Michael Jackson's Mother Gets Temporary Guardianship Of Kids

Among the many unresolved issues that have emerged since Michael Jackson's death on Thursday is what will become of his three children, Prince, 12; Paris, 11; and Prince Michael II, 7. The children were under the full custody of their father, and since his death, they have been staying with their grandparents, Katherine and Joseph Jackson, at the couple's Encino, California, estate.

A short time later, The Associated Press reported that Los Angeles Superior Court Judge Mitchell Beckloff approved her request for temporary guardianship of the children but did not grant her authority to serve as guardian of the children's estate.

In making the case for guardianship, the petition filed on Monday reportedly states that the children have "no relationship with their biological mother" and that they are currently in the care of Katherine, with whom they have a "long-established relationship." Debbie Rowe, the mother of the two elder children, was briefly married to Jackson but gave up her custody rights after she and Jackson divorced in 1999, and the petition lists her whereabouts as "unknown." The identity of the mother of Jackson's youngest child, commonly referred to as "Blanket," has never been publicly revealed, and on the petition, the box next to mother is checked as "none."

The petition says that the value of Jackson's assets is not known yet and does not mention if he left a will, but it states that Katherine would be the best guardian for the children because they are "currently residing with paternal grandmother. They have a long-established relationship with paternal grandmother and are comfortable in her care." According to the petition, it is "not known at this time" if Rowe agrees with the action. A hearing to determine whether Katherine will be the children's permanent guardian is set for August 3.

UsMagazine.com reported that Katherine Jackson was spotted at a Los Angeles Target store over the weekend, stocking up on toys, sleeping bags and other supplies, and an attorney for the family said they had not yet heard from Rowe in the wake of Jackson's death. Her former attorney told the magazine last week that she was "inconsolable" about the death of her ex-husband.

Michael Jackson died

Michael Jackson died


The death of Michael Jackson brings to a sudden end the life of a performer who captivated pop audiences with the Jackson 5 and matured into a performer of electric charisma and unprecedented crossover appeal, before living out his final years as a virtual recluse.

Jackson died June 25 after reportedly being found unconscious in his Bel Air, Calif., home. Paramedics rushed the 50-year-old icon to UCLA Medical Center, where he was declared dead. Jackson was in Los Angeles rehearsing for a 50-date run of concerts at London's O2 Arena that was to begin July 13.

Born Aug. 29, 1958, in Gary, Ind., Jackson was the seventh of nine children born to Katherine and Joseph Jackson. Along with older siblings Jackie, Tito, Jermaine and Marlon, Jackson first rose to fame as the pint-sized lead singer of the Jackson 5. Formed in 1964 and signed to Motown in 1968, the group quickly scored four back-to-back No. 1 pop and R&B hits, beginning with its 1969 debut single, "I Want You Back." That was followed by "ABC," "The Love You Save" and "I'll Be There."

Jackson's expressive tenor, electric dancing and natural charisma soon made him the group's popular focal point, so much so that he began moonlighting as a solo artist early in the group's tenure at Motown. He recorded four solo albums for the label, scoring his first top five pop/R&B hit with "Got to Be There" in 1971. One measure of Jackson's unique talent was his ability to turn a song about a rat, "Ben," into another top five smash.

In 1976, the Jackson 5 left Motown in a quest for more artistic freedom, signing with Epic Records and rechristening themselves the Jacksons. The group remained with that label until 1984, scoring seven top 40 hits during that time, including "Shake Your Body (Down to the Ground)" and "State of Shock."

It was during this time that Jackson began to come into his own as a creative force. Teaming with legendary producer Quincy Jones, Jackson released his first solo album for Epic, "Off the Wall," in 1979. It was a pivotal step in Jackson's evolution into "the King of Pop." But it was on his second solo album, the 1983 mega-hit "Thriller," when Jackson left his contemporaries in the dust. The album earned the singer a record-breaking eight Grammy Awards in 1984. His 1983 performance of "Billie Jean" on the "Motown 25" TV special became an iconic moment when he introduced his James Brown-inspired moonwalk to a national audience.

