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Posts Tagged ‘Los Angeles’

You aren't at a photoshoot: The reality star was seen pouting and posing away despite enjoying a day at the beach solo

06:03 EST             20 September 2012

He ex-husband stormed out of the CNN building after seeing a picture of her yesterday.

But these bikini snaps of Camille Grammer would leave most men drooling not running in the opposite direction.

The Real Housewives of Beverly Hills star has been snapped showing off her impressively trim shape as she enjoyed a day at the beach in Los Angeles.

Beach babe: Camille Grammer put her ample cleavage on display in a stone-coloured bikini as she enjoyed a day at the beach in LA
Beach babe: Camille Grammer put her ample cleavage on display in a stone-coloured bikini as she enjoyed a day at the beach in LACamille, 44, wore a stone bikini with cut-out detail and cross-crossed straps as she enjoyed a day soaking up the sunshine.

The swimwear emphasised the reality star’s cosmetically enhanced chest while putting her super-taut stomach on display.

Camille was preened to perfection for the day at the beach with freshly blow-dried hair and a full face of make-up.

Making a splash! Camille didn't mind enjoying a dip in the sea despite having blow-dried hair and a full face of make-up
Making a splash! Camille didn't mind enjoying a dip in the sea despite having blow-dried hair and a full face of make-up

Making a splash! Camille didn’t mind enjoying a dip in the sea despite having blow-dried hair and a full face of make-up

Hat's not too good: The Real Housewives star narrowly avoided soaking her straw hat as she played in the sea
Hat’s not too good: The Real Housewives star narrowly avoided soaking her straw hat as she played in the sea

 

Wave walker: The reality star was seen strolling up and down on the edge of the surf
Wave walker: The reality star was seen strolling up and down on the edge of the surf
Wave walker: The reality star was seen strolling up and down on the edge of the surf

 

Wave walker: The reality star was seen strolling up and down on the edge of the surf

But despite her groomed look Camile didn’t have any qualms about frolicking in the sea.

The model made her way into the surf with a straw hat in hand, and jumped about as the waves broke against her back.

The reality star’s face was animated as she played in the water before finally returning to the sand.

The big reveal: Camille spent time undressing herself, pulling off her dress to reveal her tiny bikini body
The big reveal: Camille spent time undressing herself, pulling off her dress to reveal her tiny bikini body

The big reveal: Camille spent time undressing herself, pulling off her dress to reveal her tiny bikini body

Safety first: The reality star was seen rubbing suncream on protecting her skin from the harsh rays
Safety first: The reality star was seen rubbing suncream on protecting her skin from the harsh rays

Safety first: The reality star was seen rubbing suncream on protecting her skin from the harsh rays

Taking in the view: The blonde was seen kneeling down and people watching, but she was clearly keen to be centre of attention
Taking in the view: The blonde was seen kneeling down and people watching, but she was clearly keen to be centre of attention

That's a natural pose: At one point Camille bent over on all fours while touching on hand to her chin
That’s a natural pose: At one point Camille bent over on all fours while touching on hand to her chin

 

Comfy? Camille was seen showing off her chest as she bent over with her bottom in the air
Comfy? Camille was seen showing off her chest as she bent over with her bottom in the air

 

Finally, a spot of sunbathing: After posing up a storm Camille took a brief rest on her back
Finally, a spot of sunbathing: After posing up a storm Camille took a brief rest on her back

Back on the beach Camille demonstrated she takes care of her skin by rubbing sunscreen on.

After that task was done she decided to kneel on her towel before putting her arms forward so she was on all fours, in a most unusual sunbathing position.

Balancing on one hand she raised her hand to her face while sticking her bottom high up into the air.

 

In great shape: The reality star has little fat on her figure and seemed more than happy to pose just in her bikini
In great shape: The reality star has little fat on her figure and seemed more than happy to pose just in her bikini

In great shape: The reality star has little fat on her figure and seemed more than happy to pose just in her bikini

 

camille
camille

Cute cover up: As Camille left the beach she put on a grey dress

While Camile was demanding attention one person who will not be interested in her antics is her ex-husband Kelsey.

