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Archive for the ‘When your number comes up – that’s when you get to live/experience what you are here to live/experience’ Category

Pacific Coast News/WENN
March 27, 2013 @ 10:56AM

Joe Francis and Abbey Wilson, are next up to sit on Dr. Jenn Berman’s couch and risk the Couples Therapy curse,RadarOnline.com is exclusively reporting.

The controversial Girls Gone Wild founder and his long suffering girlfriend have already started filming season three of the hit reality show, following hot on the heels of last season’s therapy seekers Courtney Stodden and Doug HutchisonNik Richie  and Shayne LamasJoJo and Tiny,  Alex McCord and Simon van Kempen and  Todd “Too Short” Shaw and Monica Payne.

Francis and Wilson — who have had a highly charged on-off-on relationship since they started dating after the model appeared in Girls Gone Wild 2009 — will be joined on the show by rapper Chingy,  Flavor Flav and their respective partners.

Here’s hoping they fare better than the past stars! As RadarOnline.com previously reported, all five couples who participated in the first season have since split!

from:  http://radaronline.com/exclusives/2013/03/couples-therapy-3-cast-joe-francis-chingy-flava-flav/

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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

Where:

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

 

 

Joe Francis

1         1       1

 

the most important thing he can do (JA) and how he obtains/loses his heart’s desire (JS) both = 11 = Karma.  Cause and effect.  You get what you deserve, and you deserve what you get.  Fair is fair.  Fair and balanced.  Fair and equitable.  Balancing the scales.  Fair means produce fair results.  We who seek justice will have to do justice to others.  Justice is served.  Out for justice.  What’s good for the goose is good for the gander.  Justice is swift and certain.

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Joe Francis was born on April 1st, 1973 according to http://en.wikipedia.org/wiki/Joe_Francis

April 1st, 1973

April 1st

4 + 1 +2+0+1+3 = 11 = his personal year (from April 1st, 2013 to April 1st, 2014) = Karma.  Cause and effect.  You get what you deserve, and you deserve what you get.  Fair is fair.  Fair and balanced.  Fair and equitable.  Balancing the scales.  Fair means produce fair results.  We who seek justice will have to do justice to others.  Justice is served.  Out for justice.  What’s good for the goose is good for the gander.  Justice is swift and certain.

[When the number 11 comes up, that’s when he gets to live/experience what he is here to live/experience.  This is his 11 personal year, so April 1st, 2013 to April 1st, 2014 is HIS year!!!]

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predictions for the year 2013 are at:

http://predictionsyear2013.com/

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discover some of your own numerology for FREE at:

http://numerologybasics.com/

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—————————————————————————————–

learn numerology from numerologist to the world, Ed Peterson:

https://www.createspace.com/3411561

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wedding numerology_edited-1

http://marriagenumerology.com/

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March 15, 2013                6:51 p.m.

Lakers 99 – Pacers 93 (Final)

The Lakers muscled out arguably their best win of the season, defeating the Pacers in Indiana, 99-93.

Kobe Bryant got through a quarter on a severely sprained ankle he suffered Wednesday night against the Atlanta Hawks, but couldn’t play after 12 scoreless minutes.

His teammates came through with contributions from some unlikely sources. Steve Blake (18 points) and Antawn Jamison (17) contributed 35 off the bench, both hitting crucial shots against a tough Indiana squad.

Metta World Peace helped carry the Lakers’ offense in key stretches, scoring 19 points while helping to anchor the Lakers’ defense.

Blake also had seven assists and four steals while hitting 5-of-7 from three-point range.  Jamison hit 4-of-7 threes in a game where the Lakers shot just 42.3% from the field.

Dwight Howard led the Lakers with 20 points, 12 boards and four blocks, hitting 6-of-11 from the line. The Lakers big man played through foul trouble all night but was still able to help control the Pacers on the defensive end.

Indiana shot 37.4% from the field but hit 12-of-27 from three-point range (44.4%). George Hill led the way with 27 points, Paul George followed with 20.

The Lakers improve to 35-32, defeating the second-place team in the Eastern Conference. The Pacers fall to 40-25 — a full game ahead of the slumping New York Knicks.

 

Pacers 69 – Lakers 68 (end of third quarter)

After 12 scoreless minutes in the first quarter, Kobe Bryant couldn’t return on his sprained ankle.Jodie Meeks started the second half and the Pacers quickly scored 13 straight to pull ahead 56-50.

The Lakers battled back behind an offensive burst from Metta World Peace to briefly take back the lead. The Pacers ended the third up 69-68.

World Peace led the Lakers with 17 points through three quarters. Dwight Howard had 13 points, 11 boards and four blocks as the Lakers held the Pacers to 36% shooting.

George Hill and Paul George led Indiana with 17 each. Both teams had 13 turnovers.

The Lakers shot 37.9% from the field but 9-of-20 from three-point range. The Pacers also hit nine three pointers (19 attempts). Free throws were the difference for the Lakers with 23 attempts to Indiana’s six.

 

Lakers 46 – Pacers 41 (halftime)

Kobe Bryant didn’t play in the second quarter but Dwight Howard and the Lakers’ reserves built a lead on the Pacers.

Howard picked up his third foul halfway through the period but Antawn Jamison and Steve Blake helped carry the scoring load. Jamison finished a team-high 11 points. Blake had eight with four assists.

The Lakers fell behind by 11 before pulling ahead by the same margin, but the Pacers closed within five by the end of the half.

Steve Nash hit a shot slightly after the halftime buzzer. The officials ruled that the clock started 1 1/2 seconds too early but still wouldn’t allow Nash’s field goal. Instead the Pacers had to come back out of their locker room to finish the half . . . again.

from:  http://www.latimes.com/sports/lakersnow/la-sp-ln-lakers-vs-pacers-game-updates-20130315,0,1787797.story?track=rss

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Antawn Jamison was born on June 12th, 1976 according to http://en.wikipedia.org/wiki/Antawn_Jamison

June 12th, 1976

6 + 12 +1+9+7+6 = 41 = his life lesson = A menace of the court.

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June 12th, 1976

June 12th

6 + 12 +2+0+1+2 = 23 = his personal year (from June 12th, 2012 to June 11th, 2013) = Athlete.  Sports.  Leadership.  Just do it!  Taking action.

King of Wands Tarot card

23 year + 3 (March) = 26 = his personal month (from March 12th, 2013 to April 11th, 2013) = Fans.  Popular.  In the news.  Making headlines.

