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The 50-year-old singer had filed a petition to adopt Chifundo James, whose first name means “mercy” in Chichewa, the country’s national language. Her adoption was denied last month because Madonna did not meet a residency law that requires applicants to have lived in the country for some time before adoption.

She has three other children, including a son, David Banda, whom she adopted from the southern African nation in 2006.

Madonna’s appeal to the Malawi Supreme Court in Blantyre, the commercial capital, started as a man claimed paternity of Chifundo, who has lived in an orphanage most of her life. The girl’s teenage mother died shortly after childbirth.

The Malawian attorney general’s office told CNN that it considers Chifundo’s grandmother and uncle, who support the adoption, as her legal guardians.

James Kambewa, the man claiming to be the father, has only been heard of in the media, an official said.

“He will have to undergo paternity tests in order for us to determine whether or not he is indeed the father,” said Zione Ntaba, a spokeswoman for Malawi’s attorney general. “But as far as today’s proceedings go, Madonna’s lawyers are the only party making submissions.”

Liz Rosenberg, a representative for Madonna, said they do not know that he is the child’s biological father.

“What I know is that she was not visited for the three years she was in the orphanage by anyone claiming to be a parent,” Rosenberg said. “And I know that he wasn’t at court or represented regarding the appeal for the adoption.”

“It is in the hands of the court, and I hope that they will rule based on what is in the best interests of this child,” she said.

Two outside groups — the Malawi Human Rights Commission and the child rights group Eye of the Child — are filing submissions in the case, according to the attorney general’s office.

The Malawi Human Rights Commission had expressed surprise at the initial ruling preventing Madonna from adopting Chifundo. Eye of the Child, on the other hand, has previously expressed the view that Madonna should be investing in projects aimed at improving the lives of needy children in Malawi instead of adopting.

It is currently unclear what the two parties will argue in court.

Malawian law stipulates that a prospective adoptive parent should live in the country for at least 18 months before he or she can be granted permission to adopt a child. This condition was waived when Madonna adopted David Banda. The judge in that case said the interest of the child outweighed the issue of residency.

Madonna was recently divorced from British filmmaker Guy Ritchie. She has been involved with Malawi for several years and made a documentary, “I Am Because We Are,” to highlight poverty as well as AIDS and other diseases devastating children in that country. She also co-founded a nonprofit group, Raising Malawi, which provides programs to help the needy.

“I know, right,” laughed Elliott Yamin. “And don’t forget the two Christmas albums I’ve done.”

Yamin, the third-place finalist in season five of “American Idol,” is not what you would expect from someone who has achieved fame and success from the hugely popular show.

Years after he wowed judges with his soulful sounds, the independent artist remains humbled by the attention and grateful to the show and its fans for a shot at stardom.

“I still have a sizeable fan base from being on the show,” Yamin said. “To get a toenail in the door of this business is hard enough and to sustain your success is even harder.”

He’s shooting for that continued good fortune with the planned May release of his sophomore album, “Fight For Love,” which continues his love affair with soulful R&B music.

His self-titled debut album, which came out in 2007, entered Billboard as the highest new artist debut on an independent label in SoundScan history (No. 3 on the Top 200) at that time and spawned the platinum-certified, Top Five hit “Wait For You.”

This time around, Yamin doesn’t have the mega-machine that is “American Idol” buoying him, but he does have a few years experience in the business and more creative control, he said.

“The first album, we took our time with it, but at the same time we wanted to capitalize on the exposure that ‘American Idol’ gave me and I was green to the process of recording,” he said. “This record differs because I’ve really grown and come into my own as an artist and a singer and I got to be part of the whole record. I co-wrote most of the album.”

He also enlisted the help of some high-profile producers, such as Dave Tozer (who has worked with the likes of Jay-Z, Kanye West and John Legend), StarGate, and Jermaine Dupri.

And while he acknowledges that he has not had the same type of career as a fellow contestant from that season, Grammy-nominated rocker Chris Daughtry, Yamin said he is content with being an independent artist on Hickory Records.

“There’s nobody really breathing down my neck telling me what I should or shouldn’t do. It’s very grassroots style and very organic the way we have done it,” Yamin said. “When it comes to touring and merchandising, it’s a little more profitable to me than, say, somebody even like Daughtry, who is selling millions and millions of records, because our deals are a little different.” iReport.com: What do you think of this season of “Idol”?

“I don’t have to sell millions and millions of records, although that would be nice, to see a profit,” he added. “[As an independent artist] I’m my biggest asset.”

