Archive for the ‘2011 awards’ Category


August 17, 2011    8:59am

“MasterChef” Season 2’s winner is no stranger to crowns and coronations: One-time beauty queen Jennifer Behm represented the good state of Delaware. Now she represents the USA, but instead of wearing a sash she’ll be wielding a spoon and spatula.

It was a hard-won battle for Jennifer, who was most recently working as a real estate agent. It wasn’t all that long ago that judge Joe “Death Stare” Bastianich relegated her food to the rubbish bin because it wasn’t fit for human consumption. This week, she was unstoppable, mowing down the final three who stood in her way, including Adrien, Suzy and her nemesis, Christian.

But before we break it down more, I think this final four underscores a subtle flaw in “MasterChef,” which is otherwise a refreshing entry into the cooking competition genre because it showcases the home cook, while so many of the other shows are beauty pageants on a plate for the chef-y set.

“MasterChef” presumably also makes it all about the plate. But Christian’s ascension to the final four was no doubt troubling, even as it made for great TV. There is no doubt he can cook. But he was so personally unappealing, and his behavior crossed so many boundaries — taunting the schoolchildren who voted against him in one challenge, mock “shooting” his competitors in another — that a win for Christian would have undermined the “MasterChef” brand.

How to deal with such a character is the question. Either it’s all about the plate, or it’s not. And if it’s not, then what ruler or benchmark is being used? (In Christian’s case, it might be easy. He exhibited poor sportsmanship at every turn, and that seems like it should be a required quality for someone presumably trying to inspire a nation to ditch the drive-through and get back in the kitchen. Even chef Gordon Ramsay, who normally admires a talented upstart, was fed up with Christian’s antics at times.) What I would like to know: What was going on behind the scenes? Were the producers worried about a Christian win? Were there any convenient machinations to make sure that didn’t happen? Would it have bothered you if Christian won? Am I making too much out of reality TV show when the world seems to be on the verge of economic crisis? Or was Christian simply a delicious villain who made for ratings catnip?

Lucky for all, Christian did himself in, delivering a veal dish that was poorly plated and poorly executed. (Another example of his poor behavior: His response to Bastianich’s criticism was ‘[Bleep] you, Joe.’ Of course, Christian wasn’t man enough to say it to his face.)

But enough about Christian!

Jennifer might owe woozy Suzy a bouquet of flowers. When it came down to the final four, Suzy had the power to choose teams and in her desperation to win chose to pair up with Christian. The oil-and-water combo led to a poorly executed dish that was supposed to be Thanksgiving on a plate for the assembled high-falutin’ panel of international “MasterChef” judges. (Is this show a global phenomenon, or what?) In concept, it was a good idea. But no one was thankful for the bland dish that looked nothing like the bounty of a Thanksgiving holiday, and looked more like something a cafeteria would turn out as a Tuesday special in 1977.

Said Mr. Death Stare: “For you to bring this to these people that we brought from all over the world to be here is a little bit disrespectful.”

Jennifer and Adrien made a super team, working like they’d been teammates forever, and spinning out a dish that was a marriage of two coasts, featuring lobster and spot prawns. It tells you how bad the red team’s dish was that Jennifer and Adrien won…even though their prawns had not been properly deveined. GROSS!

That throws Suzy and Christian in a head-to-head lemon meringue battle. We have to give credit to Christian for his sing-song prediction: “Suzy, you’re gonna lose-y!” And so she does. In the next round, Adrien gets to choose his ingredients first and goes with the octopus, followed by Christian’s pick of veal. His move leaves Jennifer with what is arguably the least sexy of all the ingredients — mushrooms. Only… Jennifer is practically a certified mushroom expert! She pounces on an opportunity to make what is arguably the most fearless move of the competition: She makes a yolk-filled ravioli with a mushroom sauce. There is no room for error. Even the judges think she’s insane, and then they all gather round to watch the first cut. If the yolk is overcooked, or already broken, it’s disaster. But instead it oozes out to mix with the mushrooms to make a rich, decadent sauce — it’s cooked to perfection.

Christian goes bye-bye and it’s Adrien and Jennifer, cooking a three-course meal of a lifetime.

Adrien’s plating is beyond reproach, and creative. His take on a taquito appetizer looks like a handbag full of jewels, Ramsay says, and using jicama in place of a tortilla blows the judges’ minds. His short ribs appetizer has the judges seeing dollar signs. But his dessert — a flourless chocolate cake — is downright dry and unappetizing instead of fudgey.

Jennifer, meanwhile, takes on two technically challenging dishes: a perfectly seared scallop appetizer and a stuffed quail entree, and scores for her finesse and confidence. They are underwhelmed by her dessert: poached fruit, but at least it’s not sticking to the roof of Ramsay’s mouth like Adrien’s cake.

In the end, the judges said, “We didn’t see a cook-off between a waiter and a real estate agent. We watched two very professional chefs engage in a genuine culinary battle. You are both so incredibly talented. You have got every right to call yourselves chefs.”