Page of Wands Tarot card

26 month + 15 (15th of the month on Friday March 15th, 2013) = 41 = his personal day = A menace on the court.

[When his number (41 (his life lesson)) comes up, that’s when he gets to live/experience what he is here to live experience.  So today was HIS day!!!]

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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

Where:

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

 

 

Antawn Jamison

152155 1149165                46

 

his path of destiny = 46 = Stature.  Height.  6’9″.  It’s his time.  It’s about time.  Better late than never.

Six of Cups Tarot card

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predictions for the year 2013 are at:

http://predictionsyear2013.com/

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——————————————————————

discover some of your own numerology for FREE at:

http://numerologybasics.com/

—————————————————————————————–

—————————————————————————————–

—————————————————————————————–

learn numerology from numerologist to the world, Ed Peterson:

https://www.createspace.com/3411561

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wedding numerology_edited-1

http://marriagenumerology.com/

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February 25, 2013                11:28 a.m.

It was the Oscar night tweet heard ’round the world: While 9-year-old lead actress nominee Quvenzhane Wallis was enjoying her first Academy Award celebration, satirical website the Onion was disparaging the “Beasts of the Southern Wild” star with a tweet that generated outrage.

The tweet read, in part: “Everyone else seems afraid to say it, but that Quvenzhane Wallis is … ” and then referred to her by a crude obscenity.

The backlash to the brief message happened quickly, and within an hour the Onion, known primarily for its smart, satirical take on pop culture, removed the offensive tweet from its feed.

Actor Wendell Pierce from “The Wire” and “Treme” was one of the most outraged and posted a string of tweets in his feed, one calling for the writer of the post to be identified.

“Let him defend that abhorrent attack of a child. You call it humor. I call it horrendous,” wrote Pierce.

The Onion issued a full apology to both Wallis and the Academy of Motion Picture Arts and Sciences, promising readers that the site will institute stricter guidelines for its Twitter feed and will discipline the people involved with the message.

“No person should be subjected to such a senseless, humorless comment masquerading as satire,” wrote Onion Chief Executive Steve Hannah. “Miss Wallis, you are young and talented and deserve better. All of us at The Onion are deeply sorry.”

from:  http://www.latimes.com/entertainment/envelope/moviesnow/la-et-mn-oscars-2013-the-onion-issues-apology-to-quvenzhane-wallis-20130225,0,5054940.story

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Quvenzhané Wallis was born on August 28th, 2003 according to http://en.wikipedia.org/wiki/Quvenzhane_Wallis

August 28th, 2003

8 + 28 +2+0+0+3 = 41 = her life lesson = Abhorrent attack of a child.  Don’t mistreat children.

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August 28th, 2003

August 28th

8 + 28 +2+0+1+2 = 41 = her personal year (from August 28th, 2012 to August 27th, 2013) = Abhorrent attack of a child.  Don’t mistreat children.

[When her number (41 (her life lesson)) comes up, that’s when she gets to live/experience what she is here to live/experience.  So, unfortunately, this is her year.]

 

41 year + 1 (January) = 42 = her personal month (from January 28th, 2013 to February 27th, 2013) = Beloved.  Everybody loves Quvenzhané Wallis.

42 year + 24 (24th of the month on Sunday February 24th, 2013) = 66 = her personal day = “Everyone else seems afraid to say it.”  Cash cow for Quvenzhané Wallis.

Queen of Pentacles Tarot card

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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

Where:

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

 

 

Quvenzhané Wallis

8345588155 513391                  74

 

her path of destiny = 74 = Less than charitable comments.  “Miss Wallis, you are young and talented and deserve better.”

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predictions for the year 2013 are at:

http://predictionsyear2013.com/

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——————————————————————

discover some of your own numerology for FREE at:

http://numerologybasics.com/

—————————————————————————————–

—————————————————————————————–

—————————————————————————————–

learn numerology from numerologist to the world, Ed Peterson:

https://www.createspace.com/3411561

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wedding numerology_edited-1

http://marriagenumerology.com/

Read Full Post »

February 18, 2013                  10:06pm

Short-track fans at Daytona International Speedway and a national television audience were treated to a dramatic late-race duel between Kyle Larson and C.E. Falk in the NASCAR All-American Tour Late Model race on Monday night. Larson won the race but controversy raged to kick off the two-day Battle at the Beach short track event at the World Center of Racing.

Larson trailed Falk with six laps to go and appeared to make his move too soon, getting under Falk and passing him off the exit of turn two. Falk immediately ducked under Larson and retook the point, going into turns three and four. Larson closely trailed Falk until the last lap when, using the lap car of Trey Gibson as a pic, he got behind Falk and turned him before the start/finish line.

Larson crossed the line first and Falk scrambled to finish third, just behind the surging Ben Rhodes who led the most laps and beat Falk to the checkered flag. Falk had every right to be furious but was surprisingly calm following the race.

“Look, I’m not a 15-year-old kid anymore,” Falk said. “I’m 25 years old and I want to be in this sport for a long time. I can’t get there by acting like a spoiled brat. I had a moment to vent when I walked over to turn 1 and that was it. When you have the cameras on you like this, you need to be a professional. Kids were watching this race, especially on Speed on a Monday night, and they’re looking for someone to look up to.”

Ultimately, Falk believes there wasn’t much more he could have done. He wishes Larson hadn’t turned him but, on the last lap at a short track, Falk said that anything goes.

“I was staying on the brakes as long as I could,” Falk said. “I’ve been short track racing for a long time and on the last lap, when you’re two car-lengths ahead, you’re pretty much free game up front — you’re just a sitting duck… I just tried to protect the bottom best I could and tried to cut the corner and get around that tire barrier but he got into me once, thought I would be OK, and the wheels were just spinning.

“He got into me that last time and he turned me at the line. I wish he hadn’t done that but on the last lap, it’s anything goes.”

Larson admits that he was too aggressive at the end – dirty even – but did what he had to do to win the trophy, a replica of those handed to the winner of the Grand National races held on beach circuit in NASCAR’s youth.

“I don’t do a lot of short track racing,” Larson said. “But every video I’ve ever seen of it, the second-place driver wins in this scenario. I did what I think C.E. would have done to me if the positions were reversed.”

Both drivers had used up most of their brakes at the end of the race, with Larson saying he had to lean back into the seat just to put pressure on his brake pads. Decreased brakes forced the drivers to let off the throttle early to get a better entry and thus resulted in some of the contact between the two at the end.

