Critic calls troubled actor’s performance ‘absurd and darkly unsettling.’ By Eric Ditzian Mel Gibson in “The Beaver” Photo: Summit Entertainment “The Beaver” would have probably been your standard feature film about a suicidal man who uses a hand puppet as a way to better interact with the world around him had its star, Mel Gibson , not uncorked a few hate-filled rants that would ultimately lead to the actor being charged with spousal abuse. To say “The Beaver” entered the South by Southwest film festival with some baggage, then, doesn’t capture the half of it. The spectacle of watching an actor in the midst of a meltdown portray a man in the midst of a meltdown is hard to resist. But it’s going to be a while until the masses get to check out the action, as Summit Entertainment has pushed back the movie’s release date until May. Until then, check out what critics at SXSW had to say after the film’s premiere Wednesday. Getting Past the Spectacle, Part I “Those echoes of Mel Gibson’s well-publicized breakdowns are impossible to ignore in an opening sequence introducing us to his character Walter Black, who first appears floating in a pool, arms outstretched like Christ’s. A few shots later, we see this ‘hopelessly depressed man,’ who has tried everything to remedy his condition, flagellating himself like a Catholic penitent. Whether intentional or not, this front-and-center reminder works almost as an inoculation to viewers for whom controversy might be a distraction from drama: Having put it out there frankly (much as the protagonist will soon do, in more outlandish ways, with his own issues), the movie kills a bit of our morbid curiosity; our awareness that this depressed character is being played by a troubled actor never vanishes, but it is allowed to inform the story at hand.” — John DeFore, The Hollywood Reporter Getting Past the Spectacle, Part II “Casting Mel Gibson is both a blessing and a curse. Not since ‘I’m Not There’ have I spent more time during a film having a meta-textual conversation with myself. What were the people on set thinking as they watched Gibson crack? Did making this film help Gibson’s mental health, or make it worse? Truth be told, this extra dimension only aids the film.” — Jordan Hoffman, UGO Mel’s Performance “His solo scenes are both absurd and darkly unsettling for several reasons, some of which depend on your tolerance for watching the notoriously bad-tempered actor, well, lose his temper: Whether awkwardly failing to hang himself in a bathtub or beating himself up with a guitar, Gibson demonstrates an expansive madness that suggests a much darker, more involving psychological transition.” — Eric Kohn, IndieWire The Big Picture, Part I “It may surprise some of you to learn that the story is more of a drama than a comedy. As you might expect, there are comedic moments that come from the puppet’s inclusion in various situations. But the story aims more for drama than comedy. ‘The Beaver’ is too ridiculous to be taken seriously, and too melodramatic to be funny. Foster wrestles to capture the right tones, but the shifts are messy from scene to scene, and it never seems to find the right fit.” — Peter Sciretta, SlashFilm The Big Picture, Part II ” ‘The Beaver’ is not a comedy, it’s true, but it is a deft exploration of the ways we struggle to express something as ineffable as depression, and the lengths we will endure to save our families. It is a potent reminder of why [director] Jodie Foster should have made more movies by now. And it is a strong beginning for screenwriter Kyle Killen.” — Drew McWeeny, HitFix Check out everything we’ve got on “The Beaver.” For breaking news, celebrity columns, humor and more — updated around the clock — visit MTVMoviesBlog.com . Related Videos Mel Gibson’s ‘Beaver’: SXSW Premiere Reviews Are In!