But also in the end, Jennifer’s technical proficiency and fearless attitude trumped Adrien’s cook-from-the-heart style, tasty as it might be. She walked off with $250,000 and another title to call her own. In this competition, it’s all about the last person standing, she said. “Doesn’t matter what the naysayers say. I’m proof of that.”


using the number/letter grid:
1 2 3 4 5 6 7 8 9


A = 1 J = 1 S = 1

B = 2 K = 2 T = 2

C = 3 L = 3 U = 3

D = 4 M = 4 V = 4

E = 5 N = 5 W = 5

F = 6 O = 6 X = 6

G = 7 P = 7 Y = 7

H = 8 Q = 8 Z = 8

I = 9 R = 9


Jenny Behm

15557 2584         42


her path of destiny = 42 = Everybody loves Jenny.




find out your own numerology at:


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May 27th, 2011 at 5:54 pm

Though the summer season is in full force this weekend with The Hangover Part II and Kung Fu Panda 2 poised to make over $100 million each, it is Terrance Malick’s The Tree of Life that will leave viewers the most awed. With spectacle ranging from sumptuous images of the beginning and end of the universe to brief glimpses of evolution on earth and even dinosaurs as well as touches of magical realism, this film is an epic tonal poem that left me speechless. My eyes ached because I didn’t want to blink for fear of missing even one moment. After the film, I stumbled out into the streets of Los Angeles and walked for eight miles, contemplating what I had just seen.

Earlier this week I was lucky enough to sit down with actress Jessica Chastain to discuss the Palme d’Or Winning film, which also stars Brad Pitt and Sean Penn.

Chastain hobbled into the room with some assistance, her left leg in a brace.

Question:  So I suppose the first question is, what happened?

Jessica Chastain:  This is going to sound so idiotic…I got in a Motocross accident yesterday.

Is that going to effect Wettest County in the World?

Chastain: No. I finished that one a few weeks ago. I thought it would be fun. And I really liked it and I went way too fast. My friend, who I went with, stayed in first gear and I was in like third gear on the course. I shouldn’t have done it, especially having a premiere today. I ended up spending the afternoon in the emergency room yesterday because the bike fell on me and twisted my leg. Those things are heavy! It’s funny because I was lying there and my knee like snapped…I heard this popping noise and I was like, “Okay…” and my hand kind of like, “Errr.” So the wheels kept going and I’m pinned underneath it and I thought someone would come get me and it just felt like forever so I finally just went, like, “Help! Help!” It was really, really silly.

So now you have crutches for the red carpet tonight?

Chastain: Yes, but not for the photos. I can’t walk without the crutches but I balance really well, so I’m going to stand still and cast off my crutches.

In one heel?


Chastain: Yes! In very high heels! Look! [She pulls up her leg to reveal that she is already wearing very steep high heels.] And I’ll take my pictures. There won’t be any taking any walking, none of that fancy red carpet stuff because then we’ll have pictures of me on the carpet. So, yes, that will be tonight…I hope I don’t fall…oh my god! I was worried about falling down the stairs at Cannes and now I’m like, “Oh, I hope I don’t fall on this red carpet.”

So can you talk about what the Cannes experience was like?

Chastain: It was great. I realize that it’s never going to be matched. And it’s, realistically, it’s my first time there and it’s probably not a good example of, “Oh typical time at Cannes” because I brought two films, they both won the top prize in their category: Tree of Life won the Palme d’Or and Take Shelter won the grand prize and Critic’s Week, and I also had a film there, The Wettest County in the World, which there was a bidding war and Harvey bought it. So it was like, all this great stuff was happening and I don’t think that’s a typical Cannes. But it’s okay because I’m enjoying every second knowing that it will never be repeated.

Does all of this feel like a delayed reaction because you’ve been working steadily for several years now?

Chastain: I’d say it’s worth the wait. To be honest, it’s not so bad. I mean, if I had to wait four years for my films to come out and then I get this kind of reaction to the films, I’ll wait four years. No problem. It is a bit of a delayed reaction for me, but for me the most important part is I love acting so much and I love great filmmakers and doing scenes with other actors that I really admire. That’s the exciting part of my life. So for me, even though it took a long time for the films to come out it was okay because I had made eleven films so I was constantly working with people who were really inspiring.

I suppose the complete opposite of crutches is, there’s a scene in the film where you’re weightless in a dream sequence around a tree. Can you talk about that because it was fascinating to see.


