Capricorn Horoscope for week of November 9, 2006
Verticle Oracle card Capricorn (December 22-January 19)
Climbing Mt. Everest bored the renowned mountaineer Alex Lowe, even when he did it solo without any supplemental oxygen. "Everest held none of the riddles he delighted in solving on remote walls and unnamed ice smears," wrote Outside magazine. "He preferred places that offered 'serious consequences' and little in the way of record-book glory." One of Lowe's colleagues added, "It was astonishing what Alex was able to do. And do alone, without bragging." Lowe himself once said, "The best climber is the one who has the most fun." I recommend his attitude for you right now, Capricorn. Go after the accomplishments that make your heart sing rather than those that make your ego swell.
Wednesday, November 08, 2006
Tuesday, November 07, 2006
Annie Leibovitz: Life, and Death, Examined
From Annie Leibovitz: Life, and Death, Examined
Tony Cenicola/The New York Times
Annie Leibovitz preparing her show at the Brooklyn Museum, which is to open Oct. 20. It is drawn from her book “A Photographer’s Life, 1990-2005.” More Photos >
By JANNY SCOTT
Published: October 6, 2006
IN the days after the death of Susan Sontag in December 2004, Annie Leibovitz began searching for photographs for a small book to be given out at the memorial service. She started with other people’s photographs of Ms. Sontag, then turned to her own, taken during the 15 years they spent together. That exercise turned into what she has described as an archeological dig: an unearthing and sifting of a decade and a half of work, love, family life, illness, deaths and births, adding up to “my most important work,” she said in an interview this week. “It’s the most intimate, it tells the best story, and I care about it.”
The photographs, published earlier this week by Random House in a book titled “A Photographer’s Life 1990-2005,” will be shown at the Brooklyn Museum in an exhibition opening Oct. 20. The collection interweaves the professional and the personal, the public and private, in startling ways. It includes many of the bold, often carefully composed portraits of celebrities, musicians, artists and presidents for which Ms. Leibovitz became famous at Rolling Stone and Vanity Fair. There is Sarajevo in 1993, ground zero in September 2001. And there is previously unseen “personal reportage” on her big and exuberant family, her parents, her life with Ms. Sontag, the births of her three daughters, Ms. Sontag’s illnesses and death, and the death of Ms. Leibovitz’s father six weeks later.
Little seems to have been held back. The still smoking World Trade Center ruins have been juxtaposed with a shot, by Ms. Sontag, of Ms. Leibovitz, naked three weeks later, on the day before she goes in for a Caesarean section. Her mother, sister and niece lie, intertwined in grief, on a bed where her father has died hours before. Ms. Sontag’s body rests on a table in a funeral home, decked out valiantly in a pleated dress from Milan.
But it is the photographs of Ms. Sontag, taken in a hospital room at the Fred Hutchinson Cancer Research Center in Seattle a month earlier, barely recognizable but unmistakably dying, that Ms. Leibowitz says proved the most contentious in conversations with friends and family about making the pictures public.
“Let me be very, very clear about this,” she said in a long conversation in her studio in Greenwich Village, during which she alternated between speaking openly about intimate corners in her life that the photographs inevitably expose, and seeming to regret having said anything at all. “Every single image that one would have a possible problem with or have concerns about, I had them too. This wasn’t like a flippant thing. I had the very same problems, and I needed to go through it. And I made the decision in the long run that the strength of the book needed those pictures, and that the fact that it came out of a moment of grief gave the work dignity.”
It’s a complicated question.
“You don’t get the opportunity to do this kind of intimate work except with the people you love, the people who will put up with you,” Ms. Leibovitz said, speaking not just of Ms. Sontag but of her parents, her children, her five brothers and sisters, who she says became one another’s best friends, growing up in a military family perpetually on the move. “They’re the people who open their hearts and souls and lives to you. You must take care of them.” But when she began sorting through 15 years of magazine assignment photos and personal photography in August 2005 for a book she had long ago promised her publisher, the personal pictures were the ones that captivated her. She would weep for 10 minutes, then return to the photographs. “I found myself totally taken over by the personal work,” she said. “I thought it was so strong and so moving.”
She spent five days that month in the complex of stone barns she owns on 200 acres in Rhinebeck, N.Y., working on the book with Mark Holborn, an editor and publisher who has collaborated with other photographers on their books. They tore down the divide between Ms. Leibovitz’s photographs that had been taken on assignment and her personal images, interweaving them in one narrative spanning 15 years in the world and her life. Her landscape photographs became the punctuation, “pauses and commas in the storytelling.” At the end of five days, she said, “it was the first time in my life you know you have something that is good or important or that matters.”
Yet Ms. Sontag was a private person, Ms. Leibovitz said: “If she was alive, of course this work wouldn’t be published. It’s such a totally different story that she is dead. I mean, she would champion this work.”
Ms. Leibovitz herself seems ambivalent about how much to surrender. She resisted including an introduction; the photographs were “a small movie,” she said; they should speak for themselves. An editor, Sharon Delano, convinced her that “it was important to explain myself, and explain myself once,” Ms. Leibovitz said. An 11-page introduction grew out of several months of conversations with Ms. Delano. “She was absolutely right,” Ms. Leibovitz said. “I love the introduction. It’s just like a clearinghouse for myself.”