Lauren Alaina, Casey Abrams and Scotty McCreery also get great notes from the judges singing songs from their birth years. By Gil Kaufman “American Idol” top 12 Photo: FOX It was an evening of surprises on “American Idol” Wednesday night (March 16). From the first song by grunge icons Nirvana to a show-closing gospel throw-down on a tune by Heart, leading contenders Pia Toscano, Jacob Lusk and Casey Abrams continued their winning ways, while teen Lauren Alaina appeared to get back in the groove after an off week. The theme this week was songs from the year you were born, and first up was Naima Adedapo, who worked up Tina Turner’s comeback hit “What’s Love Got to do With It.” Slinking down the steps in one of her signature colorful getups, Adedapo struggled a bit to find the melody over the rocked-up, percussive track produced by Rodney Jerkins. The performance had plenty of attitude but failed to really show off Naima’s range. In his first attempt at live feedback , Steven Tyler blasted off, whooping it up and telling the singer she had a “sorcerer’s grasp for melody.” Jennifer Lopez admitted that she gave Naima a pass last week on her pitchiness, but said she was starting to worry it was not a one-time thing and encouraged Adedapo to kick it up a notch. Randy Jackson agreed, saying it was just kind of a mess and all over the place. Another 1984 baby, bearded rocker Paul McDonald , went with Elton John’s subtle ballad “I Guess That’s Why They Call It the Blues.” Sounding even more hoarse than usual, McDonald tried to get the crowd behind him while he did his rag-doll dance and croaked his way through a bland version of the song, always seemingly half a beat behind the tempo. Lopez could sense Paul’s struggle with a cold, but said his star quality overwhelmed it, though Randy was not as charitable, saying Paul was pitchy but still found a way to put his unique spin on the song. “But get the notes right!” Randy added, as Steven opined that McD defines “a cool dude in a loose mood.” Thia Megia is one of the babies of the bunch, born in 1995, the same year the Disney movie “Pocahontas” was released, featuring “Colors of the Wind” by Vanessa Williams. Backed by a gently plucked acoustic guitar and a string quartet, Megia came off a bit pageanty with her long, golden dress as she sang the song’s corny lyrics, but once again her vocals were incredibly clear and precise for someone her age. For Randy, the singing was just OK, but his real problem was the predictable, safe nature of her song choices from week to week. Though he praised her vocals, Steven wondered, “Is that song who you think you are?” Resident rocker James Durbin , born in 1989, went with Bon Jovi’s “I’ll Be There for You,” not exactly the Jersey band’s most notable hit. Doing his best Axl Rose-meets-Jon Bon snarl, Durbin worked the stage like an arena-rock veteran, swinging his mic stand, leaning in for some shoulder-to-shoulder with the guitar player, doling out audience high-fives and ending it all with a rock jump and what host Ryan Seacrest referred to as “JV pyro.” You knew Tyler was gonna dig it. “I got leftover sandwiches under my bed older than that, how do you do that?” he marveled at Durbin’s young talent, while warning him to avoid getting too poppy. Jennifer said a great performer makes you want to sing along with them, and she said JD is definitely one of those singers. Haley Reinhart was born in 1990 into a musical family, and she paid homage by getting back in her R&B groove with a swing at “I’m Your Baby Tonight” by Whitney Houston. Producer Ron Fair’s funked-up, new-wave arrangement seemed to throw her at first, but then Haley laid into a Christina Aguilera-like groove, growling and emoting her way through the song, which fit her style way better than last week’s detour into country territory. In what is emerging as her signature sweet putdown, J.Lo told Haley she looked beautiful and has a beautiful voice but that she seems tense and unsure onstage. “Do what you feel, don’t force anything, do what comes naturally,” she counseled. Jackson said Haley’s hopscotching from style to style is making it hard to pin her musical personality down. Stefano Langone (1989) was right in the pocket with Simply Red’s soul-stirring “If You Don’t Know Me by Now.” He confidently sang the goopy ballad as if working the crowd at a wedding (or office karaoke party), showing off the range, emotion and vocal clarity that earned him a wild-card berth. “The best performance of the