“I hit the center of his bumper and got up underneath him and just turned him around,” Larson said. “I feel bad for him but we were coming to the finish line.”

story from and video at:  http://www.sbnation.com/nascar/2013/2/18/4003434/kyle-larson-and-ce-falk-talk-wild-finish-in-all-american-series

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C. E. Falk III was born on November 5th, 1987 according to http://en.wikipedia.org/wiki/C._E._Falk 

November 5th, 1987

11 + 5 +1+9+8+7 = 41 = his life lesson = Things get ugly.  This isn’t pretty.

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November 5th, 1987

November 5th

11 + 5 +2+0+1+2 = 21 = his personal year (from November 5th, 2012 to November 4th, 2013) = On the world stage.  For all the world to see.  Seeing the big picture.

21

 

 

21 year + 2 (February) = 23 = his personal month (from February 5th, 2013 to March 4th, 2013) = Athlete.  Sports.  Not having a temper tantrum.

23 month + 18 (18th of the month on Monday February 18th, 2013) = 41 = his personal day = Unwanted contact.  Things got ugly.  This wasn’t pretty.

[When his number (41 (his life lesson)) comes up, that’s when he gets to live/experience what he is here to live/experience.  So, unfortunately, this was HIS day!!!]

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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

Where:

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

 

 

C. E. Falk

3 5 6132             20

 

his path of destiny = 20 = You be the judge.  Judge for yourself.  Turning point.

Judgement Tarot card

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predictions for the year 2013 are at:

http://predictionsyear2013.com/

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——————————————————————

discover some of your own numerology for FREE at:

http://numerologybasics.com/

—————————————————————————————–

—————————————————————————————–

—————————————————————————————–

learn numerology from numerologist to the world, Ed Peterson:

https://www.createspace.com/3411561

—————————————————————————————–

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wedding numerology_edited-1

http://marriagenumerology.com/

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Singer Mindy McCready performs in 2006 at Lincoln Center in in New York City.

11:06 PM EST               Sunday February 17, 2013

Country music star Mindy McCready was found dead Sunday at her home in Arkansas from an apparent self-inflicted gunshot wound, the local sheriff’s office said in a statement. She was 37.

Deputies from the Cleburne County Sheriff’s Office were dispatched to a report of gunshots fired Sunday afternoon and found McCready’s body on the front porch, the statement read.

McCready leaves behind two boys, one of whom is 10 months old. The infant’s father, record producer David Wilson, died of an apparent suicide last month.

The singer struggled with addiction and mental illness, often publicly. She appeared in an episode of “Celebrity Rehab” three years ago with Dr. Drew Pinsky, who said he contacted her last month after her boyfriend’s death.

“When I heard she was struggling, I did reach out to her and urged her to go to take care of herself, get in a facility if she felt she needed,” said Pinsky, who hosts his own program on CNN’s sister network HLN.

“Her biggest fear was the stigma of doing so and what people would think if she, God forbid, took care of herself. And this to me is the most distressing part of this story. She is a lovely woman, we have lost her, and it didn’t have to go down like this.”

McCready burst onto the music scene in 1996 with her debut album “10,000 Angels,” and the chart-topping hit “Guys Do It All the Time.”

In the past few years, McCready waged a public battle for custody of her elder son, Zander. She took the boy from her mother, who had custody, and fled with him to her home in Arkansas, saying she had concerns over his safety.

A judge ordered authorities to pick up the boy, who was 5 at the time, and days later authorities found McCready hiding with Zander in a closet at her home.

Country music stars expressed their condolences Sunday on hearing news of McCready’s death.

“I grew up listening to Mindy McCready … so sad for her family tonight. Many prayers are going out to them,” tweeted singer Carrie Underwood.

“It breaks my heart what addiction continues to take from this life,” singer Wynonna Judd wrote in a series of tweets. “Addiction is a disEASE & not a character flaw. When the pain becomes too much, it causes people to want that pain to stop. This is just so unbelieveable & so sad.”

A year ago, McCready posted excerpts of a book she said was upcoming about her life. She acknowledged a difficult upbringing, personal problems and the challenges she faced turning her life around.

“I haven’t had a hit in almost a decade,” she wrote in January 2012 on her official fan website. “I’ve spent my fortune, tarnished my public view and made myself the brunt of punch line after punch line. I’ve been beaten, sued, robbed, arrested, jailed, and evicted. But I’m still here. With a handful of people that I know and trust, a revived determination, and both middle fingers up in the air, I’m ready. I’ve been here before. I’m a fighter. I’m down, but I’ll never be out.”

from:  http://www.cnn.com/2013/02/17/showbiz/mindy-mccready-death/?hpt=hp_t1

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Mindy McCready natal chart

[natal Pluto/North Node = Ophelia]

 

Mindy McCready was born on November 30th, 1975 (time of birth unknown) in Fort Myers, Florida according to http://en.wikipedia.org/wiki/Mindy_Mccready

November 30th, 1975

11 + 30 +1+9+7+5 = 63 = her life lesson = Tragedy.  Tragic.  Suicide.  Her life was a living nightmare.

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November 30th, 1975

November 30th

11 + 30 +2+0+1+2 = 46 = her personal year (from November 30th, 2012 to November 29th, 2013) = So young.  Only 37 years old.

46 year + 1 (January) = 47 = her personal month (from January 30th, 2013 to February 28th, 2013)  = Famous.  Internationally known.  Legacy.

Seven of Cups Tarot card

47 month + 16 (16th of the month) = 63 = her personal day (from her time of birth on Saturday February 16th, 2013 until her time of birth on Sunday February 17th, 2013) = Suicide.

[When her number (63 (her life lesson)) comes up, that’s when she gets to live/experience what she is here to live/experience.  So, unfortunately, this was HER day!!!]

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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

Where:

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

 

 

Mindy McCready

49547 43395147              65

 

her path of destiny = 65 = Worldly success.  Making it big time.  Vices.  I’ve spent my fortune and tarnished my public view.

King of Pentacles Tarot card

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predictions for the year 2013 are at:

http://predictionsyear2013.com/

—————————————————————–

—————————————————————–

——————————————————————

discover some of your own numerology for FREE at:

http://numerologybasics.com/

—————————————————————————————–

—————————————————————————————–

—————————————————————————————–

learn numerology from numerologist to the world, Ed Peterson:

https://www.createspace.com/3411561

—————————————————————————————–

—————————————————————————————–

—————————————————————————————–

wedding numerology_edited-1

http://marriagenumerology.com/

Read Full Post »

February 7, 2013

Frank Ocean did not want to ride in my rented Ford Fusion; that much was clear. After I parked the car, he met me outside his modernist apartment building in Los Angeles and led me to the garage where he rents three parking spots for three different BMWs. He was dressed casually — gray hoodie, jeans, high-top Vans with red laces, baseball cap — and he jumped lightly from the curb to the parking blocks as we walked toward his late-model blue BMW M3. Ocean no longer had driving privileges as a result of some recent violations, on top of which he was cited for marijuana possession a few weeks earlier. “You can drive,” he said, though I could tell that it was killing him.