But who gets to explain themselves just once these days? The introduction is a gem of lucidity and understatement. (Ms. Leibovitz introduces the fact of her relationship with Ms. Sontag as an aside, in a dependent clause: “who was with me during the years the book encompasses.”) Now the book is coming out, and she is called upon to talk. “This gets personal,” she said, stopping herself one of several times during the interview. “I have to save some of it for myself. I’m trying to figure this out.” You have to become an actor, she complained; but you don’t want to stop feeling. “In the long run I don’t think this book is helped by talking about it,” she said. “I worry about talking about it. Here I am talking about it.”
Ms. Leibovitz, who is 57, made her name in the 1970’s and early 1980’s as chief photographer for Rolling Stone, shooting musicians and others in provocative poses, like John Lennon, naked and pink, curled around Yoko Ono, fully clothed in black, just hours before he was killed. In 1983 she became the first contributing photographer for Vanity Fair. She shot the famous 1991 cover photograph of Demi Moore, naked and pregnant. She was the official photographer for the 1996 summer Olympics in Atlanta. Other work has included photographs for advertising campaigns for American Express, the Milk Board, “The Sopranos.” Those photographs tend to be meticulously composed, humorous and in strong, saturated color.
She shot her personal photographs with a 35-millimeter camera, sometimes a Leica, in black and white, with Tri-X film, the way she started at the San Francisco Art Institute in the late 1960’s. There are photographs of her parents, her siblings, a flock of nieces and nephews on the beach; of room-service breakfast with Ms. Sontag at the Gritti Palace in Venice; of her parents, asleep in bed, elbows akimbo and pillows askew, a small grandson sandwiched in between. She never took a lot of personal photos; she would throw a few rolls in a box, let them go undeveloped for months. Ms. Sontag complained she did not take enough.
They met in the late 1980’s when Ms. Leibovitz was asked to make some publicity photos in connection with the release of Ms. Sontag’s book, “AIDS and Its Metaphors.” As a student she had read “On Photography,” in which Ms. Sontag wrote, among many other things, “To photograph is to appropriate the thing photographed.” But she talked to Ms. Sontag about “The Benefactor,” her first novel, which Ms. Leibovitz loved. Then she went out and bought all of Ms. Sontag’s books. “I remember going out to dinner with her and just sweating through my clothes because I thought I couldn’t talk to her,” she said. “Some of it must have been I was just so flattered she was even interested in me at all.
“She was actually a very warm, outgoing person, the opposite of what you sort of expected — just so charming, even childlike in some ways,” Ms. Leibovitz said. “The early pictures of her riding the bike, when she had her bike. I helped her get her driver’s license. I said, ‘Oh my God, what did I do?’ Because I realized she couldn’t really drive. She was just this charming, beautiful child inside. She had such delight with life and everything.” Ms. Sontag told her, she said, that as a photographer, “you’re good but you could be better.” Ms. Leibovitz wanted to be better. “I think she came into my life at the right time,” she said. “I wanted to do better things, take photographs that matter.”
They traveled together in Jordan, Egypt, Italy, Paris. Ms. Leibovitz went to Sarajevo, which she says she would not have done had she not known Ms. Sontag. They talked about Ms. Leibovitz doing a book Ms. Sontag called the beauty book: photographs she would take when she felt moved to take them, not the kind taken for assignments. Ms. Leibovitz bought an apartment in Paris; she wanted Ms. Sontag to have something she had always wanted. She helped her financially, she says, making it possible for Ms. Sontag to stop doing lectures and concentrate on writing fiction. “We took care of each other,” she said. “I had great respect and admiration for her, and I wanted to make everything possible for her, whatever she needed. I felt like a person who is taking care of a great monument.”
Another person who emerges vividly from the photographs is Ms. Leibovitz’s mother, Marilyn, whom she describes as exuberant and creative, the kind of mother your friends like but you find occasionally embarrassing as a child. She appears often in a bathing suit and in the presence of water: a stocky figure wading into the surf, grandchild in tow. On her 75th birthday she is barefoot at the sink in a small kitchen in the Florida Keys. Her broad back is turned. Her husband, Samuel, sits, at a tiny table, his back turned too. “That’s what it was really like growing up,” Ms. Leibovitz said, laughing. “You saw their backs. That’s such a moment in life. It makes me a child again.”
In 1998 Ms. Sontag received a diagnosis of cancer, from which she recovered. Ms. Leibovitz took several months off to be with her. There are photographs of that period too, of Ms. Sontag receiving chemotherapy, having her hair cut. “You know, one doesn’t stop seeing,” Ms. Leibovitz said, when asked about her impulse to photograph illness. “One doesn’t stop framing. It doesn’t turn off and turn on. It’s on all the time.” In the middle of her Caesarean in 2001 she reached up with a camera to try to shoot the birth of her daughter, Sarah, over the curtain suspended across her midriff. “They’re all totally out of focus and terrible,” she laughed.