Chastain: Yeah. You know it’s funny. That’s probably my favorite part of the film because it really describes what it’s like to be on a Terrance Malick set. It was the day when they had all of the harnesses and machines for the boys, they were having the boys climb up the trees. And then I heard, “Okay, Jessica. We want you to hang around because we want a shot of your feet walking along the ground and then lifting off the ground and then just walking back.” And so I say, “Okay.” And the other stuff took so long and they’re like, “We only have a couple minutes to get it!” So I was in the harness and I’m there and we kind of start shooting and it just didn’t look right. It just looked like my feet were just swinging, which is not the thing that they wanted. And I was just so happy to be in the harness – and I used to be a ballerina when I was a little girl – that I just start swinging back and forth. And I kind of start doing little pirouettes in the air and immediately Terry was like, “That’s it!” you know? “Do that! Do that! Dance!” And they have the camera and I’m just pushing myself off the tree to get momentum and I was just laughing a lot and it was just so much fun to film. And now when I see it, I actually, I just feel like it’s great and we didn’t try to create that moment, it just happened.

A number of the scenes flash by like snapshots, they’re very small takes. Was there such a thing as a short take on the set or were those just small cuts of much longer sequences?

Chastain: There’s no, “Action,” or, “Cut,” on Tree of Life. So it’s all the four-minute roll that just runs out. So it’s just, what I love about those little snippets in the film is, it’s unlike any film I’ve ever seen because it’s like capturing someone’s memory of their life. When I think about myself when I was Five years old, I don’t think in, if I can remember, or like seven years old, I don’t remember long, beginning, middle, end scenes. I think of perhaps the way my mom looked at me, or my grandmother dancing. You know, those little tiny moments that add up to create my life so far. And I feel like [Malick] is the first person who’s captured that. I don’t think I’ve seen that before in film.

There was a lot of discussion in the press notes about different people not being allowed to see the entire script. Did you get to see the entire script and know the full scope?


Chastain: Yes. I think it was just the boys and also some people who were just coming in for a day or so because [Malick] wanted to keep the story pretty private. But yeah, I got the script after Terry asked me if I’d like to pay the role and I was like, “I don’t even know what the role is, but sure.” And he said, “Please read the script first because I want to make sure it’s something you want to do.” I think it took me four hours to read it and I think it’s such a brilliant piece of writing. It’s not written like a screenplay, it’s written like a novel in a way, with some bits of dialogue. I hope it’s published some day because I think it should be. And I’m with the boys because they had a long audition process. They went through so many, so many boys. And then, toward the end they brought me out to interact and improv with the kids and see who could really like, think quick. And I remember Tye [Sheridan] and Laramie [Eppler] and Hunter [McCracken] were just phenomenal. There was something with Hunter. When I was first talking to him he was kind of a bit surly, you know. He had this thing where he was like, “Oh, I don’t care about this. I don’t care about Hollywood. I don’t care, I want I dirt bike.” I think that’s… “I only wanna do it so I can have a dirt bike.” So he had this thing of just not trying to impress anyone. And so we started improving and he was really quick which was really exciting for me because it meant that he would give me things to act off of. And then there were also moments of, there were really sweet moments where we were wondering, “Can he be soft?” We know he can be that kind of, you know, contrary character, but there was a moment where we’re all together and I thought well, I’m going to see now how he is. And we’re sitting together, me and the other kids and I kind of just put my arm around him and started just, like, touching his hair and you could see in the video that he’s this tough guy and then all of the sudden he just went, his face, his eyes opened up and he just kind of leaned into me like I guess an animal would do, a little dog. It was so sweet. I have great love for those boys and I think – I’m sorry, I’m going off on a tangent – and they weren’t given the script because it was always about creating for them. [Malick] didn’t want to see child actors, he wanted to see them be the boys that they really were.

You’re in a fascinating position where you’re in two Terrance Malick films. Does he change at all between project as a director?

Chastain: Yeah. It’s funny, I feel weird saying I’m in two films because I can say I was on two sets. I’m in one film and I was on another set because I don’t know that I’m going to be in that film because I have such a small…I was only there for two days. But he does. He constantly changes and that was really exciting for me to see because it wasn’t that same exact way of working because on that one I did with Ben Affleck, I did hear, “Cut.” And I remember the first time I was there when the stopped it, I looked at him and I was like, “That’s a first! What’s going on?” You know? So it is exciting to know that him as an artist is constantly evolving and questioning himself and trying new things and he’s never set in his ways like, “This is the way to make a movie.” He’s always growing. And so I bet you the one after this there will be even another thing that will be different. I’d hope, actually.

You discussed how the film feels like a series of snapshots and memories.

Chastain: Yeah.

And you’re a very, very strong character in the film but you’re also seen almost exclusively from the perspective of sort of naïve masculinity from the boys minds. When you’re acting, did you think about yourself as a projection of the mind? Or did you think about yourself outside of that?