night so far!” Randy raved, handing out an Olympic-gymnastics-style 10-10-10 rating. Steven loved the phrasing, and Lopez said it was the perfect song choice that could win him the whole thing — as long as he locked eyes with her a bit more while he performed. After emerging as a potential winner a few weeks ago, Pia Toscano (1988) also knows what works, which is why she chose Houston’s “Where Do Broken Hearts Go.” Working her magic over the thumping disco-lite track, Toscano gave it her glitter-ball best, tossing up emotion and solid vocals but falling a bit short in the stagecraft department. “You are why this show is called ‘American Idol,’ ” Tyler said, clearly impressed with Pia despite what he referred to as a “retro” arrangement. Jennifer was psyched to hear PT try out an uptempo song for once, and Randy put the other 11 singers on notice that Toscano is in it to win it. Bullfrog-voiced country crooner Scotty McCreery (1993) stayed firmly in his lane with Travis Tritt’s “Can I Trust You With My Heart.” He was, once again, spot-on, coming off as a seasoned country veteran with all the right shading and phrasing to deliver the song’s emotion. But you have to wonder: How many weeks can he essentially do the same thing and still advance? It felt to Lopez like he pushed his vocal range out a bit more with this song, and the panel agreed that he’d shown enough growth to justify another week in the game. Born in 1989, Karen Rodriguez went diva with Taylor Dayne’s other hit, “Love Will Lead You Back.” Wearing a kind of “Austin Powers” silver space miniskirt, Rodriguez had passion and again threw in some Spanish lyrics, but in the words of ex-judge Simon Cowell, it all felt a bit louche hotel lounge. It started rough for Randy, who said it was better than last week but still not all that. Jennifer sensed some fear at first, but praised Rodriguez for sticking to her guns and attacking the song. “If you are nervous about certain notes, don’t go there,” she said. “As a professional, you never have to. Never expose your weaknesses; play to your strengths.” After a second trip this season to the hospital , unlikely hirsute sex symbol Casey Abrams (1991) notched a couple of milestones on Wednesday night when he played electric bass while performing the first-ever song by grunge gods Nirvana on the show. He transformed the nearly untouchable “Smells Like Teen Spirit” into a dark-funk rave-up, busting out his best crazy eyes and screeching and screaming a bit more than usual, while putting lots of energy into the bizarre, horn-laden cover of the modern-rock classic. “You’re so crazy and you’re so talented,” said Tyler, who knows of what he speaks. “That’s the goop that great stuff is made of, and you got it.” Randy said he appreciated Abrams’ willingness to take risks and put art before commerce and always switch things up. The other 16-year-old finalist, Lauren Alaina (1994), was also battling the flu and a poor performance last week. She dug into “I’m the Only One” by Melissa Etheridge, putting some of her deep-voiced country sass on the tune and putting up some powerful, nuanced vocals, despite her illness. After singing along during the performance, Lopez gave Alaina props for sticking to the frame of the song while putting her own imprint on it, and Randy said if that’s how she sounds with a cold, she should have one every week. The final slot of the night belonged to Jacob Lusk (1987), who went way off the path by choosing the ballad “Alone” by female rock duo Heart. After a tentative opening, he exploded into the chorus, throwing down his gospel power and vibrato into the tune, which got a bit frantic at times but definitely highlighted his intensity. Randy appreciated the attempt to step out of his comfort zone, even if the vocals went a bit wobbly in the middle and nodded to Jacob’s decision to go subtle instead of bombastic at the end. The show opened with Tyler, Lopez and Jackson announcing that proceeds from the sale of the second weekly “Idol” download album would go to the Red Cross’ efforts to help the people of Japan in the wake of last week’s devastating earthquake and tsunami . Thursday night’s results show will feature the return of last year’s winner, Lee DeWyze, who will be on hand to sing his new single, “Beautiful Like You,” along with the Black Eyed Peas, who will perform their latest, “Just Can’t Get Enough.” Who did you think killed it Wednesday night? Let us know in comments below! Don’t miss “Idol Party Live” every Thursday on MTV.com, following the “American Idol” results show, for analysis, celebrity guests and even some karaoke — get in the conversation by tweeting with the hashtag #idolparty! In the meantime, get your “Idol” fix on MTV News’ “American Idol” page , where you’ll find all the latest news, interviews and opinions. Related Photos ‘American Idol’ Season 10 Performances