After seeing a photograph of his ex-wife the Frasier star stormed out of the CNN building leaving host Piers Morgan shocked, and more importantly without a guest to interview for his show.

Piers told fans about Kelsey’s runner tweeting: ‘Kelsey Grammer was supposed to be on my show now but ran out of the building. Strange.’

‘Kelsey saw a photo of his ex wife Camille in the open to our show and legged it. Extraordinary. Never had this happen before.’

Piers said that he and the 57-year-old Boss star had already chatted and all seemed well.’

Despite his apparent reticence, Kelsey has previously been only too happy to discuss his ex wife, who stars in the Real Housewives of Beverly Hills.

He has taken swipes at the 44-year-old in interviews, revealing that they hadn’t had sex for ‘ a decade’ before their split.

Kelsey is now married to 29-year-old Katye Walsh, who is the mother of his newborn daughter Faith.

The three-time divorced Frasier star never signed a prenuptial agreement with his ex-wife of 13 years, and she stands to make a fortune – $30 million – in the yet to be agreed settlement.

from:  http://www.dailymail.co.uk/tvshowbiz/article-2206021/Camille-Grammer-shows-ample-cleavage-bikini–ex-husband-Kelsey-flees-building-picture-her.html#ixzz2720HVFVe 

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Camille Grammer was born on September 2nd, 1968 according to http://en.wikipedia.org/wiki/Camille_Grammer

September 2nd, 1968

2 +1+9+6+8 = 26 = her “secret” number = Actress.  Celebrity.  Television.  Photogenic.  Photos.  Good looks.

Page of Wands 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

 

 

Camille Grammer

3149335 7914459                    67

 

her path of destiny = 67 = Homeowner.  Not your average girl.

Knight of Pentacles Tarot card

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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/4317439

51 book cover

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Jerry Buss

February 14, 2013               5:50 p.m.

Lakers owner Jerry Buss has been hospitalized because of an undisclosed form of cancer, spending time in the intensive care unit at Cedars-Sinai Medical Center, according to multiple team personnel.

A Lakers spokesman declined to comment on his condition.

Several current and former Lakers players have visited Buss, including Kobe BryantMagic Johnson, Shaquille O’Neal and Kareem Abdul-Jabbar.

Buss, 79, has been in the hospital numerous times over the last two years. He underwent an undisclosed surgery last August and was admitted a month earlier for what the team said was dehydration. He was also hospitalized in December 2011 for blood clots in his leg caused by excessive travel, according to the Lakers.

A report Thursday from radaronline.com said that players were visiting Buss because of “what they expect to be his final days.”

[Update, 5:50 p.m.: Buss’ son Jim, the team’s executive vice president of player personnel, was at Cedars-Sinai and said his father was “doing fine.”

“We just aren’t going to make any comments on it,” Jim Buss said outside of the intensive care unit, adding that the family has “been dealing with this.”]

Before his most recent medical issues, Buss continued to take part in decision-making processes for the Lakers.

He weighed in heavily on the hiring of Coach Mike D’Antoni in November and, a few months before that, was eager to meet Dwight Howard and Steve Nash, two high-profile Lakers additions who visited him separately after being acquired.Buss received a doctorate in physical chemistry from USC but it was a $1,000 investment in a Los Angeles apartment building that ultimately sparked a career in real-estate investment.

In 1979, Buss bought the Lakers from Jack Kent Cooke, along with the Forum, the NHL’s Kings (which he later sold), and a ranch in the Sierra Nevada for a total of $67.5 million.

The Lakers franchise, buoyed by a lucrative TV deal with Time Warner Cable, was recently valued at $1 billion by Forbes magazine. Only one other NBA franchise, the New York Knicks, was deemed more valuable.

The Lakers have won 10 NBA championships since Buss purchased the team and 16 overall, one behind the Boston Celtics.

They are continually among the top-spending teams in player salary, and this season is no different. They have a $100-million payroll, the highest in the NBA, and face luxury-tax penalties of another $30 million in an overwhelmingly disappointing season so far.