Beyond music, Jackson showed his humanitarian side on the 1985 benefit song "We Are the World," which he co-wrote with Lionel Richie. Proceeds from the song were donated to the charity USA for Africa.

report of michael jackson died

Regina Spektor, 'Far' (Sire)

Regina Spektor, 'Far' (Sire)
album review

Three years after her major-label splash Begin to Hope, New York pianist Regina Spektor went back into the studio with four (!) multiplatinum producers of varying pop backgrounds, including Dr. Dre/Eminem/Fiona Apple enabler Mike Elizondo and former McCartney/Harrison/Wilbury collaborator and ELO founder Jeff Lynne. Yet despite so many hands at the controls, the only prints and smudges to be found are Spektor's own. Far snuggles between her previous efforts, linking the heady sweep of 2003's Soviet Kitsch to the roundabout pop treats of Begin to Hope.

On lead-off track "The Calculation," Spektor purrs a scenario of love and hurt that plays out in the breakfast nook, her rubberband vocal tics flush with an almost Caribbean piano hook. In fact, the hiccups that drove songs such as her last album's hit single "Fidelity" sweeten the melodies even further here. "Eet" takes its title from the hilly phonetics of its near-yodeled chorus, while "Folding Chair" features Spektor singing as she dreamed dolphins might.

Her Joan Osborne–esque look at G-O-D on "Laughing With" is heartbreakingly sharp. But it's "Folding Chair," which refines Spektor's blend of classicist flourish and pure pop sense, that best encapsulates her talents and gnarly eccentricities. After opening with ivory wisps of the sex Pistols' "God Save the Queen," she quickly guns it back to the islands, unfurling a balmy new melody like a beach towel. Just in time for summer.

Blink-182, Weezer To Headline 2009 Virgin Mobile Free Fest

Franz Ferdinand, Taking Back Sunday, Public Enemy, more also join August 30 show in Maryland.

Perhaps taking a page from the Osbournes' concet-planning playbook, or perhaps realizing how many people are unemployed these days, organizers of the Virgin Mobile Fest announced late Tuesday that they're putting on a free show this year.

Or, more specifically, a free festival, headlined by Blink-182 and Weezer.

Dubbed the Virgin Mobile Free Fest, the free, day-long show takes place August 30 at the Merriweather Post Pavilion in Columbia, Maryland. Joining Blink and Weezer on the bill are Franz Ferdinand, Taking Back Sunday, Public Enemy, Wale, the Hold Steady, Girl Talk, the National and more.

Organizers will give away nearly 35,000 free tickets for the show, where parking will also be free. After Virgin Mobile customers get first crack through Ticketmaster on June 25-26, the rest of the tickets will be available to the public starting on June 27.

The Virgin Fest debuted at Baltimore's Pimlico Race Course in 2006, and featured the Red Hot Chili Peppers and the Who atop the bill. It expanded to a two-day event the following year, with a bill that featured the likes of 311, the Smashing Pumpkins and Velvet Revolver. Last year, Kanye West, Lil Wayne, Nine Inch Nails and Bob Dylan all appeared. In previous years, tickets to the Virgin Fest cost $100 per day.

"In a time of economic challenges and daily sacrifices, we wanted to throw a fantastic party so people could let loose and have a great time — on us," Sir Richard Branson, founder and president of Virgin Group, said in a statement.

Transformers: Revenge of the Fallen

Transformers II: Revenge of the Fallen


The battle for Earth has ended but the battle for the universe has just begun. After returning to Cybertron, Starscream assumes command of the Decepticons, and has decided to return to Earth with force. The Autobots believing that peace was possible finds out that Megatron's dead body has been stolen from the US Military by Skorpinox and revives him using his own spark. Now Megatron is back seeking revenge and with Starscream and more Decepticon reinforcements on the way, the Autobots with reinforcements of their own, may have more to deal with then meets the eye.



PREVIEW MOVIE

Night at the Museum 2: Battle of the Smithsonian

Night at the Museum 2: Battle of the Smithsonian


The number of bad sequels that dominate the film industry today diminishes hope of a worthy one until, like shiny tinsel hidden in a pudding, decent ones like Night at the Museum 2: Battle of the Smithsonian are made. Given that comedies traditionally have the benefit of getting away with a less than intellectual plot, what makes them memorable is their ability to tickle your funny bone.

