Amy

she is still prob losing weight, plus she has just travelled thousands of miles across the world.

TMZ have a short video of them leaving the airport http://www.tmz.com/2017/07/10/janet-jackson-baby-eissa-arrive-united-states-america/

Different unblurred picture http://i66.tinypic.com/11jt4hs.jpg

Seeing her makes me so happy and seeing them both together makes me twice as happy

well until something better comes along.... hopefully it won't be too much longer for our next dose of Mama J

sorry, what I should have said was that the white people I have encountered tend to have less of a problem with mixed relationships than the black people I have encountered.

Sad but true. Any opposition to mixed race relationships that I have personally seen have come from the black community. It's okay for a white person to date a black person but when it's the other way round- and especially if it's a black guy dating a white girl - the black person is accused of diluting their bloodline or disrespecting their race.

I think the difference for me is that Janet's photo op never showed Eissa, if it wasn't that we saw him being loaded into the car the pushchair could easily have been empty. Wissams pictures have always used Eissa to sell them, nobody is going to publish pictures of Wissam without the baby.

Everyone could see this coming from the beginning except for him. I don't follow the Kardashians but I do feel a little bit sorry for him, he obviously has issues with self esteem and losing his father and she completely took advantage of him. Stupid of him to spend so much cash on her willingly, someone should be advising him to invest in other kinds of 'assets'.

Unblurred photo... Eissa looks bored as f. Does anyone else think he is starting to look a little like Blanket or whatever he calls himself now?

Maybe the blurring is a condition of the divorce? But I know I would rather see Eissa's cute face. I think Wissam needs to rethink these arranged photo ops, choosing the same park bench each time is going to get boring.

Agreed. Janet has class and knows the limits, she's not Madonna.

I still can't figure out what he needs an assistant for tho

there are a TON of law firms in Mayfair, let alone the rest of London that specialise in family and divorce law that it could be. You are only going to find out if some insider lets it slip or if you contact some Mayfair lawyers to ask if they recognise anyone.

I remember a really old magazine interview from either the late 80s or very early 90s where they said her cousin Jessica was her assistant. But there could just be 2 Jessica's.

The other differences between the MJ court appearances and this one is that she was actively using a stylist then and she knew the worlds media was going to show up to photograph everyone. Fast forward to now and I doubt she has used a stylist in a while plus she is actively loosing weight and probably doesn't feel comfortable in fitted clothing yet. This isn't headline news, she doesn't have to dress up for anyone. All I really want to know is what is in her and Randy's backpacks, they look heavy.

it's so good to see her again, and looking so happy too!

True. Technically (in the U.K. at least) if neither parent has full or residential custody granted by the courts then they need the other parents permission for anything regarding the child.

This is huge for them and I can't imagine Janet not being a part of it even if it is just a video message.

http://www.billboard.com/articles/columns/pop/7832764/terry-lewis-interview-songwriters-hall-of-fame You and Jimmy reunited with Janet Jackson for her current album Unbreakable. What was it like working together again after so many years? We've always had just a great rapport with Janet, creatively and socially. She's like our sister. For so many years we did great records together, and then she grew to a point where she needed to go off and do some different things, as all artists do. During that period we really missed her and would always stay in contact and, you know, try to help her through whatever [she needed] because we knew the combination of how she liked to do things. The goal was always to help her win at all costs. But in doing the new album, it was an amazing thing just to get back together and spend time together again. It was almost like going back to the beginning because for all the other albums between Control [released in 1986] and now, everybody wanted to be involved, everybody had an opinion, and everyone wanted to stick their finger in and put their fingerprints on things. And in the early days of Control and Rhythm Nation, we didn't really have that or allow that. The only person involved would be [A&R exec] John McClain, and he'd bring keyboards and whatever, but everybody else stayed away. But after that, after she had two big hits, everybody wanted to have an opinion. How did you manage all those cooks in the kitchen? We managed it easily because at that point we had moved back to Minneapolis, and distance causes a great buffer. So if you wanted to work with her you had to come to Minneapolis. Janet was perfectly happy and comfortable being in Minneapolis, but a lot of people didn't want to come, especially in the winter. Nobody wants to come to Minneapolis in the winter, so it was definitely an advantage in that immediately we had our own identity in a sense. We were separated from all the trends and we were set into an area where we had to create our own, which was good. Our influences there were quite different than they would've been had we been on either coast or in the south. Were there influences and elements you wanted to make sure were conveyed on Unbreakable, or was it just more a vibe of getting the band back together? Unbreakable was definitely a "get the band back together" moment. It wasn't about what we created as a production team; it was about what we created as an overall team, with Janet. What I tend to do is always just lean on the artists to see what's in their brain and in their heart. One of the things we always say is, "What comes from the heart reaches the heart." We wanted her to have the concept of what she wanted to say, instead of us putting words in her mouth. What projects are you working on now? Lots of projects [laughs]; I'm not a one-trick pony. We just finished a full Peabo Bryson record, I don't know the last time Peabo Bryson had a record out. It sounds incredible. Peabo is just one of the great voices of our time. People forget how great he is; he just exudes class. It's something that's so needed. We need the bar to be set high, and you need people that can set the bar high so they have something to aspire to. This is our first opportunity to work with him. And we're working on a Jam and Lewis album, which is a compilation project, and this will be volume one of many to come. We have music with all our friends we worked with over the years, and we have some new unreleased music and that is extraordinarily fun. It's some new material, some going back and pulling things out. All of the above. We have people like Janet, Usher, Mary J. Blige, Heather Headley, Alexander O'Neal, The Sounds of Blackness… you know, just people from our history. That is the fun part about it. If you can go back and find an old track and update it and make it relevant, that in itself is fun. It's stuff you remember and thought should have had a life at the time you created it, but it didn't. That's the way it works. Like "No More Drama" -- we created with Mary and it took maybe four years, five years before it actually came out and became a hit. She put it on the back burner and then it finally came out. Can you take us back to the beginning, to creating some of your early hits? "What Have You Done For Me Lately" [performed by Janet Jackson] -- this was back to the beginning. That song was actually supposed to be part of the first Jam & Lewis album for a group we had called The Secret. And we had put it aside, and we were kind of playing down some music for the A&R person at the time, his name was John McClain, and played some music we had created for Janet—pretty much the rest of the Control album, and then we started playing some stuff for what we were thinking at the time was going to The Secret album. And he said, "What's that?" And we said, "That's something from our album." And he said, "I need that on Janet's album." And we were like, "No man, this is for our album." We were going to be the artist behind it. So he said, "Alright, we'll play the song for Janet and see if she likes it." We went to the studio the next day and we had the song playing in the background. Janet popped her head in the door as soon as she heard it and said, "Who's that?" We said, "It's just a song?" "Who's it for?" And I said, "I guess it'll be for you if you like it." She said, "I like it."

And they should accept their awards wearing Induct Janet tshirts

I am glad you are okay Selz. I was sitting next to someone in the waiting room before a meeting and they started chatting to me, one of their cousins was stabbed in the attack and is still in hospital recovering.

Not necessarily, it makes sense having the same dancers, they know all the choreography already and already have costumes. I am just starting to think that fans in general jumped the gun when she announced the continuation of the tour and her separation from Wissam and automatically thought she would bring the sexier costumes and male dancers back. Just because the name has changed and there is new artwork doesn't mean the content is new. It could just be rebranding. ?

So in regard to earlier speculation about dancers it looks like Kyndall and Taylor will be rejoining the tour. It makes me think that maybe they won't be changing much/anything, everything has been bought and paid for it's just a case of completing the tour.