Chastain: I was thinking of myself as, when I read the script I realized that she basically is the embodiment of grace and the spirit world. So I knew that that was like what I was representing, I guess, in the grand scheme of things. So I thought, “Okay, I also have to make her a real person.” So what I did was, I had to kind of try to cultivate that kind of quality in myself. So, you know, meditating and, you know, studying paintings of the Madonna and all these many, many things. I read this Thomas Aquinas poem about nature and grace that Terrance gave me. So I was, I definitely had to create that, but I never thought, I never tried to play the character as their idea of her. But I had to ground her and the only way I could think of how to ground her was her love for her children because I felt like, even though I created an absolute back-story for her, her main thing she believes in her life is her family and this bond she has with her children is very important. So I had to make that incredibly real and it actually was very real. The boys and I, still to this very day, we’re very close. This is actually going to be the first time, actually, that we’re together in three years. And I’ve gotten a mother’s day gift from Hunter last year. I get phone calls. Yeah, we’re very, very close. And when the film ended I was more heartbroken than anything because they went back to their mothers and I was, “I want to have kids!” But yeah, I had to create that, so mostly it was about me creating that relationship.

How was it different with Brad? What kind of conversations did you have about building that familial closeness between those characters?

Chastain: Well, I mean, we didn’t really have those conversations a lot because the one thing about the two, Brad and my character’s is that there is this distance that she’s constantly trying to reach out to him, to have him open up to the family, to love. And he’s got this, “No, I’ve always got to stay on guard and it’s always survival of the fittest and I’ve got to be the strong one.” So, in a way, if we had had these bonding experiences like I had with the children, it would have made our jobs harder. But on set, the great thing about him is, he could play that character and then as soon as the role was out, he was like fun, nice, sweet Brad and he was like, throwing the football with the boys out in the yard and asking me, “What kind of music do you like? I don’t really…that’s one thing I’m out of touch with right now is music.” He’s really, he’s like a normal guy.

What about that emotional tussle that you have with him in the house? did you prepare for that at all?

Chastain: We didn’t even know that that was going to happen. It happened after we’d filmed the scene where he attacks the boys. So we came back and we both showed up with our own, like, “Okay, what just happened?” We both showed up with it. And I know that my character is, my character, she had to clean up the house, right? But she’s still kind of vibrating from what just happened and trying to contain it. So I’ve got to clean up the mess that he’s made. And then I had a couple of lines that I could say if I felt like it, he had a couple of lines he could say if he felt like it, but we shot for four minutes, back and forth, slamming dishes, doing all this stuff, talking to each other. And at one point, I don’t know why, what on earth possessed me, but I grabbed the pepper and rubbed it on his face and said, “How do you like it!” And then he grabbed me and all of the sudden we’re like fighting and struggling and when you see, you can see that we both look shocked because it was absolutely real. It wasn’t like Terry said, “I want to create a physical violence between the two.” It’s not even in the script that anything like that happens. There are these two warring ideas of grace and nature and how they react with each other but he never tried to create that or block that. He just sets the scene for something to happen. He doesn’t know what’s going to happen. And so working with an actor who is open to being spontaneous and emotional and inventive and really listens to the other person, you can have moments like that. When you have someone who comes in and they plan what they’re gonna do…I mean, you don’t get those accidents.


Is that the main difference you see working on a Terrance Malick set as opposed to working on other sets you’ve worked on? Is there any one main thing you’ve learned or taken away from it?

Chastain: The main thing I learned was absolutely that the most interesting choice is the accident. Like, so, for me, I can do as much preparation as I want. You know, in The Debt, I play a Mossad agent and I learned Krav Maga and German and Israeli accents and I studied medical experiments and I did all of this preparation. But if I go in and I go, “I know how this scene’s going to happen, I’ve already planned it in my mind,” it means that I’m not open to seeing what my scene partner is doing and reading what kind of the energy in the room’s like. And I’ve worked with actors who do both things and I’ll say it’s way more exciting to work with someone who, it’s like, you’re absolute partners. And I what I do affects them and what they do affects me. It’s like working with Michael Shannon in Take Shelter. I just worked with Tom Hardy in Wettest County. These great…like Al Pacino. And they all are like that. And that’s the great lesson from Terry for me; just always be in the moment and always be open to the thing that you didn’t expect because it’s probably going to be better than what you did expect.

What do you think the reaction is going to be like to this film?

Chastain: Whose reaction?

The audience going to see it.

Chastain: You know, I think there probably will be a lot of mixed reaction and I hope that it’s going to cause a lot of discussion, because a lot of my favorite films do. A lot of my favorite films are the kind that I go, “Oh, I love that film!” And someone else goes, “Really?” You know? I love those movies and I really hope that’s the case. I feel like this film really asks more questions than it answers. A lot of us are used to being given the answers. And we just want to be entertained. And this film really isn’t that. It’s not the kind that, “Okay, I just want to turn off. I’ve had a hard day at work, I’m just going to turn off and watch The Tree of Life.” It’s not that. So, I think you absolutely have to be in the mindset to be open and then to examine your life. I have a great story; Bill Pohlad told me that a friend, you know, someone in the industry saw the film and at first was like, before we showed it at Cannes, was like, “You know, it’s never going to work. I don’t know how you guys are going to release this film.” And then, an hour later he was in the car and his father called him and in the call he started crying. So I think it’s that kind of film where you think you know what it is and then an hour late you think, “Maybe it means something else,” and then maybe a week later and then a year later it’s constantly…it’s ever changing depending on where you are when you see it.

