Arctic Monkeys have won the Best Video award supported by NME TV at the Shockwaves NME Awards 2008 for the promo for their single �?Teddy Picker’. The video features a gangland war between criminals and clowns in full costume, along with childhood snaps of the band themselves. Receiving the award from presenters Lauren Laverne and Chris O’Dowd, the band said: “Thank you very much. Everyone appears to have woken up in the last five minutes, a bit of a hosepipe drought before. The first five minutes reminded me of a school assembly. “Thanks very much for this, Roman Coppola was the one who directed this, so a big shout out to him.” The other nominees for the Best Video award were Bloc Party (’Flux’), Justice (’D.A.N.C.E.’), Klaxons (’Golden Skans’) and My Chemical Romance (�?Teenagers’). For all the awards coverage head to NME.COM/awards now. We have exclusive picture galleries, live webcams, minute-by-minute blogs straight from the ceremony and Big Gig and video interviews with the biggest names at the ceremony. That’s just the beginning - the ceremony is being broadcast on E4 at 11pm (GMT) tonight (February 28), with highlights following tomorrow (29) on Channel 4 from 11.50pm. Meanwhile, next week’s issue of NME - on UK newsstands from March 5 - will contain the ultimate coverage, interviews and photos from the 2008 Shockwaves NME Awards.

PEOPLE magazine has won the bidding war for the first snapshots of Jennifer Lopez and Marc Anthony’s twins. The baby girl and boy, whose names are not yet known, were born on February 22, and have already set a record. People’s $6.5 million bid is the most money ever paid for celebrity baby photos. Brad Pitt and Angelina Jolie’s daughter, Shiloh, was the previous record holder, with her first pictures going for $4 million, again to PEOPLE.The next celebrity baby bidding war is sure to be for Keith Urban and Nicole Kidman’s baby, due this summer. The Sydney Morning Herald reports that magazines in the U.S., UK and Australia are already fighting to be the first to introduce ‘Baby Urban’ to the world. Friends of the couple say they’re mulling over several offers and will likely donate the money to charity.