She photographed her father after his death in 2005. He was 91, had lung cancer and had driven a car until a week before. He died at home in bed, with hospice care, in his wife’s arms. The family kept his body in the bedroom all day, as children and, later, a rabbi arrived. Ms. Leibovitz photographed him there, his head on a flowered pillowcase, in pajamas with dark piping. “You find yourself reverting to what you know,” she said. “It’s almost like a protection of some kind. You go back into yourself. You don’t really know quite what you’re doing. I didn’t really analyze it. I felt driven to do it.”
She said, “My father was so beautiful lying there.”
A year earlier, when Ms. Sontag became ill for the final time, Ms. Leibovitz stopped shooting. “I didn’t want to be there as a photographer,” she said. “I just wanted to be there. Then, at the very end, I forced myself to take those few pictures. I knew she was probably dying.” Ms. Leibovitz had Ms. Sontag flown by air ambulance from Seattle back to New York.
“Susan really fought for her life,” Ms. Leibovitz said. “I don’t think anyone takes in what that means. She had a very slim chance of the bone-marrow transplant working. She wanted to live. She had more books she wanted to write. She wanted to do more. She did not want to die. I think it was a very brave and courageous year of her life.”
Near the end of the book there are photographs of grandchildren shoveling dirt onto Mr. Leibovitz’s’s grave and of the birth of Ms. Leibovitz’s twins, Susan and Samuelle, by a surrogate mother. There are photographs of Mrs. Leibovitz, in July 2005, with her two sisters, eating outdoors in Rhinebeck, a cane across her lap, a small camera in hand.
“I love that picture,” Ms. Leibovitz said. “It’s just, life goes on. She’s gone back to the support of her sisters.”
The book and the exhibition end with landscapes, images of Monument Valley, the Hudson, the view from Ms. Leibovitz’s apartment in Manhattan toward Ms. Sontag’s after snow. In one, on Mount Vesuvius, Ms. Sontag moves away from the camera, ascending toward a ridge. Asked about the placement of the final images, Ms. Leibovitz said, “It’s a way of moving out of the story, it’s a way of going back into the earth.”
In the end how much more needs to be said, really?
“With Susan it was a love story,” Ms. Leibovitz said. “With my parents it was the relationship of a lifetime. And with my children it’s the future. I just tried to create an honest work that had all those things in it.”
Tony Cenicola/The New York Times
Annie Leibovitz preparing her show at the Brooklyn Museum, which is to open Oct. 20. It is drawn from her book “A Photographer’s Life, 1990-2005.” More Photos >
By JANNY SCOTT
Published: October 6, 2006
IN the days after the death of Susan Sontag in December 2004, Annie Leibovitz began searching for photographs for a small book to be given out at the memorial service. She started with other people’s photographs of Ms. Sontag, then turned to her own, taken during the 15 years they spent together. That exercise turned into what she has described as an archeological dig: an unearthing and sifting of a decade and a half of work, love, family life, illness, deaths and births, adding up to “my most important work,” she said in an interview this week. “It’s the most intimate, it tells the best story, and I care about it.”
The photographs, published earlier this week by Random House in a book titled “A Photographer’s Life 1990-2005,” will be shown at the Brooklyn Museum in an exhibition opening Oct. 20. The collection interweaves the professional and the personal, the public and private, in startling ways. It includes many of the bold, often carefully composed portraits of celebrities, musicians, artists and presidents for which Ms. Leibovitz became famous at Rolling Stone and Vanity Fair. There is Sarajevo in 1993, ground zero in September 2001. And there is previously unseen “personal reportage” on her big and exuberant family, her parents, her life with Ms. Sontag, the births of her three daughters, Ms. Sontag’s illnesses and death, and the death of Ms. Leibovitz’s father six weeks later.
Little seems to have been held back. The still smoking World Trade Center ruins have been juxtaposed with a shot, by Ms. Sontag, of Ms. Leibovitz, naked three weeks later, on the day before she goes in for a Caesarean section. Her mother, sister and niece lie, intertwined in grief, on a bed where her father has died hours before. Ms. Sontag’s body rests on a table in a funeral home, decked out valiantly in a pleated dress from Milan.
But it is the photographs of Ms. Sontag, taken in a hospital room at the Fred Hutchinson Cancer Research Center in Seattle a month earlier, barely recognizable but unmistakably dying, that Ms. Leibowitz says proved the most contentious in conversations with friends and family about making the pictures public.
“Let me be very, very clear about this,” she said in a long conversation in her studio in Greenwich Village, during which she alternated between speaking openly about intimate corners in her life that the photographs inevitably expose, and seeming to regret having said anything at all. “Every single image that one would have a possible problem with or have concerns about, I had them too. This wasn’t like a flippant thing. I had the very same problems, and I needed to go through it. And I made the decision in the long run that the strength of the book needed those pictures, and that the fact that it came out of a moment of grief gave the work dignity.”
It’s a complicated question.
“You don’t get the opportunity to do this kind of intimate work except with the people you love, the people who will put up with you,” Ms. Leibovitz said, speaking not just of Ms. Sontag but of her parents, her children, her five brothers and sisters, who she says became one another’s best friends, growing up in a military family perpetually on the move. “They’re the people who open their hearts and souls and lives to you. You must take care of them.” But when she began sorting through 15 years of magazine assignment photos and personal photography in August 2005 for a book she had long ago promised her publisher, the personal pictures were the ones that captivated her. She would weep for 10 minutes, then return to the photographs. “I found myself totally taken over by the personal work,” she said. “I thought it was so strong and so moving.”