There would be another steep financial investment if Howard decided to re-sign with the Lakers after this season. Howard is in the last year of his contract and could sign a five-year, $118-million deal in July to stay with the team.

“When it comes down to it, Dr. Buss is a competitor,” Lakers General Manager Mitch Kupchak said when Howard was acquired in a four-team trade last August. “And when it comes down to a decision about making a couple of dollars or a million dollars or $10 million or putting another banner up, he can’t help himself. He chooses to go for the banner.”

Buss used to be a fixture at Lakers games in his Staples Center luxury suite halfway up the arena behind the team bench, but he had not attended any games this season.

He maintained an extremely low public profile last year, emerging briefly to release a statement through the team when Derek Fisher was traded in a rare cost-cutting move last March.

“Few who have worn the Lakers uniform have done so with as much class as Derek, both on the court and in the community … from his famous 0.4 shot in San Antonio to his clutch performances in the Finals against Orlando and Boston when it mattered most,” Buss said in the statement.

Buss has gradually handed more power to his son, Jim, who oversees basketball operations, and daughter, Jeanie, who is in charge of the business side of the team.

from:  http://www.latimes.com/sports/sportsnow/la-sp-lakers-jerry-buss-hospitalized-20130214,0,6683573.story

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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

 

 

Jerry Buss

15997 2311                38

 

his path of destiny = 38 = Cancer.

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Jerry Buss was born on January 27th, 1934 according to http://en.wikipedia.org/wiki/Jerry_Buss

January 27th, 1934

1 + 27 +1+9+3+4 = 45 = his life lesson = Chronic issues.

Five of Cups Tarot card

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Ages 54 to 81 are ruled by the sum of the y+e+a+r of birth

January 27th, 1934

1+9+3+4 = 17

So the number 17 rules his ages fifty-four to eighty-one.

17 = Health issues.

17

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January 27th, 1934

January 27th

1 + 27 +2+0+1+3 = 34 = his personal year (from January 27th, 2013 to January 26th, 2014) = Things happen really quickly.  Generating a buzz.

34 year + 1 (January) = 35 = his personal month (from January 27th, 2013 to February 26th, 2013) = At death’s door.

Nine of Wands Tarot card

35 month + 16 (16th of the month on Saturday February 16th, 2013) = 51 = his personal day = Solemn.  It’s official.

[I would not be surprised if he passes away on Saturday].

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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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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

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The defending Stanley Cup champion Los Angeles Kings, behind center Mike Richards (10) and goalie Jonathan Quick (32), have gotten off to a slow start this season.

February 08. 2013               4:00AM PST

They made up three teams of the NHL’s version of the final four last season.

This season, the Los Angeles Kings, New York Rangers and Phoenix Coyotes are playing like teams that won’t get to enjoy the final round of the conference playoffs. All three teams have failed to build on their postseason runs of a year ago — and sky-high preseason expectations. The Kings, the defending Stanley Cup champions, and the Rangers won’t even make the playoffs at this rate. And amid complicated ownership issues, the Coyotes are just hanging on.

In this lockout-shortened season, where slow starts could prove costly, all three are in a rush to recapture what made them so special last May.

This trio of underachievers has company when it comes to slow-starting teams, however. The Minnesota Wild, Philadelphia Flyers, Washington Capitals and Detroit Red Wings are all among a group lacking that extra spark. And just like that, folks, 20 percent of the season is already in the books.

But it’s the Kings, Coyotes and Rangers that are the most puzzling. They should all have that fire to get back to where they were.

After all, the Eastern Conference-champion New Jersey Devils — the other team from the 2012 final four — are fourth in the East and are only a point behind Pittsburgh for the top spot in the Atlantic Division after Thursday’s games.

So it’s not like there has to be a postseason hangover. But whatever the Devils (6-1-3) have right now, the Rangers (5-5), Kings (3-4-2) and Coyotes (4-5-2) simply don’t.

Let’s start in New York.