Night at the Museum 2: Battle of the Smithsonian not only breaks the "curse" of the bad sequel by picking up where the previous film left off accurately, it also did more than provide a few fleeting laughs, with genuine hilarity at every turn.

Larry Daley (Ben Stiller) is back to the rescue as a renovation of the American Museum of National History brings his friends into battle with new evil. Plans to renovate the museum urges him to make a final visit and Larry feels bad that the museum's relocation to The Smithsonian Institution will mark the end of wild nights and antics. However, things go awry when Dexter the Monkey steals the sacred tablet of ancient pharaoh Ahkmenrah, unleashing hell between the old and new exhibits at the institution.

The villains in Night at the Museum 2: Battle of the Smithsonian are a foursome comprising Ahkmenrah's brother, Kahmunrah, Ivan the Terrible, Al Capone and Napoleon Bonaparte. From arguing over Kahmunrah's bizarre clothes (is that a dress or a tunic) to who the most fearsome villain among them is, all four plot to take over the world with comicality that will keep you entertained throughout.

Other new characters (which simply cannot be applauded enough) such as Darth Vader and Oscar the Grouch make appearances in the movie and express their desire to join the dark side, only to get booted out by the snooty villains with hilarious comments such as "You have too much going on here, you're evil, you're asthmatic."

Look out also for notable characters such as singing angels who may look ancient but are most definitely in tune with today's pop culture (belting out hits by the Jonas Brothers) and the statuesque The Thinker, who well…thinks a little too deep.

In short, as predictable as its ending may be, Night at the Museum 2: Battle of the Smithsonian makes for an excellent choice in comedy if you're looking for a belly aching laugh after a long day.


PREVIEW MOVIE

U2 No Line On The Horizon

U2 No Line On The Horizon
By Madeleine Chong


In the 1980s, an Irish quartet took the world by storm with their anthemic rock inclinations and charisma, rising to become one of the most well-known and loved bands in the world.

Decades on and numerous accolades later, there is no denying the tremendous pressure mounting on the shoulders of U2, with their 12th and latest album up for scrutiny against a horde of younger bands aspiring to emulate their music success.

Not content to plod the conventional ground of stripped-down, back-to-basics rock as found on their recent albums (All That You Can't Leave Behind and How To Dismantle An Atomic Bomb ), U2 has dug deep into their experimentalist beginnings to come up with an offering in a similar vein to 1991's Achtung Baby.

No Line On The Horizon (NLOTH) is an exploration of sounds, a layering of atmospheric styles and textures on a vast sonic canvas that ebbs and flows from start to finish.

The title track sounds promising with an infectious guitar groove kicking things off at the start. The Edge is in top form here, but Bono's vocals seem to have taken a backseat, sounding almost distant and ragged.

"Magnificent" has classic U2 magic written all over it, from the rolling guitar riffs to the spirited lyrics and the uplifting surge of Bono's vocals as he proclaims "Magnificent" over and over again. The power-charged "Breathe" is exhilarating and will no doubt be a crowd favorite when U2 makes its stadium rounds.

Introspective moments come in the form of soulful ballads like "Moment of Surrender" with its use of organs and gospel-tinged refrains. Bono's voice crackles with raw intensity and vulnerability here and he can (almost) be forgiven when he starts to bring in the seemingly random subject of "punching in numbers at the ATM machine." "White As Snow" draws the listener in with its subtle strains and haunting lyrics of a dying soldier's final words in Afghanistan.

Just as NLOTH has its gems, certain tracks don't quite hit the right notes. "Get On Your Boots" is a mess -loud, raucous and bordering on cheesiness with lyrics like "The future needs a big kiss, winds blow with a twist."

Somehow, the notion of Bono yowling out "Hey sexy boots…sexy boots yeah…" isn't very sexy or appealing at all. The bass is thumping but sounds like it's doing all it can to hold the song together. It makes one wonder why U2 decided to make this a single when there were other stronger options to choose from. "I'll Go Crazy If I Don't Go Crazy Tonight" smacks of formulaic safe rock and hinges on boredom.