She spent five days that month in the complex of stone barns she owns on 200 acres in Rhinebeck, N.Y., working on the book with Mark Holborn, an editor and publisher who has collaborated with other photographers on their books. They tore down the divide between Ms. Leibovitz’s photographs that had been taken on assignment and her personal images, interweaving them in one narrative spanning 15 years in the world and her life. Her landscape photographs became the punctuation, “pauses and commas in the storytelling.” At the end of five days, she said, “it was the first time in my life you know you have something that is good or important or that matters.”
Yet Ms. Sontag was a private person, Ms. Leibovitz said: “If she was alive, of course this work wouldn’t be published. It’s such a totally different story that she is dead. I mean, she would champion this work.”
Ms. Leibovitz herself seems ambivalent about how much to surrender. She resisted including an introduction; the photographs were “a small movie,” she said; they should speak for themselves. An editor, Sharon Delano, convinced her that “it was important to explain myself, and explain myself once,” Ms. Leibovitz said. An 11-page introduction grew out of several months of conversations with Ms. Delano. “She was absolutely right,” Ms. Leibovitz said. “I love the introduction. It’s just like a clearinghouse for myself.”
But who gets to explain themselves just once these days? The introduction is a gem of lucidity and understatement. (Ms. Leibovitz introduces the fact of her relationship with Ms. Sontag as an aside, in a dependent clause: “who was with me during the years the book encompasses.”) Now the book is coming out, and she is called upon to talk. “This gets personal,” she said, stopping herself one of several times during the interview. “I have to save some of it for myself. I’m trying to figure this out.” You have to become an actor, she complained; but you don’t want to stop feeling. “In the long run I don’t think this book is helped by talking about it,” she said. “I worry about talking about it. Here I am talking about it.”
Ms. Leibovitz, who is 57, made her name in the 1970’s and early 1980’s as chief photographer for Rolling Stone, shooting musicians and others in provocative poses, like John Lennon, naked and pink, curled around Yoko Ono, fully clothed in black, just hours before he was killed. In 1983 she became the first contributing photographer for Vanity Fair. She shot the famous 1991 cover photograph of Demi Moore, naked and pregnant. She was the official photographer for the 1996 summer Olympics in Atlanta. Other work has included photographs for advertising campaigns for American Express, the Milk Board, “The Sopranos.” Those photographs tend to be meticulously composed, humorous and in strong, saturated color.
She shot her personal photographs with a 35-millimeter camera, sometimes a Leica, in black and white, with Tri-X film, the way she started at the San Francisco Art Institute in the late 1960’s. There are photographs of her parents, her siblings, a flock of nieces and nephews on the beach; of room-service breakfast with Ms. Sontag at the Gritti Palace in Venice; of her parents, asleep in bed, elbows akimbo and pillows askew, a small grandson sandwiched in between. She never took a lot of personal photos; she would throw a few rolls in a box, let them go undeveloped for months. Ms. Sontag complained she did not take enough.
They met in the late 1980’s when Ms. Leibovitz was asked to make some publicity photos in connection with the release of Ms. Sontag’s book, “AIDS and Its Metaphors.” As a student she had read “On Photography,” in which Ms. Sontag wrote, among many other things, “To photograph is to appropriate the thing photographed.” But she talked to Ms. Sontag about “The Benefactor,” her first novel, which Ms. Leibovitz loved. Then she went out and bought all of Ms. Sontag’s books. “I remember going out to dinner with her and just sweating through my clothes because I thought I couldn’t talk to her,” she said. “Some of it must have been I was just so flattered she was even interested in me at all.
“She was actually a very warm, outgoing person, the opposite of what you sort of expected — just so charming, even childlike in some ways,” Ms. Leibovitz said. “The early pictures of her riding the bike, when she had her bike. I helped her get her driver’s license. I said, ‘Oh my God, what did I do?’ Because I realized she couldn’t really drive. She was just this charming, beautiful child inside. She had such delight with life and everything.” Ms. Sontag told her, she said, that as a photographer, “you’re good but you could be better.” Ms. Leibovitz wanted to be better. “I think she came into my life at the right time,” she said. “I wanted to do better things, take photographs that matter.”
They traveled together in Jordan, Egypt, Italy, Paris. Ms. Leibovitz went to Sarajevo, which she says she would not have done had she not known Ms. Sontag. They talked about Ms. Leibovitz doing a book Ms. Sontag called the beauty book: photographs she would take when she felt moved to take them, not the kind taken for assignments. Ms. Leibovitz bought an apartment in Paris; she wanted Ms. Sontag to have something she had always wanted. She helped her financially, she says, making it possible for Ms. Sontag to stop doing lectures and concentrate on writing fiction. “We took care of each other,” she said. “I had great respect and admiration for her, and I wanted to make everything possible for her, whatever she needed. I felt like a person who is taking care of a great monument.”