R&B singer/songwriter, Ne-Yo, recently visited Choice FM Radio where he mentioned that he regretted giving the chart topping song, “Irreplaceable” to Beyonce. He stated: “One song that I gave away and didn’t want to is Beyonce’s ‘Irreplaceable’. I honestly wrote that song for myself. But that song actually taught me a very interesting lesson – men and women don’t actually think that much differently in the grand scheme of things. However, a man singing it comes across a little bit misogynistic, a little bit mean.” Ouch. After the news aired that Ne-Yo said this about the song, he took to his Twitter page to clear it up before he things got ugly. He tweeted on Thursday: @NeYoCompound: Ok. What’s this I hear about me wishing I never gave Beyonce’ Irreplaceable? Y’all ACTUALLY believe I said that? SERIOUSLY? Wow. Aiight. @NeYoCompound: Believing everything you read is just as bad as letting somebody run you. Stop letting these media haters and bloggers control y’all. @NeYoCompound: You wanna know ’bout me? ASK ME. You wanna know if I said somethin’ ASK ME. C’mon y’all. I KNOW you’re smarter than that. Much love. And continued to Tweet… @NeYoCompound: All good. Beyonce’ is a friend of mine. I’m sure she knows I’d never dis her in regard to Irreplaceable or at all for that matter. @NeYoCompound: Wonderful to know her fans have her back the way they do tho. Say what you will about me, I’ll sleep comfortably tonight regardless… @NeYoCompound: ….But do not allow the ignorance of some let you question my gratitude to those who’ve helped me along the way. Way to clear that one up Ne-Yo! Read the full story over at necolebitchie.com. Is Ne-Yo’s Baby Mama Monyetta Shaw Pregnant Again? Ne-Yo Is Not Feeling “Singers” Who Rely On Autotune Kandi And Ne-Yo’s “Me & U” [NEW MUSIC]
It’s hard to argue that Prince is one of the most talented and versatile musicians to ever set foot in a recording studio. Since 1978, he’s released over 30 albums, had dozens of hit singles, a few movies, and sold out concert venues from his hometown of Minneapolis to Japan. With a catalog as vast as his, picking his ten best songs is no easy task. We’re still not sure that this list is complete. We’ve left off quite a few songs. There’s no “I Wanna Be Your Lover” on the list. “Uptown?” That didn’t make it either. “Let’s Go Crazy?” Not this time. Samples of History: Inheriting Prince’s Funk 10. When You Were Mine Prince’s third album, 1980′s Dirty Mind , was what most people would call a “departure” record. Gone were the disco influences that shaped songs like “I Wanna Be Your Lover” and “Soft & Wet.” In their place were shades of the punk rock and new wave scenes that were beginning to take hold of America at the time. “When You Were Mine” manages to combine the new wave influence with an admitted Beatles-esque sensibility that provides the soundtrack to Prince’s obsession with an ex. 9. Pop Life In 1985, Prince followed up the massive success of the Purple Rain album and film with Around The World In A Day , a psychedelic pop record that only someone as weird as Prince could make. Despite its many nods to psychedelia, one of ATWIAD’s best songs was “Pop Life,” a song that addresses social issues like the dangers of drugs. 8. Adore Influenced by R&B ballads by singers like Anita Baker and Luther Vandross, one of Prince’s biggest songs that never became a single was “Adore,” the final song on Prince’s sprawling 1987 double album, Sign O’ The Times . Prince toes the line between the sacred and profane with the song’s churchy instrumentation, and erotic lyrics. The song also is home to the classic lyric “You could burn up my clothes / Smash up my ride / Well maybe not the ride…” 7. Purple Rain We all know this song, which probably owes more to the traditions of country music than to R&B. The nearly nine-minute album version is a revelation with Prince’s extended guitar solo. There’s a reason why Prince performs this song at nearly every concert he does. 6. Kiss Originally intended for a group called Mazarati that Prince signed to his Paisley Park Records label, “Kiss” started off as a simple 90 second demo. Prince gave the demo to his engineer, David “Z” Rivkind who managed to take Prince’s extremely rough sketch of a song, and turn it into one of the funkiest songs His Royal Badness ever touched. Mazarati recorded a version of the song, which Prince is rumored to have taken to a popular outdoor basketball court in Minneapolis to get feedback. The feedback was so positive that Prince decided to keep the song for himself. Mazarati weren’t left completely in the dirt though. Their background vocals remain on the track. 