-up-box vibe of the director’s 2007 Go Go Tales (also starring Dafoe), or the lackadaisical silliness of his 2005 Blessed Virgin thriller Mary (which featured a post- Big Fish , pre- La Vie en Rose Marion Cotillard, though I don’t remember a thing about her performance). 4:44 is, like the aforementioned movies, often laughable — watching the excessively craggy Dafoe and the excessively nubile Leigh roll around on their pre-Apocalyptic mattress was certainly good for a giggle. But the picture is also weirdly compelling, maybe most notably for the way Dafoe’s character — who is, in this respect, perhaps a stand-in for the Bronx-born Ferrara — seems to be grappling less with the idea that the world is ending than that the city is ending. Ferrara integrates lots of — perhaps too much — found TV footage of people around the world worshiping, lighting candles, and doing whatever it is people would be likely to do on the Earth’s last day. This stuff is boring and kind of dumb. But Ferrara brings some surprising gracefulness to the mix too: At one point Cisco and Skye order take-out, as any red-blooded New Yorker would do — when the world is ending, who has the energy to cook? When the Vietnamese delivery boy shows up, Cisco asks him, patronizingly, if he knows what’s going on. (He also tips the kid what might be $40 or $60, because, well, why not?) Then he asks, more kindly, if he can do anything for the boy, who responds by indicating that he’d like to contact his family back home via Skype. He speaks with them for a few minutes, but the movie’s sweetest moment comes just after he closes the lid of the MacBook: He stoops down to kiss it. Ferrara has some fun exploring both the high-tech and low-tech ways in which a human being, on the last day of mankind’s existence, might reach out to others. At one point Cisco steps out on his roof deck and lift a pair of field glasses to his eyes, the better to peep through his neighbors’ windows: He sees groups of people huddled together quietly; he also sees a man who’s just cooked a steak for himself, cutting a portion for his begging dog. In the city, looking through other people’s windows is sometimes voyeurism (benign or otherwise), but often it’s just a casual means of human connection, a point Ferrara makes beautifully here. And then there’s the Internet, which connects us all for better or worse. Ferrara can’t seem to get enough of Skype — but then, who among us can? After Cisco and Skye have a lover’s spat that really might be the end of the world, she rushes to her computer to Skype with mom, and what should pop up on the screen but the blessedly unfixed and unadorned face of Anita Pallenberg, who, in a voice that sounds either like the Devil or a lifetime of too many cigarettes (or both) tells her daughter how much she loves her and that she’s proud of her. She also tries to comfort her in the world’s last moments with a piece of advice that’s halfway between outright howler and sage mommy wisdom: “Just go to another sphere and it will be all right.” That’s sort of a metaphor for the act of watching Ferrara’s movies — going to another sphere is always required. At least in the case of 4:44 Last Day on Earth , it really is kind of all right. Read Movieline’s profile of 4:44 Last Day on Earth director Abel Ferrara here . Follow Stephanie Zacharek on Twitter . Follow Movieline on Twitter .

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Fergie Shoots Down ‘X Factor’ Rumors

Posted on March 22, 2012 by Benny Hollywood| Leave a comment

‘It’s not the right time,’ singer tells MTV News. By Christina Garibaldi Fergie Photo: MTV News NEW YORK — Fergie has been lying low since the Black Eyed Peas announced they were going on an indefinite hiatus back in November. Yet on Wednesday, the Internet was abuzz with rumors that she might fill Paula Abdul or Nicole Scherzinger ‘s “X Factor” judging seats. But that’s all news to Fergie herself. “I have no idea how this keeps coming back, it’s crazy!” she told MTV News on Thursday (March 22) at the Voli Light Vodka Brunch in New York. “I know that my managers and agents have been in touch with the ‘X Factor’ both last season and this season, but both times it’s not the right time.” In April 2010, Fergie was mentioned as a potential judge , but much like this time around, she felt she couldn’t give the contestants the commitment they would need from a mentor. “I can’t commit all the energy that these contestants deserve,” Fergie said. “This is their career, and right now, I’ve got different plants in my garden that are going on, and that’s a really big tree that would take a lot of nurturing and energy. It’s just not the right time right now.” It might not be the right time for Fergie, but it could be the right time for Britney Spears. The pop star was reportedly offered $10 million to join Simon Cowell and L.A Reid on the judging panel. So does Fergie think Spears would be a good fit? “I think whatever they do … Simon’s a genius and he’ll make the right decision,” Fergie said. “And it will all work out.” Even though Fergie won’t be mentoring this season’s “X Factor” contestants, that doesn’t mean she won’t be tuning in. “I love Simon and I’ll be watching the show,” Fergie said. “I’m excited to watch — but at home in my pajamas.” Do you think Fergie would make a good “X Factor” mentor? Let us know in the comments! Related Artists Fergie