Another person who emerges vividly from the photographs is Ms. Leibovitz’s mother, Marilyn, whom she describes as exuberant and creative, the kind of mother your friends like but you find occasionally embarrassing as a child. She appears often in a bathing suit and in the presence of water: a stocky figure wading into the surf, grandchild in tow. On her 75th birthday she is barefoot at the sink in a small kitchen in the Florida Keys. Her broad back is turned. Her husband, Samuel, sits, at a tiny table, his back turned too. “That’s what it was really like growing up,” Ms. Leibovitz said, laughing. “You saw their backs. That’s such a moment in life. It makes me a child again.”
In 1998 Ms. Sontag received a diagnosis of cancer, from which she recovered. Ms. Leibovitz took several months off to be with her. There are photographs of that period too, of Ms. Sontag receiving chemotherapy, having her hair cut. “You know, one doesn’t stop seeing,” Ms. Leibovitz said, when asked about her impulse to photograph illness. “One doesn’t stop framing. It doesn’t turn off and turn on. It’s on all the time.” In the middle of her Caesarean in 2001 she reached up with a camera to try to shoot the birth of her daughter, Sarah, over the curtain suspended across her midriff. “They’re all totally out of focus and terrible,” she laughed.
She photographed her father after his death in 2005. He was 91, had lung cancer and had driven a car until a week before. He died at home in bed, with hospice care, in his wife’s arms. The family kept his body in the bedroom all day, as children and, later, a rabbi arrived. Ms. Leibovitz photographed him there, his head on a flowered pillowcase, in pajamas with dark piping. “You find yourself reverting to what you know,” she said. “It’s almost like a protection of some kind. You go back into yourself. You don’t really know quite what you’re doing. I didn’t really analyze it. I felt driven to do it.”
She said, “My father was so beautiful lying there.”
A year earlier, when Ms. Sontag became ill for the final time, Ms. Leibovitz stopped shooting. “I didn’t want to be there as a photographer,” she said. “I just wanted to be there. Then, at the very end, I forced myself to take those few pictures. I knew she was probably dying.” Ms. Leibovitz had Ms. Sontag flown by air ambulance from Seattle back to New York.
“Susan really fought for her life,” Ms. Leibovitz said. “I don’t think anyone takes in what that means. She had a very slim chance of the bone-marrow transplant working. She wanted to live. She had more books she wanted to write. She wanted to do more. She did not want to die. I think it was a very brave and courageous year of her life.”
Near the end of the book there are photographs of grandchildren shoveling dirt onto Mr. Leibovitz’s’s grave and of the birth of Ms. Leibovitz’s twins, Susan and Samuelle, by a surrogate mother. There are photographs of Mrs. Leibovitz, in July 2005, with her two sisters, eating outdoors in Rhinebeck, a cane across her lap, a small camera in hand.
“I love that picture,” Ms. Leibovitz said. “It’s just, life goes on. She’s gone back to the support of her sisters.”
The book and the exhibition end with landscapes, images of Monument Valley, the Hudson, the view from Ms. Leibovitz’s apartment in Manhattan toward Ms. Sontag’s after snow. In one, on Mount Vesuvius, Ms. Sontag moves away from the camera, ascending toward a ridge. Asked about the placement of the final images, Ms. Leibovitz said, “It’s a way of moving out of the story, it’s a way of going back into the earth.”
In the end how much more needs to be said, really?
“With Susan it was a love story,” Ms. Leibovitz said. “With my parents it was the relationship of a lifetime. And with my children it’s the future. I just tried to create an honest work that had all those things in it.”
Friday Saturday and Lost Day
Friday night, i went into Manhattan to meet up with Jane and Susan and help out at the Susan Werner show at the cutting room. Susan was great and pulled out some new songs, including using the banjo. I met up with Chris Chin and My friend Nancy who was a SW newbie. Nancy really liked the show and I was glad about that. its really hard when someone new comes to a show for an artist that you really like. I hoped that she would like Susan. Nancy is the most cabaret, theater friendly who listens to Jonathan Schwartz but also loves Dar so i knew there was a good chance she would like the show.
She really like Susan and i did too..
Chris had a special night when susan sang vie en rose to him...and him only...
Saturday i went to school and was pretty pissed off that the class members who were late tried to negotiate submitting their midterms. I was really clear that they would be downgraded for late submission which meant that any paper after i took attendance. any paper after class started is late. I was pissed off at the students who went to the library or came in late with their paper. The recourse is downgrade as i advised them i would do..
i then came home and did wash and did some cooking and headed to long island. I followed the directions almost and ended up missing the shopping strip on RT 110 but rather took the scenic route down 25A or northern blvd.
I ended up merching the susan show. i thought i was a civilian so i missed most of susan's encore of Puccini... she sang a totally different set list than the night before and had a guy with a harmonica with her.
jane and susan followed me to the highway, i kept trying to get my cellphone to work but lost reception so i spent most of the northern state trying to get them on the line...finally, they sped ahead so they could get to the Verranzo bridge. when i pulled up in front of my house, i had a spot right in front.