At our first official interview earlier in the day, Ocean spent the first five minutes staring down at his phone. He didn’t so much as look up at me, as I made small talk with his managers and awaited his attention. Eventually he said, “Here’s what I think about music and journalism: The most important thing is to just press play.” He followed that with, “All in all, I just don’t trust journalists — and I don’t think it’s a good practice for me to trust journalists.” But he did promise to let me do my job, so there we were. I managed to get the car in gear and out of the garage, but as we pulled onto Vine, I took a dip too quickly. There was an ominous crunch as the front end scraped on the roadway, and Ocean winced. In my mind I booked the next red-eye home. But the formality and distance that characterized our lunch that day had given way to a softer, more relaxed mood. “Don’t worry about it, bro,” Ocean said with a smile, and we were off.

Maybe he didn’t mind because we were headed somewhere that he was actually excited to go, a garage in North Hollywood, where a vintage 1990 BMW E30 sedan is being rebuilt to his exact specifications. He likes to show up unannounced, just to see if they’re working on his car, and as soon as we got there, Ocean jumped out and headed to the back of the shop. The car was indeed up on a lift, and as he circled it, he began to tick off things that he didn’t like. He’s 25, but he speaks like somebody who expects to be listened to. His managers, Christian and Kelly Clancy, told me the night before — by way of explaining that anything could happen, or not, interview-wise — that Frank Ocean makes the decisions where Frank Ocean is concerned. They help him steer, but he goes only if he wants to.

He pointed to the shiny metallic exhaust tips that were about to be welded at the back of the car and said: “No. Black. I don’t want it shiny.” Perfectly courteous, but firm. A technician removed the tips. When he made it around to the front of the car, he noticed a piece of black metalwork with an insignia on it. “What’s up with the language?” he asked. “Do we need the language on it?” The owner of the garage said he could get Ocean a plain black one, but he didn’t think it was necessary because once the engine was complete you’d never see it. “It doesn’t matter if you can see it,” Ocean said.

This was clearly the same man who produced “Channel Orange,” one of the most meticulously constructed records of 2012. “I have no delusions about my likability, in every scenario,” he told me earlier. “I know that in order to get things done the way you want them, oftentimes your position will be unpopular.” The BMW that he is rebuilding will have the steering wheel on the right-hand side, because he wants it that way, and the engine and body of the car will be as quiet and as light as possible. “You won’t even hear me,” he said, looking into the glow of the garage. “I want it to be a sleeper. I’ll pull up next to you, and you won’t even know I’m there” — a smile came on his face — “and then as soon as the light turns, I’m gone.”

Before “Channel Orange” was released in July, Ocean was something of a sleeper in the hip-hop and R.&B. worlds. Some people had heard the free mixtape, “Nostalgia, Ultra,” that he released online in 2011, or they knew of him through his affiliation with Odd Future, a loosely connected and somewhat anarchic group of rappers in Los Angeles that Ocean joined in 2010. Others had heard of him because he contributed vocal hooks to two tracks on “Watch the Throne,” the much-anticipated collaboration between Jay-Z and Kanye West that was one of the biggest-selling records of 2011. Ocean’s is the first voice you hear on “Watch the Throne” — a platinum vote of confidence, given the artists whose names are on the cover.

In the wee hours of July 4 last year, several days before the release of “Channel Orange,”Ocean took to his Tumblr site — his main point of contact with his fans — and released a document that appeared to be the acknowledgments section of the liner notes for the forthcoming record. “4 summers ago, I met somebody,” he wrote. “I was 19 years old. He was too.” The two-paragraph message was a product of a sensitive mind and a still-broken heart. “By the time I realized I was in love, it was malignant. It was hopeless. There was no escaping, no negotiating with the feeling, no choice. It was my first love. It changed my life,” he wrote. “Imagine being thrown from a plane.”

The media took the message to be an outright profession of homosexuality, though Ocean has been reluctant to label himself. In an interview with GQ magazine last December, he said, “In black music, we’ve got so many leaps and bounds to make with acceptance and tolerance.” Many of the biggest figures in hip-hop, like Russell Simmons (the founder of Def Jam) and Jay-Z, voiced their support. Others, like the rapper 50 Cent, were supportive but suspected that there was more to the admission than the unburdening of a secret. “You can call it brave or you can call it marketing,” he told MTV, “because it was intentional. It wasn’t an accident.”

Whether Ocean intended the post in part as marketing or not, the media’s fascination with his sexuality drove an enormous amount of interest in him and his record. On “Late Night With Jimmy Fallon” on July 9, Ocean performed a near-flawless rendition of “Bad Religion,” one of the most finely wrought songs on “Channel Orange” and one of the few that openly refers to love for another man. As the performance was shown on the East Coast, Def Jam released the album digitally through iTunes, a week in advance of the physical CD release. It sold 131,000 copies in its first week, enough to land at No. 2 on the Billboard charts.

But as those 131,000 copies of “Channel Orange” (mine among them) made their way onto iPods and car stereos, as Ocean’s music got a chance to speak for itself, the questions about his sexuality turned sideshow. Some records, rare records, become a part of your life. They arrive at just the right moment and take over for a while, mapping familiar terrain in unexpected ways. For a lot of people, people with very different backgrounds and preferences, “Channel Orange” was this kind of record. Music magazines like SPIN and Paste named “Channel Orange” the album of the year, while Rolling Stone put it at No. 2. “Saturday Night Live” invited Ocean to be the musical guest for its season opener in September. He has been compared to Stevie Wonder, Marvin Gaye, Prince, J. D. Salinger and Joan Didion, among many others. And this weekend, at the 55th Annual Grammy Awards, Ocean is up for six different prizes, including Best New Artist, Record of the Year and Album of the Year.