Although U2 should be lauded for their efforts at constant reinvention and pushing the envelope in the rock genre, NLOTH possesses neither the iconic qualities of The Joshua Tree or the radical yet relevant magnetism of Achtung Baby. The album lacks consistency and strong, solid melodies in the vein of hits such as "Beautiful Day" and "Vertigo". Some tracks are better than others, but you'll be hard-pressed to find one that takes your breath away.

Taylor Swift Fearless

Taylor Swift Fearless
By Fiona Chua


When you're 11 and want a record deal, what most kids would do is whine about it to their parents, get a cookie and move on to their next dream. Not country pop darling, Taylor Swift though! With sheer conviction about what she wants to do for the rest of her life, she moved her entire family to Nashville, home of all the big Country stars to pursue that dream. Fast forward to today, now 19, Swift is not only an accomplished singer-songwriter but one with 2 albums, a bunch of awards and a whole load of nominations to her name.

With her sophomore album, appropriately titled, Fearless, (also her first international release) Taylor Swift gives us a taste of why her name is one of the most talked about ones these days (apart from a certain Jonas saga). Title track, "Fearless" starts off simple with signature country twangs and may sound like any other pop song but what keeps you tuned on is not only Swift's rich vocals, but also the unique, story-telling style of lyric writing she's oh so well known for.

Moving down the list, tracks like "Love Story" and "You're Not Sorry" (featured on an episode of CSI where Miss Swift is a guest star) steers towards mainstream country pop with its musical arrangement. If you're looking for something to tap your feet or jam to, you might find the answer in "You Belong With Me" and "Should've Said No" which features heavier instrumental works and choruses that echoes the minds of the many tween girls out there.

But how can anyone forget the song that propelled this young songstress to fame? "Teardrops On My Guitar" is a simple pop tune with true to the heart lyrics about a heartbreaking tale of liking a guy and not having your feelings reciprocated. And no, it's not some anonymous guy - with this lady, what you hear is what you get.

The album does have its low moments in the middle though, when tracks just pass you by but that doesn't last for long, thanks to her witty choice of words.

With honest lines, catchy beats and innocent guitar strums, Fearless lives up to its name and might very well be the motto for Taylor Swift herself, for at her tender age, she shows no fear in writing what she believes in.

The All-American Rejects

The All-American Rejects When The World Comes Down
By Fiona Chua


So the Rejects are back! After singing about being brokenhearted and moving along, they've finally decided that the real deal is to just get to the point.

'When The World Comes Down' does just that. With straight to your face lyrics like "Truth be told I miss You, Truth be told I'm lying" and cocky, sing-along ones such as "I wanna touch you, you wanna touch me too", backed with catchy hooks and the infectious pop rock tunes they're so well-known for, the album seems to be ready and all set for every girly teen's school dance anthems, "My Top Rated" playlist in their iPod, slumber parties and of course, those lovelorn moments.

Don't pass this album off as just another one of their previous works as AAR shows maturity, creativity and exudes experimentation with their new stuff. Taking a cue from the final track off their second album, orchestral works are featured in this new record, along with string instruments, a choir and other lesser known objects to music.

Lead single, "Gives You Hell" gives a sneak peek to this new approach with a gang choir doing the best sing-along and remember- these-lyrics chorus bit. The band get their hands dirty with experimentation with each member contributing to some of the new sounds for the tracks - playing with items from musical instruments like the recorder to everyday items such as the broomstick, in addition to the instruments they're better known for.

The result? It's neither a failure, nor a perfect pass. Without a doubt, it's interesting to listen to. The tracks however, tend to drone on for a bit and blend into each other after a while. What's missing on this 11 ditty piece is the powerful vocal style of front man, Tyson Ritter and the overall anthemic approach, heard in previous hits.

The final verdict? When the world comes down, this probably isn't the best album to hold you up, but it'll put you in places, till something else better comes along.

Kelly Clarkson All I Ever Wanted

Kelly Clarkson All I Ever Wanted
By Rachelyn Gordon


Arguably the most successful American Idol winner yet, Kelly Clarkson is back with her fourth album All I Ever Wanted.

A catchy anthem that permanently etches itself in your mind is always a good way to start off an album, but the good impression eventually wears off after a string of otherwise cookie-cutter style forgettable songs. Worse still, the opening riffs of certain tracks halfway through the album start to sound similar to pop hits by other artists out there.