Cortney Harding, indies correspondent for Billboard, said Yamin appears to be playing it smart.

” ‘American Idol’ gives you a boost and you can take that and use it how you want,” said Harding, who added that the indie deals can be structured so that the artist recoups money quicker. “If you are a radio artist, you kind of need that major label machine, but if you want to do something that’s not straight radio-friendly pop — and you find the right partnership and the right people — then it’s great to go indie.”

Yamin has clearly done well, as evidenced by the recent purchase of his first home in Los Angeles, California.

But it’s the creative freedom that he most enjoys, and which allowed him to pour himself into this latest project.

Yamin used the album in part to help him deal with the grief from the death of his mother at age 65 this past year. “Someday” is about the loss of Claudette Yamin, who could often be seen in the audience of “American Idol” proudly cheering for her son.

“Losing her was really tough,” Yamin said. “Music has always helped me in that it has always been a creative outlet for me to channel any emotion, whether it be good, bad or sad.”

Yamin can thank his mother for his exposure to R&B, because she was also a soul singer. He grew up listening to the greats like Stevie Wonder and Donny Hathaway.

He said people have always expressed surprise at how soulful he sounds, and “American Idol” helped showcase his talent to the world.

For that reason, Yamin said, he doesn’t mind that he is still talking about “AI” three seasons later.

“I understand that I will always be synonymous with the show. I get that and I am all right with it,” he said. “I think I am a few more hits away from just being ‘the artist Elliott Yamin.’ ”

The answer is the title of their latest album: “Yes.”

The British duo will release their 10th studio album on April 21 in the United States through Astralwerks. “Yes” has been out in the United Kingdom through Parlophone/EMI since March 23, and entered the Billboard UK albums chart at No. 4.

“We thought that ‘Yes’ just kind of summed up the theme of the album. It’s a positive, upbeat, euphoric pop album,” keyboardist Chris Lowe said. “It’s almost an answer to the question, ‘Is that the Pet Shop Boys?’ ‘Yes!’ “

Given how many different projects the duo has been involved with, it’s a valid question. In addition to the studio albums, they’ve written a musical, “Closer to Heaven,” and a soundtrack to Sergei Eisenstein’s 1925 silent film classic, “The Battleship Potemkin.”

For “Yes,” the Pet Shop Boys worked with Xenomania, a production group known for collaborating with Cher and other pop stars. Xenomania co-wrote three of the tracks on “Yes” with Lowe and vocalist Neil Tennant, who write most of their own songs.

The Pet Shop Boys, who recently won an award for outstanding contribution to music at the 2009 BRIT Awards, “felt very much at home” at the house outside London, England, that Xenomania has devoted entirely to music, Tennant said. Every bedroom has a studio, and bands hang around downstairs waiting to record amid the sounds of instruments, record mixing and talking. “You can hear this cacophony of music all day long,” he said.

Like a vinyl record, “Yes” is divided into two distinct halves: the happy pop introduction and the more “weird” experimental conclusion, Tennant said. The album also features guitar performances by Johnny Marr.

“Love, etc.”, the album’s first track and currently No. 2 on the Billboard Hot Dance Singles Sales chart, is a social statement about how money, shopping and celebrity don’t necessarily bring happiness, while the third track, “Beautiful People,” imagines that it must be great to have wealth and fame, Tennant said.

“At the end of the day, it’s an old-fashioned sentiment, but love is more important, really,” Lowe said of “Love, etc.”

“Pandemonium,” a love song inspired by the relationship between model Kate Moss and singer Pete Doherty, was originally written for Kylie Minogue to sing, but she didn’t use it, Tennant said. Media reports that they’ll never work together again are incorrect, however, he said.

“I think they exaggerated that,” Tennant said. “Yeah, so that’s not true.” (In a BBC story, Tennant and Lowe said they, like many songwriters, hadn’t heard back from Minogue after submitting their material. “We won’t be doing it again,” Lowe told the BBC.)

Perhaps the most out-of-character song stylistically is the finale, “Legacy,” a meditation on politicians leaving office (“You’ll get over it” is the main message). Tennant identified it as his favorite because of the poetry and the mystery in the music — “it continues to fascinate me,” he said.

“The Way It Used to Be,” a favorite track for both Boys, charts a relationship from its romantic beginning to its melancholic end, wondering “what is left of love” and longing to “leave our promises behind / rewind and try again.”