You have a lot of films coming up and a huge number of them are period pieces. Are you seeking those out? Are producers coming to you for those? And how do you approach a period piece differently from something set in modern day.

Chastain: You know, I’m not especially seeking out period pieces. I mean, I love doing them because I have this romantic idea of history and I actually really love doing accents and I love costumes so much. So I think maybe I’m drawn to them. But I would like to do a modern film. But sometimes I feel like a lot of the great parts are in period films for some reason that I’ve been offered or asked to read for. I mostly want to do something that is a stretch for me or is a challenge. And playing a character where I’m going to have to study the world or the history of what was happening in that time, or what she would wear, or how she would carry herself in that time is more interesting than playing a kind of woman like me in 2011. I would absolutely play a character in 2011 if she was really dynamic and fantastic.

You said that you feel like a lot of the better roles are period pieces. Do you think there is a reason for that? Do you think that it’s just that the approach is different from the filmmakers?


Chastain: I wonder if, when I say that the roles are better it’s just that there’s more to work on because…even for Take Shelter – that’s a modern film – that was one, where I just kind of showed up and I talked to Jeff [Nichols] and I said, “I really understand this woman and I don’t feel like it’s much of a transformation for me.” And I like transforming a lot too. So, I don’t mind playing characters that are closer to me if they’re good characters like in Take Shelter and I’m working with Michael Shannon. But I prefer to do something that feels like I’m exploring an absolute different culture, time period woman.

What kind of films did you watch to prepare for this time period in Tree of Life?

Chastain: Well, it’s funny, Terry actually asked me to watch a lot of Lauren Bacall films because he said, and I think it’s absolutely true, he said, “Modern day,” and especially me, I do this a lot when I’m in a group, “Talk really, really fast. We have this kind of frenetic energy about us because it’s as though we’re all afraid we’re going to get interrupted.” So we really want to say what we have to say, so wetalkreallyfastbeforesomeoneinteruptsme and we do interrupt each other a lot. And in watching the Lauren Bacall films there really is this quality of this sort of slow and easy and almost from another, well it is from another, time. So I watched a lot of that to soak into my head, especially for the voiceovers. It was kind of this even, slow, salt of the earth tone that she has.

from:  http://collider.com/jessica-chastain-interview-tree-of-life/93397/


Jessica Chastain was born on March 29th, 1981 according to http://en.wikipedia.org/wiki/Jessica_Chastain

March 29th, 1981

3 + 29 +1+9+8+1 = 51 = her life lesson = what she is here to learn = Truth.  Honesty.  Honor.  Respect.  Integrity.  Character.  Reputation.  Credentials.  Veracity.  Virtue.  Ethics.  Morals.  Honor.  Dignity.  Decency.  Authority.  Laws.  Rules.  Standards.  Important.  Significant.  Genius.  Logic.  Rational.  Factual.  Accurate.  Exact.  Precise.  Frankness.  Candor.  Brief.  Plain spoken.  Impartial.  Unbiased.  Serious.  Sober.  Solemn.


using the number/letter grid:

1      2      3       4       5       6      7      8      9
A      B     C       D       E       F      G      H      I
J      K      L      M      N       O      P      Q      R
S      T      U      V      W      X      Y      Z


A = 1              J = 1              S = 1

B = 2              K = 2             T = 2

C = 3              L = 3             U = 3

D = 4              M = 4            V = 4

E = 5              N = 5            W = 5

F = 6              O = 6             X = 6

G = 7              P = 7             Y = 7

H = 8              Q = 8             Z = 8

I = 9               R = 9

Jessica Chastain

1511931 38112195        51

her path of destiny / how she learns what she is here to learn = 51 = Truth.  Honesty.  Honor.  Respect.  Integrity.  Character.  Reputation.  Credentials.  Veracity.  Virtue.  Ethics.  Morals.  Honor.  Dignity.  Decency.  Authority.  Laws.  Rules.  Standards.  Important.  Significant.  Genius.  Logic.  Rational.  Factual.  Accurate.  Exact.  Precise.  Frankness.  Candor.  Brief.  Plain spoken.  Impartial.  Unbiased.  Serious.  Sober.  Solemn.


Each letter of the first name rules 9 years of life.  Ages 0 to 27 are ruled by the sum of the month of birth and the first three letters of the name.

March 29th, 1981    Jessica Chastain

3 (March) + 10 (J is the 10th letter of the alphabet) + 5 (e is the 5th letter of the alphabet) + 19 (s is the 19th letter of the alphabet) = 37

So from ages zero to twenty-seven she had the numbers 3 (March), 34 (sum of the first three letters), and 37 (3+34=37) going on.

3 = Self-expression.

34 = Redhead.  Generating a buzz.