5. If I Was Your Girlfriend “If I Was Your Girlfriend” was released as the second single from Prince’s 1987 album, Sign O’ The Times . Despite a warm reception from black radio at the time, the song stalled on the pop charts, mainly by those who were confused by the song’s premise. Using a sped up vocal to simulate a woman’s voice, Prince is actually singing to his then-girlfriend, Susannah Melvoin about how he wishes that he had a closer relationship with her, like that of one of her girlfriends. Of course, things get kinda freaky as the song goes along, but this is Prince we’re talking about. 4. Joy In Repetition A relatively obscure track to casual fans, “Joy In Repetition” appears on the soundtrack to Prince’s 1990 film disaster Graffiti Bridge . The song’s narrative vividly details Prince walking into a club where “four-letter words are seldom heard with such dignity and bite.” Inside the club he sees a woman on stage singing the same two words over and over again as he falls in love with her, dragging her from the stage and running out of the club arm in arm. Prince rarely goes into narrative mode to the extent that he does in this song. Plus, he straight up murders the guitar solo. 3. The Ballad Of Dorothy Parker “The Ballad Of Dorothy Parker” is another one of those rare narratives in Prince’s discography. A deceptively simple song, the song features little more instrumentation than a drum machine, keyboard, guitar and bass. In the song, Prince tells the tale of meeting a waitress, the titular Dorothy Parker, who starts flirting with him. He leaves the restaurant with her even though he admits that he’s seeing someone. But as the song ends, he reveals that Dorothy “didn’t see the movie cuz she hadn’t read the book first.” 2. Little Red Corvette With those opening synth chords, and the opening lyric, “I guess I shoulda known by the way you parked your car sideways that it wouldn’t last,” Prince hit critical and commercial pay dirt. Prince works the fast woman as fast car metaphor for all its worth on this song, which was reportedly written in between cat naps while riding in the car of one of his band members. “Little Red Corvette” has the distinction of being one of the first videos by a black artist played on MTV. 1. When Doves Cry The last song written for Purple Rain , “When Doves Cry” is a pop music masterpiece. The opening guitar riff grabs your attention and doesn’t let go until the sparsely arranged song comes to an end. “When Doves Cry” helped propel Purple Rain , the film and album, to classic status. RELATED: Prince Sued For $3 Million Over Canceled Ireland Concert RELATED: Can A Man Go To A Prince Concert By Himself? [VIDEO]
A calm-looking Mel Gibson, 55, wearing a navy blue suit, pleaded no contest to one misdemeanor count of domestic violence allegedly committed against Oksana Grigorieva in January 2010. Gibson made no statements other than to acknowledge his plea to the judge and to say that he understood the proceedings. It was also revealed in court that Gibson is undergoing psychological counseling as part of his plea deal reached with prosecutors. He was also served with a protective order not to “threaten o
Home wrecking legend Michelle “Bombshell” McGee is living the dream. She’s got a hot tattoo on her forehead and a new boyfriend in Luke Urek. He’s from Australia. Fortunately for the tattooed exotic dancer and former Jesse James mistress, there’s no home for her to wreck with Urek, a fellow ink-o-phile. McGee said she was told by a psychic she’d meet her future husband Down Under. Wonder if the psychic also said she would end Sandra Bullock’s marriage. Then she laid eyes on her male doppelganger, freestyle motocross rider Urek, while performing at Sexpo last year. Guess you can call it love at first sight. “We actually met through a mutual friend,” Michelle McGee said. “I came down to visit Luke and arrived here last week, but have to leave on Sunday.” Hang over her, Luke. She’s one of a kind.