SANTA MONICA, California — At first glance, you might assume “Charlie Bartlett” is another Hollywood coming-of-age wannabe in the mold of “Igby Goes Down,” “Tadpole” and “Rushmore,” movies that try to pour disparate classics like “Harold and Maude,” “Ferris Bueller’s Day Off” and “The Graduate” into a blender to see if a yummy concoction spills out. Look a bit deeper, however, and you might find a flick with its finger on the pulse of one of society’s fastest-growing cancers. ” ‘Charlie Bartlett’ is the story of this kid that gets kicked out of private school and goes to public school with the intention of becoming popular,” the film’s 18-year-old star, Anton Yelchin, explained to us recently. “And he sells prescription drugs and becomes the school’s psychiatrist.” As portrayed by Yelchin, Charlie is a smooth-talking kid from a broken home whose mother (Hope Davis) can’t face the day without a handful of pills and a chardonnay chaser. Facing the age-old dilemma of how to become popular at a new school, Charlie begins telling his shrink that he’s plagued by everything from depression to ADD, then sells the prescribed pills to classmates eager to enjoy a cheap high. “The whole point isn’t that Charlie Bartlett takes Ritalin to help him concentrate. The point is that he doesn’t need Ritalin, so he has a reaction to it and gets really high off of it,” Yelchin said of an early scene in which his character realizes the powers of the pill. “I didn’t take Ritalin for preparation on [those scenes], but I think [writer/director] Jon [Poll] experimented with it, to try to figure out what he wanted Charlie to take.” Following the recent deaths of Heath Ledger and Casey Calvert, the dangers of self-medicating are finally emerging from society’s shadows. According to researchers at the Centers for Disease Control and Prevention, cases of accidental drug poisoning rose 68 percent between 1999 and 2004, and the problem continues to get worse. “If you look at recent news, there are a lot of stories about prescription drugs,” Yelchin said. “I think it makes certain people smarter. … We’re so used to all these other drugs [being dangerous] that we feel more comfortable with pills, and I think that’s a huge problem. They are no less of a drug than anything else you put in your system.” Undoubtedly, for every high-profile celebrity who struggles with addiction, there are tens of thousands of nameless people doing the same. According to the National Institute on Drug Abuse, an estimated 48 million Americans have used prescription drugs for nonmedical reasons in their lifetime. “A lot of the college students I know are using them,” Yelchin sighed. “There’s a certain [new belief] of our society that everything has become a lot more tedious, and you’d need a lot more than 24 hours in the day to get all your things done. At the same time, there’s a tendency in our society to categorize everything, and put everyone into a box of their own. And you give them a prescription for their box. “[’Charlie Bartlett’ explores] the whole idea of these drugs, and what they are doing to kids; how kids are getting these drugs, and who they’re getting them from,” he observed. “And what kind of society advocates the use of this medicine, to a point where kids can get them and pop them.” Insisting that the film was designed to “sound like a comedy, but look like a drama,” Yelchin added that “these themes aren’t to be taken lightly; they’re to be taken into consideration, but it is a funny movie.” As such, Charlie Bartlett isn’t your garden-variety drug dealer. Instead, he sets up an “office” in the boys’ bathroom, plays psychiatrist to his fellow students, then has his partner, the school bully (Tyler Hilton), fill the role of pharmacist. “That’s what Charlie Bartlett does,” explained Yelchin, remembering characters like the school cheerleader who has slept with the whole football team in an attempt to feel wanted. “He takes each kid and really talks to them and gives them his honest opinion. He’ll look up their symptoms, and he won’t just give them Ritalin if they need Zantac or whatever.” By capitalizing on teenage insecurity, and giving kids a quick fix without ever involving their parents, Charlie soon becomes the coolest kid in school. But real life soon invades this fantasy tale, when a depressed student takes too many of his pills. “He uses the pills and ODs,” Yelchin shrugged. “If you don’t learn from that, I don’t know what to say. “The whole point of that character is that you as an audience member learn from it, but also that Charlie Bartlett learns,” he added. “Some people do need these medications; some people cannot function without these medications. And then other people can function perfectly without them and need something else. … [Charlie] realizes that the most important thing he is giving is the honest advice [that kids aren’t getting from adults]; it’s not so much the pills. … The point is that, if given the opportunity to vent, a lot of people just need that. “At some point he does realize, ‘I’ve got to adjust how I’m going to do this,’ ” Yelchin said, adding that he hopes viewers enjoy a few laughs with Charlie, but also take home the same message that he and his classmates do: “Selling prescription drugs isn’t particularly the best thing to be doing.” Check out everything we’ve got on “Charlie Bartlett.”