37 = Heartfelt.


Ages 27 to 54 are ruled by the sum of the day of birth and the 4th, 5th, and 6th letters of the name.

March 29th, 1981    Jessica Chastain

29 (born on the 29th of the month) + 19 (s is the 19th letter of the alphabet) + 9 (i is the 9th letter of the alphabet) + 3 (c is the 3rd letter of the alphabet) = 60

So from ages twenty-seven to fifty-four she has the numbers 29 (born on the 29th of the month), 31 (sum of the fourth, fifth, and sixth letters), and 60 (29+31=60) going on.

29 = Self-confidence.  Self-assurance.  Coordination.  Adept.  Skills.  Talents.  Competence.  Expertise.  Specialty.  Combine.  Teamwork.  Cooperation.  Duo.  Collaborate.  Collaboration.

31 =  Catalyst.  Stirring things up.  Stirring the pot.  Provoke a reaction.  Getting a rise out of someone.  Striving to be number 1.  Personal best.  Outdoing yourself.  Rising to the challenge.

60 = Making progress.  Moving forward.  Leaving your troubles behind.  Putting it behind you.  The lay of the land.  The road less travelled.  Going out of your way.  Far off the beaten path.  Marching to the beat of a different drummer.  Thinking outside of the box.  Don’t fence me in.  One of a kind.


March 29th, 1981

March 29th

3 + 29 +2+0+1+1 = 36 = her personal year (from March 29th, 2011 to March 28th, 2012) = Heavy workload.  Working hard & being responsible for herself.

36 year + 5 (May) = 41 = her personal month (from May 29th, 2011 to June 28th, 2011) = Melting your heart.  Receiving love.

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Pippa Middleton ButtPippa Middleton Legs

May 3rd, 2011

Pippa Middleton to win ‘Rear of the Year’ award?

The Sun and The Express are speculating that Pippa will win this year’s Rear of the Year award.

Miss Middleton is the favourite to win after organisers claim 1,000 votes were cast for Pippa within 48 hours of the wedding footage being broadcast last Friday.

Pippa caught the nation’s attention wearing a figure-hugging white bridesmaid’s dress at sister Kate’s wedding and then stepped out the morning after wearing tight white jeans. This led to thousands of fans ‘liking’ Pippa’s derriere on the Facebook page “Pippa Middleton Ass Appreciation Society.” Statistics show that the term “Pippa Middleton arse” is currently being searched for at 72% of the volume of those looking for “Pippa Middleton dress.”

The ‘Rear of the Year’ title is currently held by BBC newsreader Fiona Bruce. The award will be presented at London’s Dorchester Hotel next month.

from:  http://pippa-middleton.co.uk/category/pippa-middleton-rumours/


vote for http://www.rearoftheyearcompetition.com/contact.html

by e-mailing:  tonyedwards@anthony-edwards-publicity.co.uk




The announcement of the winners will take place with a photo call on June 8th 2011 at The Dorchester Hotel in London according to:  http://www.wizardjeans.com/features/rear-of-the-year.html

Pippa Middleton was born on September 6th, 1983 according to http://www.astrotheme.com/portraits/agvX3d983aas.htm

September 6th, 1983

September 6th

9 + 6 +2+0+1+0 = 18 = her personal year (from September 6th, 2010 to September 5th, 2011) = Surreal.  Pippa madness.  Crazy about Pippa.  Bewitching.  Enchanting.

18 year + 6 (June) = 24 = her personal month (from June 6th, 2011 to July 5th, 2011) = Fit & trim.

24 month + 7 (7th of the month on Tuesday June 7th, 2011) = 31 = her personal day (from her time of birth on Tuesday June 7th, 2011 until her time of birth on Wednesday June 8th, 2011) = Competition.  Contests.  Contestant.  Runner-up.




find out your own numerology at:


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Back-to-back wins ... Yani Tseng tees off during the final round

February 6, 2011 18:31:00

Taiwan’s Yani Tseng successfully defended her women’s Australian Open title with a seven-stroke victory at Commonwealth Golf Club in Melbourne.

Tseng fired a 2-under-par 71 in the final round to finish the tournament at 16-under.

Second place was shared by England’s Melissa Reid, world number one Jiyai Shin of South Korea and her countrywoman Eun Hee Ji, all finishing on 9-under.

Katherine Hull and Karrie Webb were the best-placed Australians in a three-way share of seventh position on 5-under for the tournament.

from:  http://www.abc.net.au/news/stories/2011/02/06/3131248.htm?site=melbourne


Yani Tseng was born on January 23rd, 1989 according to http://en.wikipedia.org/wiki/Yani_Tseng 

January 23rd, 1989

January 23rd

1 + 23 +2+0+1+1 = 28 = her personal year (from January 23rd, 2011 to January 22nd, 2012) = Unstoppable.