The Rangers can probably forget about earning the top seed in the conference for the second straight season. New York has little depth and no scoring punch outside of the top line. The Rangers frontloaded that first line — Marian Gaborik, Brad Richards and Rick Nash — and that’s worked. They’ve combined for 10 goals and 24 points. It’s the rest of the team that’s struggled. All the young players who were supposed to be dynamite on the second line, like Carl Hagelin and Chris Kreider, have been anything but. That’s the price the Rangers have paid for dealing several “depth” players like they did to get Nash. The Rangers have scored 24 goals, the lowest total in the East.

Goaltender Henrik Lundqvist can’t save ’em all for New York.

“We have some guys that are really playing hard,” Rangers coach John Tortorella said, “and we’ve got some guys that look scared and tentative.”

Kreider scored the only goal for the Rangers in a 3-1 loss to New Jersey on Tuesday night. Tortorella said changes could be coming, notably on the special teams unit where the Rangers are an abysmal four for 36 on the power play. The Rangers went zero for five on the power play against the Devils and New York had allowed a power-play goal in eight straight games before Thursday night’s victory over the New York Islanders. Time is growing short for the Rangers to pick up their special teams play.

“I’m not waiting,” Tortorella said. “We have some guys that are very tentative, very careful. We don’t play careful hockey.”

Out in the desert, essentially the same roster that won the Pacific Division has been unable to ride much of a hot streak.

They hit a rough patch off the ice when Greg Jamison was unable to pull together the funds and investors he needed to purchase the team before a deadline with the city of Glendale expired. The Coyotes, with their long-term future now uncertain, are slowly turning around their season and had points in five straight games before Thursday night’s loss to Chicago.

“I think we’re just getting a rhythm,” Coyotes general manager Don Maloney told the team’s website. “You hate to make any excuses, but we played 10 games in 17 nights without basically any camp. The first five, six were a whirlwind. We were trying to sort ourselves out.”

Goalie Mike Smith had rounded into form and stopped 38 of 39 shots to win two starts before giving up six goals and getting chased Thursday. The injury-riddled team is getting healthy and depth on all four lines has helped keep them stay afloat.

The Kings may be the most disappointing of them all. The defending champs are in the midst of a rugged schedule of playing eight of nine games on the road. They hope they can ride out the rough patch without falling much more behind, before opening a stretch of five straight home games and 10 of 12 overall starting March 4. Like the Rangers, the Kings simply can’t score. Toss out Jeff Carter’s four goals, and the Kings only have 15 this season.

Mike Richards only has one goal and the Kings also are struggling on the power play. Through Thursday, Los Angeles was tied for last in the Western Conference with eight points.

“It’s the time where we have to put together a string of wins,” Richards said, “and more or less build confidence.”

Where the teams finish, of course, doesn’t really matter, as long as they make the playoffs. That’s the way hockey is these days. The Kings were the No. 8 seed last season, after all, and the Devils were No. 6 in the East. The Flyers, back in 2010, knocked out the Rangers for a playoff spot on the last day of the 2010 season, then went all the way to the Stanley Cup finals as a No. 7 seed.

So, if you make it in, there’s always a chance things can turn. And there’s certainly enough talent on all three teams to do so.

But something needs to change soon, or they’ll continue to be on the outside looking in.

from:  http://www.bendbulletin.com/article/20130208/NEWS0107/302080381/

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Jonathan Quick was born on January 21st, 1986 according to http://en.wikipedia.org/wiki/Jonathan_Quick

January 21st, 1986

1 + 21 +1+9+8+6 = 46 = his life lesson = Making history.  It’s about time.  Better late than never.

Six of Cups Tarot card

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January 21st, 1986

January 21st

1 + 21 +2+0+1+3 = 28 = his personal year (from January 21st, 2013 to January 20th, 2014) = Unstoppable.  Hero.

Two of Wands 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

 

 

Jonathan Quick

16512815 83932              54

 

his path of destiny = 54 = Check this out.  Watch this.  Faking you out.  Reading your mind.