I had just graduated from high school around the time of the whole hair-metal explosion in the mid 80's, so the music of Winger and other popular bands of the genre continue to hold a special place in my heart. I was a decent fan of Winger's first two albums, 1988's self-titled debut, and 1990's In the Heart of the Young, but I lost touch with the band during the mid-90's after grunge-rock came along to kick hair-metal off the block. It had been almost 15 years since the last time I took a Winger album for a spin, but my interest was peaked again last year when I stumbled across Kip Winger's Down Incognito album in a music store bargain bin, where I think they were actually offering you money to take it. I thought, "why the hell not?" and I'm now glad I gave it a chance. The album is chock full of excellent acoustic makeovers of many Winger band classics, as well as Kip Winger solo songs. Most importantly, it introduced me to many of the best songs from Winger's oft-forgotten, and very underrated, Pull album of 1993. Last year the original Winger line-up, with the exception of John Roth taking Paul Taylor's spot, reunited and hit the U.S. club circuit to promote their new album IV. Their March 3rd, 2007 performance at the Galaxy Theatre in Santa Ana, CA. was also recorded for posterity and comes to you as Winger Live, a 19-song, career spanning concert DVD that is also the band's first. The video abruptly starts off as the band is already playing the first few notes of their opening number, "Blind Revolution Mad." This is one of my very favorite Winger tracks, but they skipped the cool acoustic intro section that dramatically builds to Reb Beach's potent electric guitar riff, which really kicks the song into gear. They simply started in second gear. Led by Kip Winger's movie star good looks, Winger were once the quintessential, pretty-boy, hair-metal band throughout the late 80's and early 90's - topped only by perhaps Bon Jovi. Their current appearance could not be more polar opposite from those glory days. Yeah, Kip still sports the same perpetual three day shadow that he always did, but it somehow looks more scruffy these days. The giant, teased hairdos have all been replaced with the straight, unwashed look, and the new wardrobe is simply jeans and tee shirts. The focus now is only on the music and the musicianship. I have not heard the new IV album yet, so I was anxious to hear a few of the tracks that were performed at this show. "Your Great Escape," "Generica," and "Right Up Ahead" are the three new songs they tackled, and it sounds like IV continues in the much darker, heavier, and more progressive vein of Pull. None of this stuff has the real "catchiness" factor of some of their earlier hits, but, then again, I wouldn't be the slightest bit interested in a bunch of "Seventeen" and "Miles Away" rehashings. The rest of the set is a smorgasbord of greatest hits, with my favorite performances being "Rainbow In The Rose," "You Are The Saint, I Am The Sinner," and "Hungry." Even more so than on the album version, "Headed For A Heartbreak" is transformed from a mere gorgeous power ballad into a guitar-fueled epic, thanks to Reb Beach's phenomenal solos. The first set is also broken up by some extended solo performances from both Beach and Rod Morgenstein. John Roth, who is a superb guitarist in his own right, had already been given a few short solo spots during the set, so now Beach could have the spotlight all to himself for his solo. Morgenstein, who came from more of a jazz fusion background, playing with the Dixie Dregs, and Dream Theater keyboardist Jordan Rudess (also formerly with the Dregs) before joining Winger, throws down an impressive drum solo that is sure to please his fans.page 1 | 2

James Blunt has announced an autumn arena tour of the UK that will see him playing nine shows. The singer will head out in October starting with a gig at the Cardiff International Arena and finishing up at London’s O2 Arena.

Listening to and writing about the reissued version of Nick Lowe's great album Jesus Of Cool earlier this week put me in one of those weird moods where I pulled out all of my old late seventies punk and new wave albums and spent hours listening to them. I had honestly forgot how great some of that music was, and still is. The Dead Boys Young Loud And Snotty, The Stranglers Black And White, Dwight Twilley, The Saints — it's just great stuff. Missing however, was one of my favorite records from this period, Jilted John's True Love Stories. It's not often that an album makes you feel both happy and sad at the same time. But True Love Stories does exactly that, with its often hilariously told, but straight-up tear jerking tales of the hapless John being dumped by a long line of girls with names like Sharon, Karen, Shirley, and Julie. All of this is set to frenetically played punk-pop, and some of the most simple, yet funniest lyrics I've ever heard. Fortunately — and much to my amazement and delight — a quick search on Amazon revealed that the album was actually still available on import CD. Which sent me scurrying for my credit card… I was actually first introduced to Jilted John by Nick Lowe himself. Meeting Lowe backstage at a Rockpile concert, I noticed all the buttons he was wearing. There was one for Abba, another for Wreckless Eric (I'm A Mess), and yet another that simply said "2-3-4 'Ere We Go." When I asked Lowe about this odd button, he explained to me that it was a lyric at the heart of a record called "Jilted John" by an artist also called Jilted John, that was racing up the British pop charts at the time. I knew immediately I had to check this Jilted John character out. So, about that whole "happy and sad" thing? Well, the happy part about Jilted John comes from the fact that the lyrics on this record are so damned hilarious. On the self-titled track that became such a smash in England, John is dumped for a guy he caustically refers to as "Gordon The Moron." "Who's this bloke I asked her?/ Gordon she replied/ Not that puff, I said dismayed/ Yes, but he's no puff she cried/ He's more of a man than you'll ever be," John sings in this simple, yet raucously played song. As the song later fades out, John says "I oughtta kick his bloody head in, but he's bigger than me innit he?" In the video below, Jilted John plays the song on the British Top Of The Pops show (warning: the video starts quite loud).page 1 | 2