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Novak Djokovic

11:20 GMT, Sunday, 30 January 2011

Novak Djokovic outplayed Andy Murray to win the Australian Open for the second time and end the Briton’s hopes of a first Grand Slam title.

The 23-year-old Serbian won 6-4 6-2 6-3 in a stiflingly hot Melbourne to regain the title he first won in 2008 and condemn Murray to a third defeat in Grand Slam finals.

Murray had been hoping to become the first British man to claim a major title since Fred Perry won the US Open in 1936, and Scotland’s first ever Grand Slam singles champion, but he was overpowered by the world number three.

Djokovic went into Sunday’s final a slight favourite having beaten reigning champion Roger Federer in straight sets in the semi-finals, and with the confidence of having won the Australian title in 2008.

Murray, seeded fifth, has always claimed not to be affected by his nation’s clamour for a Grand Slam champion, but his own desire to land a major title after twice losing in finals brings enough pressure and he made a nervous start.

Djokovic hammered some heavy forehands in the Briton’s opening service game and earned a break point, but a loose error let Murray off the hook and the Scot edged through a tense 15-minute game.

Murray then immediately had a half-chance of his own on the Djokovic serve, only to miss a smash at 15-30, but the rhythm was set and both men knew they were in for a battle.

The decisive moment came with Murray serving to stay in the set at 4-5, 15-30 down and a gripping 38-stroke rally which the Briton looked like winning on several occasions, only for Djokovic’s amazing powers of recovery to eventually force the error.


A forehand error from Murray then gave up the first set after a gruelling 59 minutes and the more assertive style of Djokovic was holding sway, a beautiful lob helping him to a love service game at the start of the second set.

With Murray making fewer than 50% of first serves, Djokovic was able to draw his man into lengthy rallies and dominate with his greater power and incredible movement.

The second break point of the match was seen off by Murray with an ace but when he went for a drop shot on the third moments later, Djokovic was onto it in a flash to sweep away a backhand winner.

As well as Djokovic was playing, it was Murray who was the major contributor to his falling a double-break down in game four as he netted a volley and then pushed a forehand long.

The Scot, who had been close to a two-set deficit in his semi-final against David Ferrer, avoided the dreaded bagel by seeing off a set point at 5-0 down before finally breaking the Djokovic serve to love as he began to go for his shots with the set seemingly gone.

But any hope that he would take some of that momentum into the third set disappeared as the relentless Djokovic broke the Murray serve for the third time to close out the set.

Murray, who had now lost all eight sets he had played in Grand Slam finals, was facing the monumental task of taking the irrepressible Djokovic to five, but he took a first step on that journey by firing a forehand winner to break at the start of the third.

It did not signal a significant shift in fortunes, though, as within minutes he was shouting angrily towards his mother Judy and team of coaches in his player’s box after a desperately poor smash handed the advantage straight back.

Djokovic was closing in now and heaped the pressure on at 2-1, refusing to give up the game after Murray valiantly saved six break points and seizing the seemingly vital break with a magnificent backhand down the line past the helpless Briton.

The route to the finish line was not to be straightforward, with the apparently hopeless situation appearing to relax Murray as it had in the second set, and he fought his way back to level, saving more break points on his way to 3-3.

Djokovic was not to be denied though and bludgeoned his way to a 17th break point of the day at 4-3 with some more fearsome forehands, and Murray duly netted under the pressure to leave the Serbian serving for the title.

There was to be no late reprieve for the Briton as Djokovic came through an understandably edgy final game to secure his second Grand Slam title, and leave Murray still waiting for a first.

from:  http://news.bbc.co.uk/sport2/hi/tennis/9380511.stm


Novak Djokovic was born on May 22nd, 1987 according to http://en.wikipedia.org/wiki/Novak_Djokovic

May 22nd, 1987

May 22nd

5 + 22 +2+0+1+0 = 30 = his personal year (from May 22nd, 2010 to May 21st, 2011) = Tennis.  Appreciation.  Thankfulness.  Gratitude.  Cherishing.

30 year + 1 (January) = 31 = his personal month (from January 22nd, 2011 to February 21st, 2011) = Competition.  Contender.  Striving to be number 1.  Personal best.  Outdoing yourself.  Rising to the challenge. 

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Kelly Clark Kelly Clark of the USA celebrates after winning the finals of the half pipe portion of the FIS Snowboard World Cup on February 14, 2009 at Cypress Mountain in West Vancouver, British Columbia, Canada.  (Photo by Jed Jacobsohn/Getty Images) *** Local Caption *** Kelly Clark

01/30/2011 01:00:00 AM MST

While Kelly Clark made history in the women’s superpipe Saturday night at the Winter X Games, local favorite Gretchen Bleiler had a night to forget.

Clark became the first woman in history to complete a 1080 in competition. But it was defending champion Bleiler who was not able to put down a clean run in three tries, crashing on all of them. Bleiler had qualified second behind Clark.