Page of Swords Tarot card

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undefined

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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

undefined

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wedding numerology_edited-1

http://marriagenumerology.com/

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/

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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/

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January 29, 2013

Pau Gasol has two NBA Championships and is a four-time NBA All-Star. His list of accolades, which include NBA Rookie of the Year and Second and Third Team All-NBA, could fill up this page. He’s also known as one of the best Spaniards to ever play the game of basketball. And, he is also coming off the bench for the Los Angeles Lakers.

Is he happy about it? Not particularly, as he told reporters on Time Warner Cable SportsNet after their win against the Oklahoma City Thunder Sunday evening, but it’s not going to change the way he plays the game.

“Whatever coach decides, whether I like it or not or whether I agree with it or not, I’m still going to go out there and do my job.”

Pau Gasol’s first game as a member of the Lakers second unit was January 17th, when the Lakers lost 99-90 to the Miami Heat. Gasol, however, had just missed several games due to a concussion, and was told his coming off the bench was to help him ease into things. He didn’t expect this to become his new role, and after five games of not being in the starting line-up, Pau admitted the difficulties at Lakers practice Monday morning.

“It’s hard for anybody who considers themselves one of the top players in the world to say, ‘Okay, I’m okay with coming off the bench.’”

And, although Gasol has vowed to accept his role “with professionalism and putting the team first,” his teammates still understand that Gasol wants to be in that starting five. As a matter of fact, Kobe said that loud and clear at Lakers practice Monday morning.

“He’s not happy with that [expletive]. He’s not ever going to be happy with that…but it’s just the attitude of this team that we’re just doin’ whatever it takes to win.”

Bryant also went on to explain that Gasol being unhappy with coming off the bench is a completely normal emotion, but it doesn’t change their goal, to win. Even Steve Blakewho will be returning for Tuesday night’s game, described Gasol as “continuously a pro,” despite clearly wanting to be a starter.

“I know he still wants to be a starter and be a star out there.”

Pau Gasol has now come off the bench for five consecutive games. Many have attributed Gasol’s new role as a product of Earl Clark’s recent emergence, but as Kobe Bryant explained in an interview with ESPN Radio Monday afternoon, Gasol in the second unit has more to do with him being a true center than anything else. This might have been the same mentality behind this statement by D’Antoni at practice Monday morning.

“I don’t consider him (Pau) a bench player anyway.”

Is it possible for a player to come of the bench, but not really be a ‘bench’ player? Probably. But, the reality is that although the NBA is a conglomerate of professionals, it’s also a testosterone driven, ego breeding ground, which doesn’t make it easy to put pride aside. If anyone can do it, it’s Pau. The interesting part is that Pau Gasol admits the adjustment from being a star starter to coming off the bench is mental and can be controlled.

“It’s all mental. How much are you willing to accept a new situation? How much are you willing to put a lot of things aside that might interfere with that and if you’re able to do it and capable to do it, you can make it work and make it look great. And make it look perfect but its all your mind, its all controlled by our brains.”

It’s a lot harder said than done. And, it seems that although D’Antoni has removed the ‘bench’ label from his own vision of Pau Gasol, the All-Star 7-footer, hasn’t quite removed it from his.

from:  http://www.lakersnation.com/mike-dantoni-has-removed-bench-label-but-has-pau-gasol/2013/01/29/

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Pau Gasol was born on July 6th, 1980 according to http://en.wikipedia.org/wiki/Pau_Gasol

July 6th, 1980

7 + 6 +1+9+8+0 = 31 = his life lesson = Competitive.  Contender.  Competition.  Striving to be #1.  Rising to the challenge.  Personal best.  Outdoing himself.

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July 6th, 1980

July 6th

7 + 6 +2+0+1+2 = 18 = his personal year (from July 6th, 2012 to July 5th, 2013) = Surreal.  This is crazy.

The Moon 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

 

 

Pau Gasol

713 71163                29

 

his path of destiny = 29 = Teamwork.  Cooperation.  Skilled.  Talented.  Self-confidence.