According to People magazine, Jennifer Lopez gave birth early Friday (February 22) to twins, making the pop star and actress a first-time mom. The babies — a girl and a boy, delivered in that order — were born on Long Island, New York, and weighed in at 5 pounds and 7 ounces, and 6 pounds, respectively. The newborns are husband Marc Anthony’s third and fourth children. Lopez’s pregnancy was once a closely guarded, yet poorly kept, secret that provided ample ammunition for rampant online media speculation — that is, until Lopez confirmed her pregnancy back in November, during a concert in Miami. It was the last stop on the couple’s joint U.S. tour, and the last of a sold-out three-night stand. “Marc and I are expecting a baby,” she told the crowd at the packed American Airlines Arena. “We didn’t want to say anything before because we didn’t want to take away from the tour. This is a special time in our lives. And we waited until the last show to tell you.” She then added that the couple would now “go away for a while.” According to reports, Lopez’s public pregnancy announcement caught her husband off-guard. When the pop star broke the news, she turned to her husband and said, “I hope you don’t mind.” Anthony reportedly shrugged his shoulders, caressed Lopez’s belly and leaned over to kiss it, saying, “No, I don’t mind at all. … I didn’t know she was going to talk.” Earlier this month, her father, David Lopez, spilled the beans about the singer expecting twins during an appearance on Spanish-language station TeleFutura’s “Escandalo TV.” “Jennifer and Marc are delighted, thrilled and over the moon,” Lopez’s manager Simon Fields told People. Lopez, 39, and Anthony, 38, were married in 2004.

Charlie Bartlett yearns to be loved, or even just liked. He seems to have everything. He’s bright and cheerful and lives with his doting mom in a mansion of baronial luxury. But his indomitable determination to help others, to make them as happy as he should be, has only gotten him in trouble. Now, at 17, having been booted from a series of private schools, he’s enrolled in a public high school, where fellow students mock his sunny disposition (”Hi, I’m Charlie Bartlett!”) and his preppy blazers and ties, and crude bullies pummel him in the lavatory. What’s a chronically upbeat guy to do? With “Charlie Bartlett,” first-time feature director Jon Poll, a veteran film editor, has created a small classic of teenage tribulation. The movie’s script, a debut effort by TV writer Gustin Nash, is rich in funny twists and surprises, and alive with fully drawn characters we can really care about. Most engaging of all is the picture’s star. Known until now chiefly as a child actor in movies like “Hearts in Atlantis,” Anton Yelchin gives a performance here that’s way beyond his years. With generous support by Hope Davis and Robert Downey Jr., Yelchin carries off every scene with fresh, vibrant energy — it’s hard to imagine anyone else inhabiting this role so inventively. Charlie’s mom (Davis), distraught over the loss of her husband (”He’s not with us anymore,” Charlie says, misleadingly), maintains her sweet serenity on a diet of wine and Klonipin. Thus instructed in the virtues of medication, Charlie sets out to make the world — or at least his school — a better place. Perceiving that his classmates all suffer from traditional forms of teen torment (depression, frustration, nonexistent self-esteem), Charlie begins describing their individual symptoms as his own to his mother’s on-call psychiatrist, who blithely writes out prescriptions for the other kids’ problems. Soon the school is buzzing with manic high spirits, and Charlie, dispensing meds and even psychiatric consultations in a newly popular bathroom, is a hero. He’s neutralized the head bully (luggishly lovable Tyler Hilton) by bringing him into his drug-therapy program as a partner. But he’s also drawn the suspicion of the school’s principal (Downey), whom he further alienates by taking up with his daughter (Kat Dennings, from “The 40-Year-Old Virgin”), on whom Charlie comes calling in the family limo. The characters glow with recognizable human quirks, from Downey’s principal, a dedicated history teacher driven to booze by his unhappiness at being elevated to head disciplinarian, to Kip (Mark Rendall), the school outcast (”The last time a girl talked to me was in third grade”), and resident hot chick Whitney (Megan Park), who disconsolately confides to Charlie that “I’ve slept with every guy on the football team. Well, all of the backfield, anyway.” By the time the movie arrives at its perfectly formed conclusion, we feel we’ve come to know these characters almost as well as we do some people in our own lives. We wish they could stick around. Don’t miss Kurt Loder’s review of “The Signal” here. The Academy Awards are this weekend, and MTV News will be on the red carpet with a live preshow on Movies.MTV.com — we’ll also have tons of photos, video and, of course, a full report on the show, the fashion, the stars and much more! Be sure to check it out on Sunday, February 24, beginning at 7 p.m. ET on Movies.MTV.com!