Sunday, i went to get the Free Ice Coffee that Dunkin Donuts was offering for the Marathon and decided that i was gonna go see the Annie Leibovitz photos at the Brooklyn Museum. so i headed out and got another Ice Coffee and walked to the Museum. I went up to the 5th floor and looked at the photos and when i was looking at the time line photos, i started to get dizzy.. i sat down and it wasnt a panic attack or hot flash or anxiety attack but i was feeling sick..
so i went down stairs and sat. I knew i wanted to throw up but couldnt get to the bathroom.
i dont know how i got to the 41 bus at Flatbush but i did, i sat and felt like i was gonna throw up, i had to refrain on the bus or get off. I ended up getting to Foster ave and couldnt contain myself. i sat down in front of a store and lost my cookies.
I managed to get over to the B8 Bus and got home. I got in the house about 300pm and got into bed. I couldnt get up to feed the cat, i could only get up to throw up . I continued being sick til 9pm. i slept on and off and tried to distact myself with TV and prayer. I hadnt been that sick since i had food poisoning and i am not ruling that out. I havent thrown up on the street since High School and i havent been that sick for over 15 years...
I woke up in the middle of the night and ate a piece of bread and had a sip of soda and fed the cat and went back to sleep. I woke yesterday with a sore stomach and a nasty case of dehydration. I was craving pasta and had some for dinner. I suffer from bouts of dizziness like sudden blood pressure drops when i move too quickly.
i did make it out yesterday...
She really like Susan and i did too..
Chris had a special night when susan sang vie en rose to him...and him only...
Saturday i went to school and was pretty pissed off that the class members who were late tried to negotiate submitting their midterms. I was really clear that they would be downgraded for late submission which meant that any paper after i took attendance. any paper after class started is late. I was pissed off at the students who went to the library or came in late with their paper. The recourse is downgrade as i advised them i would do..
i then came home and did wash and did some cooking and headed to long island. I followed the directions almost and ended up missing the shopping strip on RT 110 but rather took the scenic route down 25A or northern blvd.
I ended up merching the susan show. i thought i was a civilian so i missed most of susan's encore of Puccini... she sang a totally different set list than the night before and had a guy with a harmonica with her.
jane and susan followed me to the highway, i kept trying to get my cellphone to work but lost reception so i spent most of the northern state trying to get them on the line...finally, they sped ahead so they could get to the Verranzo bridge. when i pulled up in front of my house, i had a spot right in front.
Sunday, i went to get the Free Ice Coffee that Dunkin Donuts was offering for the Marathon and decided that i was gonna go see the Annie Leibovitz photos at the Brooklyn Museum. so i headed out and got another Ice Coffee and walked to the Museum. I went up to the 5th floor and looked at the photos and when i was looking at the time line photos, i started to get dizzy.. i sat down and it wasnt a panic attack or hot flash or anxiety attack but i was feeling sick..
so i went down stairs and sat. I knew i wanted to throw up but couldnt get to the bathroom.
i dont know how i got to the 41 bus at Flatbush but i did, i sat and felt like i was gonna throw up, i had to refrain on the bus or get off. I ended up getting to Foster ave and couldnt contain myself. i sat down in front of a store and lost my cookies.
I managed to get over to the B8 Bus and got home. I got in the house about 300pm and got into bed. I couldnt get up to feed the cat, i could only get up to throw up . I continued being sick til 9pm. i slept on and off and tried to distact myself with TV and prayer. I hadnt been that sick since i had food poisoning and i am not ruling that out. I havent thrown up on the street since High School and i havent been that sick for over 15 years...
I woke up in the middle of the night and ate a piece of bread and had a sip of soda and fed the cat and went back to sleep. I woke yesterday with a sore stomach and a nasty case of dehydration. I was craving pasta and had some for dinner. I suffer from bouts of dizziness like sudden blood pressure drops when i move too quickly.
i did make it out yesterday...
Sunday, November 05, 2006
Friday, November 03, 2006
home town girl
Dude! You're 100% from Massachusetts!
Dude! Me and Sully and Fitzie and Sean are gonna hit Landsdowne tonight after the game, hang out at the Beerworks. I'll pick you up at the Coop at 6.
How Massachusetts are you?
Quiz Created on GoToQuiz
Wednesday, November 01, 2006
this Quiz is wrong !!!
| What American accent do you have? Your Result: The Midland "You have a Midland accent" is just another way of saying "you don't have an accent." You probably are from the Midland (Pennsylvania, southern Ohio, southern Indiana, southern Illinois, and Missouri) but then for all we know you could be from Florida or Charleston or one of those big southern cities like Atlanta or Dallas. You have a good voice for TV and radio. | |
| Boston | |
| The West | |
| North Central | |
| Philadelphia | |
| The Northeast | |
| The Inland North | |
| The South | |
| What American accent do you have? | |
WHITNEY'S MAKEOVER TIPS
WHITNEY'S MAKEOVER TIPS
By DANICA LO
October 31, 2006 -- THE haggard drug addict look is soooo 2005. Whitney Houston stepped out Sunday night looking radiant and better than ever after her stint in rehab and ditching bad-news hubby Bobby Brown. How did Whitney go from strung-out to sexy? We cracked her secret:
1. Stop doing drugs. Ever seen a drug addict with really great skin? Even coked-up supermodels have to pile on the pancake makeup.