MTV News spent the day with the Foo Fighters frontman and realized he’s on a mission … from Freddie Mercury. By James Montgomery Interviewing the Foo Fighters on Thursday night Photo: Jonathan Mussman / MTV News Dave Grohl is sprawled out on a couch inside his trailer, flipping through photos on his Blackberry, largely ignoring everything happening around him (a list of potential distractions that, at this moment, includes “Pat Smear getting makeup applied to his face,” “Nate Mendel sitting next to a plate of vegetables,” and “Taylor Hawkins shouting about Queen’s ‘Crazy Little Thing Called Love’ “) when all of a sudden, he stops, looks up at me and thrusts his phone in my face. “Look at this, man, let me show you something,” he says, presenting me with a photo of him shaking hands with President Barack Obama. “Don’t f— this up.” He is only kidding, in that faux-serious way that he is better than pretty much anyone (or at least anyone who used to be in Nirvana) at trying to psyche me out minutes before we go live on MTV for the premiere of the Foo Fighters’ “Rope” video . So, I make a joke about how he was really slumming it with me, at which point he quickly pulls the device back to his chest, finds another picture and shows it to me. “Don’t be like that,” he scolds. “Be like this. ” It’s a photo of late Queen frontman Freddie Mercury, decked out all in white, addressing the masses during the band’s legendary 1985 Live Aid performance, a photo that captures everything that was great and majestic about not only the band, but rock and roll in general. And in showing it to me, not only does Dave Grohl confirm the fact that he is a terrifyingly huge Queen fan (the kind that carries photos of Mercury on his Blackberry), but he also reveals what may very well be his guiding principle: Believe in nothing less than the life-affirming power of rock. It’s an outlook that has led him to share the stage with Jimmy Page and record albums with Lemmy Kilmister, an enthusiasm that belies the fact that he is 42 years old and has been playing in bands for nearly 30 of those years. And above all else, it is why — despite being (at the very least) a key cog or (at the very most) the driving force behind two of the biggest rock acts of the past 20 years — he is not above messing around with a guy like me, or keeping pictures of Freddy Mercury on his phone. He is, first and foremost, a rock-obsessed super-fan, a true believer. In other words, he is not all that different from you or me. Only with better connections. But what makes Grohl different is that he uses those connections to spread the gospel. It’s why he decided to record the Foos’ new album, Wasting Light in his own garage, why he recruited Bob Mould (of Grohl’s all-time favorite acts, Husker Du) to sing on the song “Dear Rosemary,” and why he reunited with former Nirvana mate Krist Novoselic on the stunning “I Should Have Known.” It’s what any of us would’ve done if we were in his shoes: make the record of our dreams, our way, with our heroes and friends. On one hand, it’s a selfish move, on the other, it’s selfless … dutiful even. Rock has been good to Dave Grohl, and so now he will be good to it, by honoring — and harnessing — its powers for good. And all of that may seem like utter nonsense, but take one look at Grohl any time he’s onstage — the goofy smile, the wild eyes, the genuine sense of abandon he displays — and try to tell me he’s not being sincere. Or, better yet, watch him interact with his fans, like I did on Thursday in Northridge, California, at the home of Shivan Somaratne, the Foo Fighters fanatic who was chosen by MTV to host the premiere of “Rope.” Grohl truly was in his element, cracking jokes, posing for pictures, signing albums and T-shirts and even a chest or two. He was genuinely touched when Somaratne told him that the first song he ever learned to play on guitar was the Foo’s “Everlong” — though he was quick to laugh, “Well, it’s a simple song” — and seemed grateful when Somaratne handed him a demo CD he had just recorded with his band. You got the feeling he was even going to listen to it. This was a man who put himself on the same level as the kids in a California suburb, despite 20 years of evidence to the contrary. A man who showed up to the premiere of his new video wearing the same clothes he wore in the video. A man who purchased, customized and fully stocked a white limousine, for no real reason other than it’s sort of an awesome thing to do. In other words, this was Dave Grohl doing what he does best: living as the embodiment of rock’s true power, and by doing so, encouraging others to do the same thing. It’s what makes him so likable and humble, and what separates him from 95 percent of other rock stars in his strata. He does not take himself seriously in the very least but he takes rock and roll incredibly seriously. Which is probably why, minutes before we went live, he grabbed me, looked me square in my eyes and said, “Don’t be nervous.” Or why, after we had made it through the premiere, he smiled and said, simply, “You didn’t f— it up.” And he wasn’t joking this time. He is perhaps rock’s purest ambassador, a man on a mission to spread the good word (or at least buy some Queen albums). On some level, Dave Grohl wants us all to be rock stars. Related Videos MTV First: Foo Fighters’ ‘Rope’ Related Artists Foo Fighters