Like Ocean in person, the album is challenging. It demands to be taken on its own terms, and in places it puts you to work. For a first-time listener, things don’t fall into a “put this on at your party” rhythm until the fifth track, “Sweet Life,” and even then Ocean makes you stop immediately afterward for one of the album’s many nonmusical interludes. But once you’ve taken the entire album in, its internal logic — the interludes, the snippets of found audio, the song order, the sudden toggles between bravado and vulnerability in Ocean’s lyric style — begins to reveal itself. “The best song wasn’t the single,” Ocean intones at the outset of “Sweet Life,” and by the second or third time around you find yourself singing along, convinced.

Artists don’t usually give satisfying answers to the question of how or why they do what they do, and maybe that’s for the best. Sometimes songs mean more to us when we don’t totally grasp the lyrics. Ocean is acutely aware of this. He knows that, as much as anything, he is selling an idea. “That’s why image is so important,” he said. “That’s why you’ve got to practice brevity when you do interviews like this. I could try to make myself likable to you so you could write a piece that keeps my image in good standing, because I’m still selling this, or I could just say, ‘My art speaks for itself.’ ” He practices brevity in most things. He curates and updates his image on Twitter, Instagram and Tumblr deftly and consistently, but he never overshares. “As a writer, as a creator, I’m giving you my experiences,” he said in the GQ interview. “But just take what I give you. You ain’t got to pry beyond that.” To me, he said, “I don’t know if it’s a shield or whatever, but I want to deflect as much as I can onto my work.”

He has had what he calls “a creeping sense of mortality” since he was little. His father split without explanation when he was 6, and Ocean would say nothing about that to me other than that his dad was a failed musician who “went crazy” and made questionable hairstyle choices. In “There Will Be Tears,” one of the most autobiographical tracks from “Nostalgia, Ultra,” Ocean sings about having to hide his face because he doesn’t want his friends to see him crying over his father. A few weeks before my visit, Ocean tweeted, then rapidly deleted, a message about his father’s suing him for $1 million. When I brought it up, he said only, “Yeah, we can move past that.”

He moved with his mother from Long Beach, Calif., to New Orleans, where he lived until he was almost 18. His mother’s father, Lionel, became his de facto father for a while, and also the reason that the young Christopher Breaux — Ocean’s name before he changed it in 2010 — was known as Lonny. (His managers and friends still call him that.) Most of the pleasures that he recalls from his childhood were solitary: climbing onto neighboring rooftops, listening to music with his headphones on, reading. He didn’t stick with team sports because, as he put it, “I didn’t enjoy things I couldn’t envision myself being the best at.”

But there was also a deeper kind of solitude, and a deeper kind of doubt. He told me a long story about realizing suddenly, one day, that he and his mother and everybody they knew were going to die. “I said: ‘I’m going to die. You’re going to die, Mom.’ And she said, ‘I’m not going anywhere anytime soon.’ That’s what you say, I guess. I guess. But I just remember sitting there, trying to imagine nothing. Nothingness and forgetting and all of those things I feared. And that can’t not affect you and your belief system a little bit.”

His grandmother was Pentecostal Evangelical, and his mother and her siblings were teased as kids for being “holy rollers.” “I never sang or played in church,” Ocean wrote in one of his first Tumblr posts. “I remember being kind of intimidated by the idea of it actually. Church was the ’hood Juilliard to me. All the coldest musicians came out of there.” Eventually he left his mother’s church and struck out on his own, attending Catholic Mass for a while and then a small Lutheran school, though that was less about religion than discipline. “I got kicked out of every school I went to,” Ocean said. “The last school that kicked me out had a folder of [expletive] that I had done. They sent the folder in a manila envelope to my house.”

He was drawn toward music at first not because of any burning urge toward art or self-expression; it was about having a different set of opportunities. “It was about the freedom and the mobility that having money would allow me,” he said. Ocean stuck with academics long enough to graduate from John Ehret High School, then enrolled at the University of New Orleans to study English in the fall of 2005. But against his mother’s wishes, he went deeper into making music, writing rudimentary songs on an old Triton keyboard. When Katrina hit in August 2005, Ocean transferred briefly to the University of Louisiana in Lafayette but then quickly decided to leave. When a friend in Los Angeles promised to give him a deal on some studio time, Ocean packed up his car and set out.

“This is our life,” Chris Clancy said, with a mixture of pride and resignation. We were sitting in the dining room of the Clancy house in Miracle Mile, in Los Angeles, where two members of Odd Future had just shown up within minutes of each other. Each made obscene gestures at us from the front yard, then bounced into the house asking what was for dinner. Chris is an earnest, thoughtful guy, a 10-year veteran of Interscope records who worked with Eminem; Kelly, who co-manages Ocean with her husband, worked at Interscope for seven years and also serves as a kind of den mother. (Taco, one of the O.F. members who had shown up, was demanding that she cook him Japanese fried chicken.)

“Boys would come in and out, just like you’re seeing,” Kelly told me. In 2010, Ocean befriended Tyler Okonma, the outspoken ringleader of Odd Future known as Tyler, the Creator, and eventually Ocean started showing up at the Clancys along with the rest of the crew. The family vibe clearly appealed to him. “Frank would come in,” Kelly said, “but he wouldn’t say much. He was the quiet one. He wouldn’t ever say he was coming by. He would just pop up randomly and then kind of just sit there.”

When Ocean first came out to L.A. in 2006, his money ran out before he ever came close to getting his record done. To support himself, he worked as a “sandwich artist” at Subway, at Fatburger, Kinko’s, AT&T, and as a claims processor at Allstate, among other jobs. Eventually he discovered that it was possible to make money writing songs for other people; he knew he could sing, so he connected with producers and musicians who submitted tracks for major-label artists. The producers made the sonic beds and Ocean helped write lyrics and melodies, contributing to songs that would eventually be recorded by artists like Justin Bieber (“Bigger”), Brandy (“1st and Love”) and John Legend (“Quickly”).

Even then, he bristled at interference. “I had a problem listening to anybody,” he said. “I had a problem listening to A.-and-R.’s telling me how a song was supposed to sound, or what this artist’s vibe was.” As his profile grew, he began to work with producers and beat makers who liked his writing style and would let him use their studios free. Toward the end of 2008, he was making enough money to devote himself to music full time. He moved out of his apartment at 28th and Crenshaw and into a nicer place in Beverly Hills. In time he caught the attention of Christopher (Tricky) Stewart, the producer behind such hits as Rihanna’s “Umbrella” and Beyoncé’s “Single Ladies.” Stewart helped Ocean make a go of it as a solo artist and get signed to Def Jam at the end of 2009.