With all this talk of love, Tennant is private about his own love life. As far as love in the album goes, though, “Some of it’s real, and some imagination; some of it’s memory,” he said.

The duo did not meet in a pet shop, but in an an electronics shop in London in 1981. Tennant needed a piece of equipment for his synthesizer and, when he and Lowe started talking about music, the two hit it off.

“I’m always struck since then by the sort of amazing look of our meeting,” Tennant said. “We happened to be in the same place at the same time, and it changed the rest of our lives. I always think it was an extraordinary thing.”

They started making music as a hobby with an acoustic guitar and a synthesizer, and played drums by banging on the table, Lowe said.

“It’s all been a gradual process really. We never sat down really and said, ‘Let’s become pop stars,’ ” Lowe said.

When they first recorded “West End Girls” together, the musical group did not have a name, Tennant said. They took the name Pet Shop Boys because they had friends who worked at a pet shop in West London known as the “pet shop boys.” They thought the name fit with popular rap groups such as the Beastie Boys.

“It has actually no meaning whatsoever. Chris used to be embarrassed by it,” Tennant said.

While influenced by hip-hop, electronic disco, and other genres from the beginning, the Pet Shop Boys have always emphasized the songs themselves, Lowe said, and they’re not “purist” about what kinds of instruments get used.

In the beginning, they sampled everything from animal noises to broken glass for their songs. They even recorded the sound of a woman walking down a street in high heels for “West End Girls,” and the ambience of a cathedral for the 1987 single “It’s a Sin,” Lowe said.

Their songwriting has perhaps gotten more sophisticated and experimental over time, Tennant said.

“In the ’80s I never sang any harmonies on records. Now I do loads of harmonies. I’m turning into Brian Wilson!” Tennant said.

“Yes” continues the Pet Shop Boys’ tradition of having one-word titles for albums, such as “Please,” “Bilingual,” and the more recent “Fundamental.” The convention just developed and became a style that the duo decided to keep, Tennant said.

“It’s like e.e. cummings not having any capital letters — it’s a signature thing,” Tennant said.

The duo is determined to branch into new areas. Lowe and Tennant’s next project is a ballet slated for 2011 based on a story by Hans Christian Anderson. Tennant said it is instrumental, and includes a mixture of electronic music and strings.

“The challenge of telling a story through music and dance is something that we’re interested in,” Lowe said.

Plans to tour the United States in the fall are under discussion, the duo said.

The wedding was at the courthouse in Choteau, Montana, on Thursday, he said, according to quotes from CBS’ “Late Show with David Letterman” provided to CNN by Letterman’s publicist, Tom Keaney.

“Regina and I began dating in February of 1986, and I said, ‘Well, things are going pretty good, let’s just see what happens in about 10 years … ,” he joked during the taping.  Watch Letterman spill the beans »

“I had avoided getting married pretty good [sic] for, like, 23 years, and … honestly, whether this happened or not, I secretly felt that men who were married admired me — like I was the last of the real gunslingers.”

Lasko is a former “Late Show” staffer. The couple have a son, Harry.

Letterman told his audience that the wedding almost didn’t happen after the couple, son in tow, got their pickup truck stuck in the mud on the way to the ceremony.

So I get out of the truck and I walk two miles back to the house into a 50 mph wind. It’s not Beverly Hills, it’s Montana, for God’s sakes,’ ” he said. “And the whole way, I’m thinking, ‘See, smartass? See? See? You try to get married, this is what happens.’ “

When he returned with a car, he said — presumably joking — that his son was disappointed, “because mom had told him if I wasn’t back in an hour, the deal was off.”

Before Katy Perry topped the charts with her sassy single, “I Kissed a Girl,” Sobule scored a Top 20 hit with a song of the same name back in 1995. Since then, she’s been on four record labels and has seen some modest success — mostly recently as a songwriter/composer for the Nickelodeon series, “Unfabulous.”

These days, Sobule is a free agent. Translated, that means the 40-something entertainer must now think of creative ways to make ends meet and pay for her artistic endeavors.

In January 2008, she started her fundraising drive on jillsnextrecord.com. Visitors to the site were greeted by a message that read, “Hi, I’m Elaine, Jill’s mother. As you know, my daughter is a real talent.” During the next six weeks, donations flooded in via PayPal.
To sweeten the pot, Sobule offered prizes to contributors — or “gifts,” as she calls them. For 10 grand, you got to sing on the record. Five thousand dollars earned you a private living room concert. A $100 donation meant a T-shirt from Sobule with the words “Junior Executive Producer” emblazoned on it.