2. Stop hanging out with people who like drugs, or are like drugs. Like, say, nothing-but-trouble husbands.
3. Drink water instead of doing drugs. "Whitney looks hydrated, with a healthy look," says Mzia Shiman, an aesthetician at OC61 salon. "She's taking care of her skin with the right treatments - her skin appears poreless, and the only way to achieve poreless skin, despite makeup tricks, is through continuous microdermabrasion facials.
4. Don't stay up all night doing drugs. "She's clearly not losing sleep over Bobby Brown, since her eye area is smooth and de-puffed," Shiman says.
5. Don't have druggie hair. "Whitney has embraced her new life as a strong single woman with a fresh and updated shorter do," says Louise O'Connor, owner and creative director of OC61 salon. "The heavy swept bangs keep it sexy and young while the lightened color and gold highlights brighten her face."
6. Work out instead of doing drugs. Houston's always had a killer body, and wearing a form-fitting dress - not body-engulfing baggy clothes - shows off her fab physique to its utmost.
7. Use warm makeup, not drugs. "Whitney Houston is about women taking control and empowering their lives," says celebrity makeup artist Napoleon Perdis. "The lips are feminine with a warm copper lipstick and hydrating lacquer for shine and sparkle - she's ready to tell her story!"
8. And, finally, stop doing drugs. It helps you get another record contract
By DANICA LO
October 31, 2006 -- THE haggard drug addict look is soooo 2005. Whitney Houston stepped out Sunday night looking radiant and better than ever after her stint in rehab and ditching bad-news hubby Bobby Brown. How did Whitney go from strung-out to sexy? We cracked her secret:
1. Stop doing drugs. Ever seen a drug addict with really great skin? Even coked-up supermodels have to pile on the pancake makeup.
2. Stop hanging out with people who like drugs, or are like drugs. Like, say, nothing-but-trouble husbands.
3. Drink water instead of doing drugs. "Whitney looks hydrated, with a healthy look," says Mzia Shiman, an aesthetician at OC61 salon. "She's taking care of her skin with the right treatments - her skin appears poreless, and the only way to achieve poreless skin, despite makeup tricks, is through continuous microdermabrasion facials.
4. Don't stay up all night doing drugs. "She's clearly not losing sleep over Bobby Brown, since her eye area is smooth and de-puffed," Shiman says.
5. Don't have druggie hair. "Whitney has embraced her new life as a strong single woman with a fresh and updated shorter do," says Louise O'Connor, owner and creative director of OC61 salon. "The heavy swept bangs keep it sexy and young while the lightened color and gold highlights brighten her face."
6. Work out instead of doing drugs. Houston's always had a killer body, and wearing a form-fitting dress - not body-engulfing baggy clothes - shows off her fab physique to its utmost.
7. Use warm makeup, not drugs. "Whitney Houston is about women taking control and empowering their lives," says celebrity makeup artist Napoleon Perdis. "The lips are feminine with a warm copper lipstick and hydrating lacquer for shine and sparkle - she's ready to tell her story!"
8. And, finally, stop doing drugs. It helps you get another record contract
Senator's backers slam student to ground after question
Senator's backers slam student to ground after question
POSTED: 6:24 p.m. EST, October 31, 2006
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RICHMOND, Virginia (AP) -- A heckler who confronted Sen. George Allen at a campaign appearance Tuesday was put in a chokehold and slammed to the floor by three of the Republican's supporters in an incident captured on video.
Mike Stark, a liberal blogger and first-year University of Virginia law student, approached Allen at an event in Charlottesville, loudly asking, "Why did you spit at your first wife, George?" according to witnesses.
Three men, all wearing blue Allen lapel stickers, immediately grabbed Stark, dragged him backward and slung him to the carpet outside a hotel meeting room, according to video captured by WVIR-TV in Charlottesville. (Watch one of the men tell Stark he's 'getting personal -- :53 Video)
Stark said later in a telephone interview with The Associated Press: "I am a constituent. I am allowed to ask my U.S. senator questions."
A new statewide poll conducted for CNN showed Allen's Democratic challenger, former Navy Secretary Jim Webb, with a slight lead in a bitterly contested race that could help determine whether the GOP retains control of the Senate.
In a Monday posting on "Calling All Wingnuts," the blog Stark publishes, he hinted that he would attempt to provoke Allen before the TV cameras.
"I'm also trying to 'Roger and Me' George Allen whenever I can," Stark wrote, referring to director Michael Moore's 1989 documentary in which he repeatedly tried to confront former General Motors' chief executive Roger Smith about the company's downsizing.
In August, Stark similarly approached Allen after a speech at a hotel near Staunton, loudly asking if he had ever used a common six-letter epithet against blacks.
That was two weeks after Allen, at a rally, referred to a Webb volunteer of Indian descent as "Macaca," which is considered by some to be a racial slur.
Copyright 2006 The Associated Press. All rights reserve
POSTED: 6:24 p.m. EST, October 31, 2006
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RICHMOND, Virginia (AP) -- A heckler who confronted Sen. George Allen at a campaign appearance Tuesday was put in a chokehold and slammed to the floor by three of the Republican's supporters in an incident captured on video.