The deal didn’t work out the way Ocean hoped. “I don’t know where to begin,” he said when I asked him what went wrong. “I think ultimately the problem with it was that nobody was ready to act on anything, any of the language [of the contract], except the language to keep me in it.” Def Jam never gave him a recording budget and basically left him on the shelf. After twisting for several months, Ocean decided to write and produce a record on his own. He solicited beats and backing tracks from friends, and he trolled the Internet for instrumentals to popular songs that he could repurpose with his own melodies and lyrics. (His piano skills at the time were pretty basic — today he takes piano and music-theory lessons every morning except Sundays — so he wasn’t going to write a record by sitting down at the keyboard.)

As Lonny Breaux, Ocean often relied on easy rhymes and formulaic song structures. Those are the kinds of songs that sell. There is a “Lonny Breaux Collection” available online, featuring some of the songs he wrote with and for others before “Nostalgia.” He was upset when these were leaked and claims that he didn’t even write several of them, but as a group they provide a clear indication of the kind of work he was doing before he struck out on his own. On “Nostalgia, Ultra,” as Frank Ocean, he could write for himself. The second song on the mixtape — a track called “Novacane” — was his announcement that he was going to be a different kind of songwriter. The song begins with a loose and sinister-sounding syncopated drum loop, and then Ocean’s voice enters with a condemnation of most popular music that doubles as a metaphor for how little he finds himself able to feel about the world around him: “I think I started something/I got what I wanted/Didn’t I?/Can’t feel nothin’, superhuman/Even when I’m [having sex], Viagra popping/Every single record auto-tuning/Zero emotion, muted emotion/Pitch-corrected, computed emotion. . . .”

(Much of what you hear on the radio today is auto-tuned, meaning “pitch-corrected,” because many of the stars can’t sing. Auto-tuning in limited doses can slip by unnoticed, but the more you use it, the less human the vocal sounds.)

The rest of the track outlines a relationship that Ocean — or the character he has assumed for narrative purposes — has with a woman he meets at the rock festival Coachella. They smoke grass together, have sex and then part. After, Ocean drifts through a series of other sexual couplings but can’t recreate the feeling he had with this one woman. The disinhibition he experiences initially allows him to escape his life for a while, but later he finds himself numb in a way that he can’t convert into anything other than listlessness and apathy. He wants her back so he can feel the kind of nothing that he felt with her. The concept of numbness shifts within the song, and throughout you sense an intelligence operating, a complex story unfolding in deceptively simple terms. Unpredictable internal rhyme, metaphor, double meaning, regret for love lost or never possessed in the first place: these are the hallmarks of what has since become Ocean’s writing style.

Two weeks after releasing “Nostalgia,” as buzz around the record was building — with people like Sean Puff Daddy/P. Diddy Combs calling the Clancys and asking, “Who is this guy?” — Ocean took to Twitter to get a few things off his chest: “I woke up today feeling like all my followers should know that . . . my record label slept on me . . . i. did. this. not ISLAND DEF JAM. that’s why you see no label logo on the artwork that I DID. guess its my fault for trusting my dumbass lawyer and signing my career over to a failing company. [expletive] Def Jam & any company that goes the length of signing a kid with dreams & talent w/no intention of following through . . . now back to my day. I want some oatmeal and toast.”

Ten days later, Ocean would be in the studio with Beyoncé, at her invitation, to collaborate on a track for her album “4.”

Barry Weiss, who had just taken over as the chairman and chief executive of Island/Def Jam, invited Ocean to a meeting at his office in New York in April 2011 in an effort to get to know him. (Some at Ocean’s own label hadn’t even realized, at first, that Frank Ocean and Lonny Breaux were one and the same.) “He felt sort of unappreciated,” Weiss told me, putting it mildly.

As “Nostalgia” continued to gain attention, Ocean’s team would call Weiss to demand more money for Ocean’s follow-up record, “Channel Orange.” “Frank was so bullish and so optimistic and so confident about the album that he was creating that he had his representatives call us up and say that he deserves a lot more money,” Weiss says. “I don’t believe that I had actually heard anything at that point. But we did something atypical, that most labels I don’t think would do. We stepped up. We wrote the check. Virtually album-unheard, sight-unseen, we believed so much in this guy that we actually wrote the check.” Ocean has claimed in the past that he demanded $1 million. When I asked about that, Weiss said only, “I plead the fifth.”

A couple of weeks before “Channel Orange” was released, Ocean wrote a post on his Tumblr: “Orange reminds me of the summer I first fell in love. Awww. . . . ” Less than a week later, in the post that revealed how important that first love had been for him, he wrote: “I wanted to create worlds that were rosier than mine. I tried to channel overwhelming emotions.” Channel. Orange.

To write the songs for “Channel Orange,” Ocean turned to James Ryan Ho, a producer who goes by the name Malay. He would become Ocean’s most creative partner in the making of the record. As Ocean remembers it, on their first day together, with Malay at the console and Ocean in the vocal booth, they came up with “Super Rich Kids,” one of the fan favorites from the record. Over the next two days, they wrote the 10-minute track “Pyramids.”

There was very little talking in the studio. This is a common refrain for people who work with Ocean. (Da’Jon, a young cousin from New Orleans who was living with Ocean when I visited, said that they sometimes go days without speaking to each other, and that he would occasionally ask Ocean if everything was O.K., just to be sure.) While Malay created the musical beds, Ocean would type on his laptop, humming melodies and trying out combinations. For mood they sometimes had an old movie playing in the background with no sound, and in later stages Ocean put up posters of Pink Floyd and Bruce Lee for inspiration. Ocean’s tastes are eclectic, drawing on everything from Wes Anderson movies to Radiohead and Celine Dion. “The next thing you know, Frank’s like, ‘Let me go in the booth,’ ” Malay told me, “and then he just lays it down. He’s kind of like an M.C.,” he went on, “like a rapper. Rappers come in, and they just write lyrics and drop it down, and he’s that same way, but obviously his lyrical concepts and melody concepts are ridiculous.”

After a couple of months of on-and-off work with Malay, Ocean had skeleton versions of every song that would appear on “Channel Orange,” including the nonsong interludes that create so much of the record’s ambient appeal. On a dry-erase board in his apartment, he wrote the names of the songs and the interludes with a red Sharpie and began playing around with their placement. “Even though they were all sketches,” Ocean says, “there was so much comfort, because I heard in my head how it was going to sound. Now all I’ve got to do is finish it.” Once he arrived at the final album order, with nine months of recording still ahead of him, the sequence never changed.