Tournament tips off Monday, and the Brooklyn duo like their chances. By James Montgomery, with reporting by Rya Backer Sleigh Bells’ Alexis Krauss Photo: Michael Burnell/Redferns Much like the actual March Madness tournament, MTV’s second annual Musical March Madness brackets are filled with upstart bands looking to shock the world. Everywhere you looked this year, there were unknown acts making big moves — everyone from Mumford & Sons and Florence and the Machine to the Black Keys and Cage the Elephant — but perhaps no band went from obscurity to the big time quite like Sleigh Bells. The Brooklyn duo broke out with their squalling, squelching debut Treats. So it should probably come as no surprise that, as we gear up for the tipoff of the 2011 MMM on Monday, the Bells are making preparations for a deep run in the tournament. And, in keeping with the spirit of dark-horse contenders like the Butler Bulldogs (who came within a desperation 3-point heave of upsetting Duke in the 2010 NCAA finals), they’re entering firmly as underdogs — which suits them just fine. “We are definitely an underdog,” singer Alexis Krauss laughed. “I don’t know … it’s a bit overwhelming. But I’m appealing to you as the underdog to try and go out at least fighting a good fight.” And, really, that battling spirit is perhaps Sleigh Bells’ best shot at making their way to the MMM championship. They already know they’ll face tough challenges from established acts like Linkin Park and Panic! at the Disco and up-and-comers like Adele , and if they survive that, they might just run into defending champs Coheed and Cambria in the finals. But as Krauss put it, underdog or not, her band possesses a trait that none of the other MMM bands have: Namely, a lot of weapons. And genuine psychosis. “Have you seen our videos? In my first video, I was walking around wielding a baseball bat. In my second video, I was pushing [guitarist/producer] Derek [Miller]out of a car, and he was covered in blood. So clearly we have some tricks up our sleeves,” she explained. “Derek, he knows his basketball, he knows his stuff. We already have jerseys made; we’re ready to go. So, I don’t know, expect the unexpected. And we may not just use basketballs, we may use baseball bats and switchblades. Who knows? We’re psychos.” MTV’s 2011 Musical March Madness Tournament begins Monday, March 14, when we reveal the full field of 64 bands that will battle for the championship. Winners are determined by fan votes, so if your favorite act made the cut, it’ll be up to you to guide them to glory. You can rally the troops on Twitter using the hashtag #MMM — but get ready, it’s gonna be a war. Related Videos MTV’s Musical March Madness Is Back For 2011
Here is Miley on set for something that may or may not be generic, fabricated, scripted, sluttiness…but the good news is that I guess she likes what she’s seeing and how they dolled her up cuz she busted out the camera phone to share with whoever the fuck she shared this with….I mean I just the pics…I don’t dig for the source of the pics…cuz clearly she’s the attention seeking photographer…and all right are reserved for her…and luckily the whole point of this picture was to get some of the attention she lost back when she turned 18 and no one cared she was 18..but rather wanted to see her on all fours with inanimate or even animate objects in her ass and pussy at the same time…. But I like to think a girl willing to take a pic of herself, known as self shot pics in the porn world, wearing what could be underwear…but what I think is underwear over underwear….a pet peeve of mine that you witness at many stripclubs..is always good enough for me…cuz self shot pics are always fucking amazing no matter how naked or hot the bitch is…it’s one of those “high concept” pornographic things…where the psychology, willingness of the girl and the fact she leaked it thinking she looked good makes up for the lack of object in ass and pussy at the same time… Good Hustle MIley!
Here is Miley on set for something that may or may not be generic, fabricated, scripted, sluttiness…but the good news is that I guess she likes what she’s seeing and how they dolled her up cuz she busted out the camera phone to share with whoever the fuck she shared this with….I mean I just the pics…I don’t dig for the source of the pics…cuz clearly she’s the attention seeking photographer…and all right are reserved for her…and luckily the whole point of this picture was to get some of the attention she lost back when she turned 18 and no one cared she was 18..but rather wanted to see her on all fours with inanimate or even animate objects in her ass and pussy at the same time…. But I like to think a girl willing to take a pic of herself, known as self shot pics in the porn world, wearing what could be underwear…but what I think is underwear over underwear….a pet peeve of mine that you witness at many stripclubs..is always good enough for me…cuz self shot pics are always fucking amazing no matter how naked or hot the bitch is…it’s one of those “high concept” pornographic things…where the psychology, willingness of the girl and the fact she leaked it thinking she looked good makes up for the lack of object in ass and pussy at the same time… Good Hustle MIley!