Mike Stark, a liberal blogger and first-year University of Virginia law student, approached Allen at an event in Charlottesville, loudly asking, "Why did you spit at your first wife, George?" according to witnesses.
Three men, all wearing blue Allen lapel stickers, immediately grabbed Stark, dragged him backward and slung him to the carpet outside a hotel meeting room, according to video captured by WVIR-TV in Charlottesville. (Watch one of the men tell Stark he's 'getting personal -- :53 Video)
Stark said later in a telephone interview with The Associated Press: "I am a constituent. I am allowed to ask my U.S. senator questions."
A new statewide poll conducted for CNN showed Allen's Democratic challenger, former Navy Secretary Jim Webb, with a slight lead in a bitterly contested race that could help determine whether the GOP retains control of the Senate.
In a Monday posting on "Calling All Wingnuts," the blog Stark publishes, he hinted that he would attempt to provoke Allen before the TV cameras.
"I'm also trying to 'Roger and Me' George Allen whenever I can," Stark wrote, referring to director Michael Moore's 1989 documentary in which he repeatedly tried to confront former General Motors' chief executive Roger Smith about the company's downsizing.
In August, Stark similarly approached Allen after a speech at a hotel near Staunton, loudly asking if he had ever used a common six-letter epithet against blacks.
That was two weeks after Allen, at a rally, referred to a Webb volunteer of Indian descent as "Macaca," which is considered by some to be a racial slur.
Copyright 2006 The Associated Press. All rights reserve
cident at Allen Campaign Stop in Charlottesville
Incident at Allen Campaign Event
Allen Campaign Press Release Concerning Incident
Letter from Mike Stark
Reported by Henry Graff
October 31, 2006
Senator George Allen (R) was at a campaign stop in Charlottesville Tuesday morning when a protestor was tackled by campaign staffers.
As Senator Allen was exiting a ballroom at the Omni Hotel, UVA Law student Mike Stark stopped the senator and began to ask him questions. Those questions were about whether or not the Senator spit on his first wife.
Stark pushed his way through some staffers and followed the senator out of the main ballroom and into a hallway. That's when one Allen campaign staffer put Stark in a headlock and threw him to the ground. Stark was also removed from the building.
Stark was not injured and is pressing charges. Allen was taken back into a conference room.
Allen says everyone has a right to free speech. "People have a right to express themselves and do it in a peaceful manner. And that's their right to do so," stated Allen.
Prior to the incident, Senator Allen was rallying with North Carolina senator Elizabeth Dole and local supporters. Allen said he wanted to talk about the issues in the campaign, including staying th ecourse in the war in Iraq and lowering the tax rate. Allen continued to call himself "The Common Sense Jeffersonian Conservative."
Meanwhile, Stark has written a letter to the media about the incident. You can read that entire letter by clicking on the link above. Also available is the Allen campaign's response to the incident.
Incident at Allen Campaign Event
Allen Campaign Press Release Concerning Incident
Letter from Mike Stark
Reported by Henry Graff
October 31, 2006
Senator George Allen (R) was at a campaign stop in Charlottesville Tuesday morning when a protestor was tackled by campaign staffers.
As Senator Allen was exiting a ballroom at the Omni Hotel, UVA Law student Mike Stark stopped the senator and began to ask him questions. Those questions were about whether or not the Senator spit on his first wife.
Stark pushed his way through some staffers and followed the senator out of the main ballroom and into a hallway. That's when one Allen campaign staffer put Stark in a headlock and threw him to the ground. Stark was also removed from the building.
Stark was not injured and is pressing charges. Allen was taken back into a conference room.
Allen says everyone has a right to free speech. "People have a right to express themselves and do it in a peaceful manner. And that's their right to do so," stated Allen.
Prior to the incident, Senator Allen was rallying with North Carolina senator Elizabeth Dole and local supporters. Allen said he wanted to talk about the issues in the campaign, including staying th ecourse in the war in Iraq and lowering the tax rate. Allen continued to call himself "The Common Sense Jeffersonian Conservative."
Meanwhile, Stark has written a letter to the media about the incident. You can read that entire letter by clicking on the link above. Also available is the Allen campaign's response to the incident.
Capricorn Horoscope for week of November 2, 2006
Capricorn Horoscope for week of November 2, 2006
Your theme in the coming days is enchantment on demand. You're in an aggressively elegant grace period--a time when you have the right to insist on being delighted. It's as if you've been granted a poetic license to ask for and receive not just any old mediocre pleasure, but rather intriguing, ennobling pleasure. So don't sit back and hope that sublime fun will accidentally come your way. Know that you have the authority to command its arrival front and center.
Your theme in the coming days is enchantment on demand. You're in an aggressively elegant grace period--a time when you have the right to insist on being delighted. It's as if you've been granted a poetic license to ask for and receive not just any old mediocre pleasure, but rather intriguing, ennobling pleasure. So don't sit back and hope that sublime fun will accidentally come your way. Know that you have the authority to command its arrival front and center.
Tuesday, October 31, 2006
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