In June 2011, Ocean tapped Om’Mas Keith, another producer in Los Angeles, to help him turn his sketches into major-label-release-ready album cuts. They decided to focus first on vocals — leads, harmonies — and then they went back into the studio to perfect the music. “Crack Rock” and “Monks” got live drum sounds. “Sweet Life” went from being a digital track created by Pharrell Williams to a live, full-throated jam. They made use of every technique they could think of: for the ominous strings on “Bad Religion,” they had only a few string players to work with. So the engineer, Jeff Ellis, arranged seating for a large string section in Studio 1 of EastWest Studios, the same room where Frank Sinatra recorded “My Way,” and then used a pair of old stereo ribbon microphones to capture the sound. The players sat in different seats each time they played along with the track, so that when they mixed all of the takes together at the end, it would sound as if they had filled the room with musicians.

“This is the Michael Jackson way of making records,” Om’Mas told me. He called Ocean “the shepherd” of the whole process. “I just credit Frank with being an extreme visionary, even in how he put the process together. It’s a blueprint that people are going to try to follow. But if you don’t have a vision, you can’t follow it, because you won’t get anywhere.”

After the recording was complete, Ocean played “Channel Orange” for Rick Rubin, the legendary producer and founder of Def Jam. Rubin was impressed by the rawness and power of Ocean’s vocals, and he urged him not to mess around with the recordings too much. He was also struck by Ocean’s process for a song like “Pilot Jones,” for which Ocean wrote the melody to one backing track and then, with Malay’s help, created a completely different backing track once the melody was complete. “It’s really interesting that he uses seed ideas or tools to write that really don’t have anything to do with the song,” Rubin told me. “It’s just a way for him to access himself, and then the song comes out, and then the track is built around what he writes.” (Ocean said to me, of writing “Pilot Jones,” “I was like, ‘I gotta get this song out.’ I always knew the track would have to change.”)

The first time Jeff Ellis heard the full finished record was at a listening party that Def Jam held just before “Channel Orange” was released. “In the studio, sometimes it seems like a really great album, but you can be deluding yourself,” Ellis says. “I didn’t want to be that guy: ‘It’s a hit! It’s a hit!’ ” But as he sat in the room with Ocean, Ocean’s mom and a bunch of reporters, radio people and label people, watching everybody slowly freaking out, he finally understood what Ocean had achieved. “From the first day,” Ellis says, “Frank never talked about what his vision was. He just executed on it.”

Ocean is probably right, as far as the music goes: you’re better off just pressing play. That’s the only way to experience the seediness and desperation that he is able to load onto a minute detail, like a floor-model television; it’s also the only way to find yourself inexplicably screaming: “Crack Rock! Crack Rock!” along with Ocean, marveling at how slyly he has converted you by making the catchiest song on the record about the drug that hits fastest and is the hardest to shake. Vocally, he can do whatever he wants with his falsetto — woodwind, siren, everything in between — but mostly he just wants you to hear the songs, to locate without diversion the moments that refract the emotional content of the stories. “Crack Rock” is about drugs, to be sure, but when you hear that the addict’s family won’t let him hold an infant, you suddenly find yourself inside of the story, empathizing in ways you might never have expected to.

Drugs are the record’s dominant (and tragic) motif, but the true concern of “Channel Orange” is the inextricable mingling of love and loneliness, the attachment and disillusionment and euphoria and addiction and pain that result from losing yourself in something or someone else. As Ocean put it to me, “We’re talking about substances­, but we forget how intoxicating things that aren’t tangible, things that aren’t chemical substances, are. You forget about it. I’m saying, you know, love. Power. Money, which is power. Freedom. Honesty. Because that explicit truth I was talking about” — a reference to his open letter on Tumblr — “probably had the same effect [on me] as heroin does on some people.”

The church-organ, deconstructed gospel confessional “Bad Religion” is the one undeniable masterpiece on the album. It is pure. In the song, Ocean is in a cab, talking to a driver who barely understands him. He wants to tell this man his secrets, to pour out his heart, in part because he knows the cabby won’t understand. It’s a metaphor for the record itself, for the act of making art, for how hard it is to tell anybody anything, for Ocean’s life in all of those years when he was hiding. The second verse, to the end:

Taxi driver
I swear I’ve got three lives
Balanced on my head like steak knives
I can’t tell you the truth about my disguise
I can’t trust no one. . . .
If it brings me to my knees
It’s a bad religion
Unrequited love
To me it’s nothing but a 
one-man cult
And cyanide in my 
Styrofoam cup
I could never make him love me.
It’s a bad religion
To be in love with someone 
Who could never love you
Only bad religion
Could have me feeling the way I do.

Forget about the pronouns. Who can hear those lines the way Ocean sings them and not see themselves, at some point in their lives? And who, after the rare scream that Ocean allows himself on this track, knowing all that we know about him, can fail to know that it is real?

It’s a different world in the music business these days. Ocean has built so much power on his own, through his music and through his direct connection with his fans, that now he can afford to dig his heels in. When I asked Barry Weiss, the chairman of Def Jam, if they basically followed Ocean’s lead at this point, he said: “It’s all case by case. We have our differences of opinion. It’s like a marriage. You have ups, you have downs, but we give him a lot of autonomy because the guy’s brilliant.” In other words, he did not say “no.” When I asked Ocean if Def Jam asked him for another record, he said, “Oh, they learned a long time ago they can’t really tell me what to do,” and then he laughed. At another point he said he wouldn’t go into acting because studio heads can blackball you in Hollywood. “I don’t like the idea of there being somebody who could break me,” he said. “There’s no head of a label right now who could break me.”

“Everyone knows the record industry is falling apart,” Chris Clancy told me. “Frank says: ‘Let’s be progressive. What can we do?’ The record business is what you can’t do. The metrics of success: Soundscan, BDS. . . . ” — BDS is a measure of radio plays and still something of a bible for record labels — “If you’re playing that game, you’re in a world that’s shrinking.” Ocean thought enough of radio to release a 9-minute-53-second song as a single. And it’s not just radio, or his label: he will be performing at the Grammys this weekend, but he was willing to do so only if they let him play the song he wanted to play. Otherwise, he would have been happy to sit in the audience.