“It’s something I’ve been working on for a long time, so I couldn’t think of a better place to land it,” Clark said of the frontside 1080. “I hope that this just takes women’s snowboarding to another level.”

Clark had the gold medal in hand before her final run (she put down a 92.33-point effort her first trip down) and was able to attempt the 1080 for a second time. She tried the trick on the final hit of her second run but bottomed out.

Read more: X Games notes: Bleiler crashes on a historic night for Clark – The Denver Post http://www.denverpost.com/extremes/ci_17240426#ixzz1CWDjKwQH


Kelly Clark was born on July 26th, 1983 according to http://en.wikipedia.org/wiki/Kelly_Clark

July 26th, 1983

26 +1+9+8+3 = 47 = her “secret” number = Famous.  Name & fame.  Notoriety.  Name recognition.  (Inter)nationally known.  High profile.  VIP.  Well-known.  Household name.  Public life.  Limelight.  Legendary.  Notable.  Noteworthy.  Eminent.  Prominent. 

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Miss America 2011 started with a stage full of 53 contestants at Las Vegas' Planet Hollywood Resort & Casino. After the swimsuit, evening gown, talent and interview competitions, there was one woman left standing to inherit the crown from Miss America 2010 Caressa Cameron.<BR><BR> Teresa Scanlan, Miss Nebraska, was one of the youngest competitors on the show. After being crowned the winner of the 2011 Miss America Pageant, she burst into tears and raised her arms up as Cameron pinned the crown to her head.   <br><br>Follow our galleries on Twitter <a href="http://twitter.com/NYDNPhotos" target="_blank">@NYDNPhotos</a>.

Saturday, Jan. 15, 2011 11:24PM EST

A 17-year-old from Nebraska became the youngest winner of the Miss America crown in 90 years on Saturday after beating 52 other young women from across the United States.

Teresa Scanlan won a $50,000 scholarship and a yearlong run with the crown at the competition at the Planet Hollywood casino-resort in Las Vegas, giving the Cornhusker State its first-ever win at the pageant.

She was the youngest Miss America since the pageant’s first competition in 1921, when Margaret Gorman of the District of Columbia won at age 15.

Miss Arkansas Alyse Eady won $25,000 as first runner-up, while Miss Hawaii Jalee Fuselier won $20,000 for third place.

Ms. Scanlan, a recent high school graduate from the western Nebraska town of Gering, planned to study American politics at Patrick Henry College in Virginia after her reign as Miss America.

She also hoped to attend law school, become a judge and eventually a politician, according to her pageant biography.

Ms. Scanlan won after strutting in a black bikini and a white evening gown, playing “White Water Chopped Sticks” on piano and telling the audience that when it comes to the website Wikileaks, security should come before public access to government information.

“You know when it came to that situation, it was actually based on espionage, and when it comes to the security of our nation, we have to focus on security first and then people’s right to know, because it’s so important that everybody who’s in our borders is safe and so we can’t let things like that happen, and they must be handled properly,” she said.

The contestants – from every state plus the District of Columbia, the Virgin Islands and Puerto Rico – started the show by dancing up the aisles while wearing silver cocktail dresses.

A panel of seven judges eyed them for looks and fitness. The competition included evening gown, talent and interview portions, with eliminations for 15 finalists, then 12, then 10, five and finally the winner along the way.

The judges had picked Miss Oklahoma Emoly West; Miss Texas Ashley Melnick; Miss Rhode Island Deborah Saint-Vil; Miss Utah Christina Lowe; Miss Washington Jacquie Brown; Miss Arizona Kathryn Bulkley; Miss Virginia Caitlin Uze, and Miss California Arianna Afsar.

Fans voted in Miss New York Claire Buffie and Miss Delaware Kayla Martell.

And in a first-ever twist for the contest, the young women picked two finalists themselves, Miss Kentucky Djuan Trent and Miss Oregon Stephenie Denise Steers.

In her introduction to the audience, Ms. Bulkley dedicated her performance to U.S. Rep. Gabrielle Giffords, who was shot in the head last week in Tucson. Ms. Bulkley called Ms. Giffords her mentor.

The pageant celebrated its 90th anniversary this year.

from:  http://www.theglobeandmail.com/news/world/americas/miss-nebraska-17-wins-2011-miss-america-pageant/article1872010/


Teresa Scanlan was born on February 6th, 1993 according to http://en.wikipedia.org/wiki/Teresa_Scanlan

February 6th, 1993

2 + 6 +1+9+9+3 = 30 = her life lesson = what she is here to learn = Thankfulness.  Appreciation.  Gratefulness.  Gratitude.  Cherish.  Blessings.  Please.  Thank you.  Alleluia!  Luxury.  Style.  Fashion.  Clothing.  Clothes.  Apparel.  Wardrobe.  Count your blessings (lest they flee).  You have a lot to be thankful for.  Home sweet home.  Thank you.  Praise the Lord.  Fashion sense.  Best dressed.  Sense of style.  Living a life of luxury.


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