"My Life Would Suck Without You", the aforementioned catchy tune, speaks of the kind of relationship many will be familiar with - the love-hate type. Lyrics are penned accurately to capture the frustration felt in such relationships but at the same time, allowing the vulnerability of still being in love to show through. Extremely marketable and memorable, it is easy to justify this hit's radio success all over the world.

Sadly, this resonance does not carry through to the album's subsequent songs. "I Do Not Hook Up" may be a favorite with fans but may prompt a few snorts from skeptics who find it hard to believe that the pop songstress will practice what she preaches in this number.

Continue down heartbreak central and halt with a crash at songs "Already Gone" and "If I Can't Have You". The openings of these two songs resonate with such strong familiarity to Beyonce's "Halo" and Miley Cyrus's "Fly on the Wall" that you will have to stop to remind yourself that this is a Kelly Clarkson CD.

This apparent lack of originality is compensated by the attitude-laden "Whyyawannabringmedown?." A surprising choice of melody for the country-pop crossover singer, this tune has a rough, hip-hop edge to it, right down to the deliberate spelling and phrasing of the song title.

More could have been done to show off the vocal range that Kelly Clarkson is famous for; instead this album seems to be a further extension of her previous two, still focusing more on steering her image in a new direction. All I Ever Wanted ends on a rather somber and uninspiring note with the underwhelming ballad "If No One Will Listen".

Green Day 21st Century Breakdown

Green Day 21st Century Breakdown (Reprise Records)
By Ben Low


5 years and 13 million American Idiot album sales later, Green Day's Billie Joe Armstrong, Mike Dirnt and Tre Cool return with 21st Century Breakdown, an all too familiar, blatant punk assault of chaos, protest and revolution.

The second long-awaited punk-rock opera begins with Act I: Heroes & Cons, with "Song of the Century", a 58-second radio frequency entangled anthem struggling to be transmitted.

Almost immediately, we are confronted with piano, a rarity in their instrumental arsenal, introducing the longest and boldest track of the album, "21st Century Breakdown", which speaks of an era of decline and the underdog spirit. This eventually leads us into a chain reaction of harmonies through to Act II: Charlatans & Saints (6 tracks) and followed by Act III: Horseshoes & Handgrenades (5 tracks), which depicts the journey of the opera's two reoccurring characters, Christian and Gloria.

Exploding into 21CB's first single, "Know Your Enemy" is as catchy and fist-pumping as any anthemic, rallying song can be, thanks to the blare of punchy guitars riffs and its undeniably melodic chorus. WA-HEY!

One of the highlights on the album is its perfect harmony of calm and fury. For example, "Viva La Gloria" (a song about finding yourself in someone you've been searching for all your life), "Before the Lobotomy" (self-destructing behavior and its effects on one's hopes/ambitions) both operate with soft/loud guitar mechanics invoking lull serenity, before frantically igniting into a thunderous head-banging moshpit frenzy. Then, out of nowhere, the trio gently escorts us into an outer space theatre with 'the most unapologetic love song' entitled "Last Night On Earth".

Green Day is no stranger when it comes to experimenting with different styles of music. They have shown their resilience in albums like Nimrod(1997) and Warning(2000), introducing harmonica solos, horns/trumpets and even a dash of accordion.

This time on 21CB, it is apparent in "Peacemaker" (a tale of revenge), which is presented with a gypsy-like carnival atmosphere. There is also the country-western inspired b-side "Hearts Collide", which offers guitar solos reminiscent of the mid-60s.

The second single of the album, "21 Guns" is a mammoth power ballad in the shadow of AI's "Wake Me Up When September Ends" in both rhythm and message: War and fallen comrades. "21 Guns" will be released on June 17th 2009 and will also be featured on the Transformers: Revenge of the Fallen soundtrack.

The marriage of Green Day has lasted over 22 years and their message has been relevant and relentless. The important thing to remember here is that they remain faithful to what they stand for and have never been afraid to speak their mind.

Fueled with the same anger and passion from their 1994 break-through album Dookie(certified "Diamond" no less, with 10 million records sold) that revitalized mainstream music and popularized punk rock, they bring their latest offering to life in a stronger light, for a greater good in a world where there is no shortage of crisis.