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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/

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learn numerology from numerologist to the world, Ed Peterson:

https://www.createspace.com/3411561

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predictions for the year 2013 are at:

http://predictionsyear2013.com/

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13:48 EST             18 January 2013

The pregnant Los Angeles woman who was brutally hogtied by California Highway Patrolmen in August 2011 after being pulled over for chatting on her cell phone while driving has finally received retribution in the form of a $250,000 settlement.

According to the LA Times, Tamara Gaglione, 30, was hauled away and charged with misdemeanor evading and resisting arrest and driving on a suspended license.

Those charges were dropped, however, once Gaglione’s terrible treatment was revealed in footage from the cruiser’s video camera.

Busted: Tamara Gaglione's was pulled over in her minivan by California Highway Patrolmen in 2011 for using a cell phone while drivingBusted: Tamara Gaglione’s was pulled over in her minivan by California Highway Patrolmen in 2011 for using a cell phone while driving

For the additional offense of driving while using a cell phone, Gaglione plead no contest.

The footage captured from the police cruiser shows Gaglione’s minivan weaving through Los Angeles traffic and eventually pulling to a stop on the shoulder of the congested 101 Freeway.

According to the patrolmen who pulled her over, Officers Daniel Hernandez and Roberto Martinez, Gaglione then raised her arm in an aggressive manner and refused to follow their orders.

Brutalized: Though she claims she never behaved aggressively, footage shows Gaglione thrown brutally to the groundaggressively, footage shows Gaglione thrown brutally to the groundBrutalized: Though she claims she never behaved aggressively, footage shows Gaglione thrown brutally to the ground

It is unclear in the grainy video exactly how aggressive, if at all, Gaglione was toward the cops. What is clear, though, is that Hernandez and Martinez drew their weapons on the unarmed Gaglione as they approached her and forced her onto the ground.

Hernandez later claimed Gaglione did not tell them of her pregnancy until after she was on the ground, but Gaglione said she told the officers as they approached her.

Once she was face-down, Hernandez kneed Gaglione in the back, he said, to allow for Martinez to more easily handcuff her.

Maximum Force: Officers Daniel Hernandez and Roberto Martinez claim Gaglione was kneed in order to easily handcuff herMaximum Force: Officers Daniel Hernandez and Roberto Martinez claim Gaglione was kneed in order to easily handcuff her

The scene became increasingly absurd as two more patrolmen came to came to the assistance of Hernandez and Martinez.

Footage then shows yet another two officers showing up to the scene, bringing the total number of police surrounding the pregnant, cuffed, and face-down woman to six.

Lots of backup: Six officers total, including Hernandez and Martinez, eventually surrounded the pregnant GaglioneLots of backup: Six officers total, including Hernandez and Martinez, eventually surrounded the pregnant Gaglione

Hogtied, Gaglione was subsequently taken away in a patrol car.

Gaglione filed suit against the department and the officers involved, but the video evidence that eventually won Gaglione $250,000 this past November was not immediately forthcoming. Gaglione’s attorney Howard Price claimed that Hernandez failed to check a box on the arrest report stating a video camera had, in fact, recorded the incident.

But the footage was eventually uncovered and the California Highway Police settled the case out of court and the officers were never required to testify, nor was the video ever submitted as evidence. The CHP has not commented on the case and the two arresting officers remain with the force.

Meanwhile, the now far richer Gaglione has left Los Angeles with her now 9-month-old son and, she says, she’ll be forever terrified by the police.

from:  http://www.dailymail.co.uk/news/article-2264685/Pregnant-LA-woman-hogtied-highway-patrolmen-receives-250-000-outrageous-treatment.html#ixzz2IOFA0bCz

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Each letter of he first name rules 9 years of life.  Ages 27 to 54 are ruled by the sum of the fourth, fifth, and sixth letters of the name.

Tamara Gaglione

1 (a is the 1st letter of the alphabet) + 18 (r is the 18th letter of the alphabet) + 1 (a is the 1st letter of the alphabet) = 20

So the number 20 rules her ages twenty-seven to fifty-four.

20 =  $250,000 settlement.

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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/

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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/

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