We interviewed the Denver, Colorado, native at her home in Los Angeles — in the living room, and not out by the pool. “I don’t want people to think I’m rich,” she said, her blue eyes growing wide with horror.

While the $75,000 she raised was enough to record her new album, “California Years,” it didn’t include money for a makeup artist or hair stylist. Instead, we had Sobule come into the CNN bureau in Hollywood to use the glam squad we have on staff. Later, she blogged about sitting in Larry King’s makeup chair.

The following is an edited version of the interview with Sobule.

CNN: So Jill, your next record that’s coming out in April (“California Years”) was funded entirely by fans. How did you come up with that idea?

Jill Sobule: Well, after being on two major labels that dropped me, and then two indie labels that went bankrupt, the thought of maybe getting another deal seemed ridiculous.

Originally, I thought I would try and have them invest — just like stocks — but I couldn’t figure out how to do it. So the next thing was a different level of donations, and they would get gifts. For $10,000 [the "Weapons Grade Plutonium" level], you could sing a duet with me on my record, and someone actually did it from the UK.

CNN: Did you know this person?

Sobule: No, I didn’t know her, but what was great was that she was not a singer professionally. She wanted to give, and I brought her over from the UK, and she was fantastic.

My first donation was from my friend Kenny and my mother, and really when I first started, I thought this could be a humiliating experience. Within six weeks, I reached the goal [of $75,000]. I was totally surprised and shocked. Some of my favorite things were, “I really don’t like your music, but I like what you’re doing, so here’s five bucks.”

CNN: Did you know a lot of the folks who donated?

Sobule: I don’t have a Madonna-sized fan base, so I can actually e-mail and talk to everyone that e-mails me, because I am totally appreciative and I like my fans! They seem to have the same interests as me. They are kind of nerdy and cool — and have good taste, obviously.

Someone asked me the other day, “Have you ever had a bad stalker experience?” And I said, “Well, I had two people, but I put them to work helping me sell T-shirts. Now I’m stalking them!”

CNN: Your plea for money on jillsnextrecord.com starts off with a little note from your mother saying, “Hi, I’m Elaine, Jill’s mother. As you know, my daughter is a real talent.”

Sobule: I thought it sounded too conceited — in a seventh grade sort of way — to try and tout myself. So I called my mother and asked her, “Will you write me a little letter?”

CNN: Tom Bergeron [the host of "Dancing With the Stars"] gave you $1,000. What did he get for that?

Sobule: For $1,000, Tom gets his own theme song that he can put on his answering machine. There are actually going to be two different versions. There is a spy version, that is kind of 007-like with horns, and then there is “That Girl,” this Mary Tyler Moore ’60s-type theme song. I am making myself do a lot of work, but it has been really fun.

CNN: For $5,000, donors got a private concert in their living room. How many of those did you have to do?

Sobule: About five or six. That is a good bargain, actually. If they have a large enough place, they invite a lot of people and charge 10 bucks to come in, so they get their money back. I always say that is the one you should choose.

CNN: Fred Savage, the “Wonder Years” kid, coughed up a hundred bucks?

Sobule: He coughed up a hundred bucks.

CNN: Have you gone through all the money?

Sobule: I have pretty much gone through all of it. I did not know how expensive it was to do all of this.

CNN: No wonder the record labels are broke. You could have done it for less than 75 grand if you did it in your home office on Pro Tools [computer-based recording equipment].

Sobule: Yeah. I could have done it for less than $75,000 — and I probably will for my next one — but I wanted to do it the old-fashioned way one last time, and do everything that the label does — publicity, promotion, marketing, distribution, printing the old CDs. I guess that’s what an indie budget would be at a label.

CNN: It’s hard to make any money selling CDs these days.

Sobule: I have never made a cent off a record in my life. I have never recouped enough, and I never sold enough. When people see you have a song on MTV, they think you are doing well — but you know, the way the traditional label deal was set up, it is really hard for an artist, unless they sold a lot, to see anything.

CNN: So what you’re saying is that you’re seeing your first dollar from record sales with this album?

Sobule: I will see my first dollar.

CNN: Because you’re eliminating the record company as the middleman.

Sobule: Other artists — I think this is completely a model for them to do. I think that it’s very hard to be an artist more than ever, but it is also a very exciting time. It feels like the Wild West in a way..