Ocean’s way hasn’t been entirely smooth. When he played the first weekend at Coachella in April, his first live show with a band, the sound was abysmal. At the biggest show of his life up to that point, he had to cut a song off halfway through. He said he fired the entire band and played the second weekend with a different lineup, to much better effect — but his live performance is still evolving. He’s also had a couple of uncomfortable brushes with the law, and with another artist. A feud with the notoriously violent and thin-skinned singer Chris Brown began on Twitter in June 2011 and included a couple of Brown’s associates following Ocean’s car after he left a studio. They posted footage of their interaction — the cars side by side, threats being hollered through open windows — to Worldstar Hip-Hop, a Web site that does many things but mostly hosts videos of fights. Ocean made an oblique mention of that situation when we were together, but I thought it was over. Then last month, the feud boiled over again, with conflicting reports that agreed on one thing: There had been an altercation between Ocean and Brown and a few other people on the street in Santa Monica.

These are the kinds of traps that lie in wait for Ocean, now that he has achieved this level of success. He springs from the hypermasculine world of hip-hop and R.&B., and yet even as his music defies those genre characterizations, he seems unable or unwilling to escape them. Maybe he feels he has to overcompensate in the bravado department, given what he has revealed of himself. I found Ocean to be at his most relaxed and natural when he was being humble, talking about cars and joking around about his piano skills.

So what’s next? Ocean told me he was headed to Shanghai after the Grammys with his equipment in tow, some new recordings already in hand, and plans to write “in remote locations for the next two years.” In previous interviews he mentioned also wanting to write a book. “I’ve started writing the book,” he told me. “You can say that. It’s fiction, and it’s about brothers. That’s all I’m going to say.”

Whatever the book ends up being about, Ocean’s music is full of suffering, and there are any number of artists who define themselves that way. “I hope not to define myself by suffering,” he told me. He repeated a few times that his Tumblr post had “cured” his depression, that he was finally over the relationship and that he was happy now.

“I don’t worry about where [the inspiration] will come from,” he said. “I think even with that cured, there’s still so much to pull from.” He didn’t think of the pain that he went through as a gift, he said. “I know people like to say that. You know, ‘It’s a gift and a curse.’ It’s not a gift. I don’t believe that. I believe it’s just pain. The gift would be the gift whether I went through it or not. We’d just be having a different conversation.”

In “There Will Be Tears,” Ocean sings, “You can’t miss what you ain’t had/Well I can, and I’m sad.” His music longs for things past and possible happiness lost, the kind of thing we all do when we look back and simultaneously romanticize the past and wish it had been different. Even the interludes on his records — the whirring cassette players and analog alarm clocks and recondite movie audio — are of an era that Ocean was mostly too young to have experienced directly, as are the old BMWs he rebuilds with such care. But he longs for these things just the same, and his creative triumph is that he has found his own musical and lyrical language to express that longing. Nostalgia, ultra.

“Art’s everything we hope life would be, a lot of times,” Ocean said to me as we sat outside the BMW repair shop in North Hollywood, speaking to each other in the dark. “That’s what I get from it. And that’s what I’ve tried to do. In the storytelling and the sonics and everything. That’s what I’ve tried to do, because I just think that’s the purpose of art. Push, you know?”

I told him I thought that he had succeeded in that.

“Thank you,” he said.

from:  http://www.nytimes.com/2013/02/10/magazine/frank-ocean-can-fly.html?pagewanted=all&_r=0

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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

Where:

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

 

 

Frank Ocean

69152 63515               43

 

his path of destiny = 43 = Congratulations.  Celebrating.  Fun times.

Three of Cups Tarot card

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Frank Ocean was born on October 28th, 1987 according to http://en.wikipedia.org/wiki/Frank_Ocean

October 28th, 1987

October 28th

10 + 28 +2+0+1+2 = 43 = his personal year (from October 28th, 2012 to October 27th, 2013) = Congratulations.  Celebrating.  Fun times.

Three of Cups Tarot card

[When his number (43 (his path of destiny)) comes up, that’s when he gets to live/experience what he is here to live/experience.  So this is HIS year!!!]

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undefined

predictions for the year 2013 are at:

http://predictionsyear2013.com/

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discover some of your own numerology for FREE at:

http://numerologybasics.com/

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learn numerology from numerologist to the world, Ed Peterson:

https://www.createspace.com/3411561

Read Full Post »

01/30/2013             2:16 pm EST

Ron Jeremy is fighting for his life at a Los Angeles hospital and is being treated for an aneurysm near his heart.

The world’s most celebrated porn star drove himself to Cedars-Sinai hospital on Tuesday after experiencing severe chest pain, TMZ reports. His manager, Mike Esterman, told the site that his condition has worsened after doctors discovered the aneurysm and he was transferred to the intensive care unit.

Jeremy, 59, was being prepped for surgery this morning. It’s yet unclear what led to the chest pain.

The adult film actor, who has starred in more than 2,000 films — pornography and non-porno — has been an outspoken opponent of the new law in Los Angeles that would require adult film actors to wear condoms while filming . He campaigned against Measure B in the weeks before the election.

He was also reportedly recruited last year to help catch Luka Magnotta, the alleged porn-star-gone-Canadian cannibal.

from:  http://www.huffingtonpost.com/2013/01/30/ron-jeremy-in-critical-condition-heart-aneurysm_n_2582953.html

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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

Where:

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

 

 

Ron Jeremy

965 159547                 51

 

his path of destiny = Reputation.  Deadly serious.

King of Swords Tarot card

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Ron Jeremy was born on March 12th, 1953 according to http://en.wikipedia.org/wiki/Ron_jeremy

March 12th, 1953

March 12th

3 + 12 +2+0+1+2 = 20 = his personal year (from March 12th, 2012 to March 11th, 2013) = Fear of death.  Turning point.

Judgement Tarot card

20 year + 1 (January) = 21 = his personal month (from January 12th, 2013 to February 12th, 2013) = On the world stage.  For the whole world to see.

21

21 month + 30 (30th of the month on Wednesday January 30th, 2013) = 51 = his personal day = Deadly serious.

King of Swords Tarot card

[When his number (51 (his path of destiny)) comes up, that’s when he gets to live/experience what he is here to live/experience.  So, unfortunately, today is HIS day!!!]

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Sex Numerology available at:

https://www.createspace.com/3802937

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—————————————————————–

——————————————————————

discover some of your own numerology for FREE at:

http://numerologybasics.com/

—————————————————————————————–

—————————————————————————————–

—————————————————————————————–

learn numerology from numerologist to the world, Ed Peterson:

https://www.createspace.com/3411561

—————————————————————————————–

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undefined

predictions for the year 2013 are at:

http://predictionsyear2013.com/

Read Full Post »

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