Advertisers have skillfully taught us to take pride in being "the first person on our block" to own this product or buy this car, or especially to be the first to discover an artist before they hit the big-time. And that pride in being part of the consumer avant garde is justified when a group like Timecube comes along. The guys at Timecube have been at it for years and it shows. Eric Fillip – aka "White Sexual Chocolate," complete with trademark Wafro – mans the drums and percussion masterfully, and acts as a stabilizing force throughout the project. Shane Dignan's guitar riffs add a blessedly disruptive element to an album that might otherwise be more understated and mellow. And Joshua Thomson's contribution on the Alto and Soprano saxophone give the songs a smooth, jazzy feel that lends a certain coolness to the music. Timecube's versatility and range gives the self-titled project that "something for everybody" feel that typically results in great music. Timecube starts with a brief, comical interlude, not unlike those done by M.F. Doom. "Slight Neurosis" is a fusion of smooth jazz and rock and roll, an internal struggle between the smoky bar and the stadium-filling break-the-guitar rock and roll show. The album truly comes alive with "Zabat! Zabat!" The third song of Timecube is the exact opposite of our third month, March: it comes in like a lamb and leaves like a lion. Among friends for whom I've played Timecube, "Zabat! Zabat!" is far and away the fan favorite. "Micaela," which Thomson tells me is about a young woman he once knew – ask him for the details – is carried largely by Dignan's guitar. "Nyquil Daydream" is more of the trippy, psychedelic Pink Floyd-meets-Led Zeppelin variety, the kind of song that you can play, lowly, in the background as a "life soundtrack" or listen as you're counting sheep and trying to fall asleep. Fusion is the name of the game on Timecube because its artists are constantly pushing their tastes and their range. At its heart, Timecube is a jam band. Its collection of past and present collaborators encompass a wide range of skills, and they're always looking for new influences to draw from and new artists with whom they can collaborate. "End of an Era" is a fitting send-off, and perhaps Timecube's own way of social commentary via music. For all the genres that Timecube brings together, the one thing it doesn't take advantage of is the vocalist. They prefer to allow the music to speak for itself, and would rather no one be known to the media or its fanbase as "the leader" in what is a team effort. The guys in Timecube don't mind sharing the credit and allowing each others' s abilities to shine through.page 1 | 2

Jack Johnson has been unveiled as the other headliner at this years inaugural All Points West Festival in New Jersey. Johnson joins Radiohead – who will headline the first two nights of the event, which runs from August 8th-10th. Other acts confirmed for the festival include Underworld, CSS, Cat Power, The New Pornographers and Black Kids. The festival itself will take place in Liberty State Park with festivalgoers being ferried to and from the festival site. The event has been organised by the same people responsible for the West Coast Coachella Festival in California.