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Madonna’s MDNA: Reviews Are In!

Posted on March 22, 2012 by Benny Hollywood| Leave a comment

Critics praise the album for its ‘pumping pop tunes’ and being Madge’s ‘most personal effort to date.’ By John Mitchell Madonna’s M.D.N.A. Photo: Interscope Madonna ‘s MDNA drops officially on Monday — though it leaked online earlier this week — and many critics are calling the set a return to form for the Queen of Pop. ” MDNA — her 12th studio album — is a collection of thoroughly pumping pop tunes, some of which are slices of sheer brilliance. Not only does Madonna take us to the club with MDNA, she exhausts us, drains us, and confides in us,” Billboard writes in its track-by-track review. “Five minutes after an aerobic workout on the dance floor, we’re in her private booth, where she’s spilling her guts about relationships and how things just didn’t turn out the way they planned.” Slant magazine calls the album “surprisingly cohesive” given the seven different producers who worked on the project, but has particular praise for the tracks produced and written by Madonna and her Ray of Light collaborator William Orbit. “It’s obvious Madge and Billy Bubbles [Orbit] can still create magic together,” the magazine writes. “Songs like ‘Gang Bang’ serve as reminders that what separates Madonna from most other mainstream pop stars is her willingness to try new things,” Slant continues. “Fear — of failure, of looking uncool, of death — can either paralyze or propel you. MDNA finds Madonna continuing to defy the laws of nature by doing both.” In an otherwise middling review, Entertainment Weekly praises Madge’s vocal performance on the album’s love songs, which are parsed out between darker tracks that seem to focus heavily on Madonna’s divorce from Guy Ritchie . EW gives particular props to the Golden Globe-winning Orbit track “Masterpiece” and the “synth stomper” “I’m Addicted,” which it says is “a warm ode to a crush [and] offers a good excuse to join in when she says, ‘I need to dance.’ ” Many critics compliment Madonna’s decision to be so emotionally revealing. She’s gotten personal in the past, of course, but on MDNA, she takes it to the next level. “There’s something remarkable about Madonna’s decision to share her suffering the way she once shared her pleasure,” Rolling Stone writes. “Her music has always been about liberation from oppression, but for the first time the oppression is internal: loss and sadness.” The Poughkeepsie Journal sees that as a natural extension of the best Madonna songs. “Yet in some of her most beguiling songs, Madonna has opened her heart and let her defenses down a bit,” the Journal opines. “Think of the pregnant teenager in ‘Papa Don’t Preach,’ begging for support even as she declares her resolve. Or the giddy lover pledging eternal devotion in ‘Cherish.’ Then imagine that those gals had lived a few more years, maybe married and divorced, and you’ll have an inkling of the emotional wallop waiting in Madonna’s most personal effort to date, MDNA. ” More than anything though, critics seem to be assuring fans that they can breathe a sigh of relief on two fronts: Not only is the album good, it is 100 percent Madonna and no one else. “There’s no denying MDNA delivers thrills. In true Ciccone fashion, club pop pounders like ‘Some Girls,’ ‘Love Spent’ and ‘Turn Up the Radio’ seem to push a bit harder than the competition — that last one’s got a drop like an open manhole,” the BBC writes. ” MDNA also has something the last two Madge albums lacked: ballads, both of which are quite lovely. … Best of all, several moments prompt a welcome sigh: ‘God, only Madonna.’ ” Related Photos Five Key Moments In Madonna’s ‘Give Me All Your Luvin’ Music Video Related Artists Madonna

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