#if my old man who has the awareness of a bull in a china shop can see it

[mistressemmedi]

Conversations with my dad

Me: "I just can't understand why Red Bull would overlook Yuki. What more does he need to do?"

My dad: "Not be Asian"

[yandere-society]

A Christmas Catastrophe

Pairing: Yandere Collector Yoongi x Collector YN

Synopsis: YN’s always been a collector. She’s always had the desire to possess any and everything she’s set her heart on. So when she finds an item she’s been wanting for over a year, she jumps at the chance to finally have it, unaware of the trap that’s been set just for her . . . 

Word Count: 2422

Warnings: Yandere themes, Blood, Murder

Admin: @chimchimsauce​

Request:

AN: This turned out way different than I was expecting it to, but I hope you enjoy it! It’s also pretty fucked up so . . .

Collecting is in YN’s blood, she’s sure. Ever since she was a small child, she was drawn to items she found interesting - rocks, bouncy balls, figurines, etc. But as she got older and her pockets began to fill with money of her own, YN’s collecting habits skyrocketed. Common items that anyone could obtain just wouldn’t cut it for her anymore. She set her eyes on things that were rare - things most collectors could only hope to set their eyes upon in real life. It’s caused her to get quite the following online in niche collectors communities. People message her to try and buy items from her collection but she never accepts, not even when the amount of money they offer is astronomical.

Half the appeal of having something is the fact that other people want it.

But collecting rare and expensive items is not easy. YN spends countless hours every week scouring online marketplaces and thrift shops to find the items that she has on her wish list. Her constant hunt for things has taken her to a variety of places - she’s driven hundreds of miles to go to estate sales, taken flights to attend conventions, and once even dated a guy who was related to the original artist of a piece she wanted.

She was successful every time. There is no feeling as satisfying as the first time holding an item she’s been searching relentlessly for. But it always fades quickly and she’s on to the next thing, the desire to possess and collect overtaking her once more.

YN has done some pretty crazy things in pursuit of her collection, but non as crazy as this. It had taken YN over a year to find this one item she was looking for - a misprint of a novel written by an author who died two hundred years ago. Based on what people think, there are only about a thousand of them in existence. YN read the re-edited version of the book and found it rather dull, but there are people who are willing to pay over ten grand just to have it.

When she finally found one for sale, YN was quick to buy a plane ticket to fly halfway across the world to pick the tome up. She’s never been this far away from home, but the thought of getting the book pushes any anxiety she may have out of mind. YN has no idea why or how this book ended up in South Korea of all places. But she’s even more surprised by the fact that it somehow landed in a small second-hand shop in a back alley of Seoul.

Thankfully, when she called last week to have the book pout on hold for her, she found out that the owner speaks English very well, so she won’t have a problem communicating with him.

YN looks at her phone, following the map through a labyrinth of abandoned alleys. Snow is falling gently, reminding YN that today is Christmas. Usually, she’d be at home celebrating with her family, but she was more than happy to drop them for a chance to get this book.

A bell rings when YN pushes open the door to the small shop, the warm air hitting her face and knocking away some of her chill. The shop is crowded with tall bookshelves stuffed to the brim with a variety of random items - most of which are covered in a thick layer of dust. It’s clear that no one really comes here and YN absently wonders how it’s still in business.

“Hello?” she calls out.

No response. 

YN huffs. She hopes this Yoongi guy she’s supposed to be meeting hasn’t blown her off, especially since she had to take the longest flight known to man to get here.

She makes her way through the shop, feeling like a bull in a china shop with how carefully she has to avoid random piles of merchandise and the occasional broken item crushed into the worn floorboards. 

YN makes it to the back of the store where a small desk is pushed against a wall, a thin, somewhat ghostly looking man sitting behind it. His eyes are unfocused and earbuds are plugged into his ears. He doesn’t even register her presence originally. YN has to tap the desk right in front of his face to get him to focus.

“Oh,” the man says, pulling his earbuds out, “You’re that girl here for the book, right? YN?”

YN nods, trying not to let her annoyance show.

“Yeah, that’s me,” she says.

“It’s in the back,” he says, “Follow me.”

He rises and YN is shocked by how . . . pale he is. He nearly looks sick and YN thinks she can see his veins even under the terrible light.

“Are you feeling okay?” she asks him as he steps out from behind the desk.

“What?” he asks her.

“Nothing,” she says, retracting her statement.

It really isn’t her business. As soon as she gets the book, she’s going to leave anyway so it doesn’t matter.

The man looks her over and something about his gaze makes her stiffen. It’s uncomfortable. His eyes are almost lifeless, brown but dead like frozen mud.

He’s so creepy. 

He turns without another word and behinds to walk to the other edge of the store where YN assumes the storage room is. Even the way he walks is weird. His footsteps are too heavy, loud in a way that’s unnatural. He barely lifts his feet, but she can almost feel each step in his ribs.

As soon as YN has the book and pays, she’s leaving, never to return.

Yoongi pulls a set of skeleton keys out of his pocket, taking one and inserting it into the ancient lock on the door. The mechanisms groan, nearly refusing to open. The door does unlock when Yoongi applies a bit more pressure to the key and he steps inside, becoming YN to follow her.

It’s pitch black inside, making YN’s heartbeat speed up astronomically. An icky feeling wells up inside of her, the same one that appeared whenever she had to visit her great aunt and go down into her creepy basement. 

YN’s senses are hyper-aware. The air is stale in here, laced with a scent she’s never experienced before. It almost makes her gag but she forces herself to hold it in, not wanting to be seen as rude. A yellow light turns on overhead, flickering before finally staying lit. Yoongi is closer to her than she’s like him to be, but his back is turned, looking at the shelves built into the room. Even these are stuffed to the brim, absolutely filthy and covered in grime.

“The book is in good condition like you said, right?” YN asks him.

She’s going to be pissed if he pulls out a book covered in rat droppings and cobwebs.

“Of course,” he says, like it’s obvious. 

YN doesn’t quite believe him. Yoongi moves deeper into the storage room, YN following him. There are a variety of things in here that pique her interest - small items that float in murky water, a collection of old stained knives, and a snow globe bigger than her hand. She reaches out to touch it, curious about the scene inside of it, but Yoongi smacks her hand away before she can touch it.

YN brings it to her chest protectively, startled.

“Don’t touch that,” he hisses out.

“Sorry,” YN says.

“It’s in the very back,” Yoongi says.

YN swallows, following after him as he gets even deeper inside of the storage room. She looks at the snow globe over her shoulders, looking at the fake snow that’s swirling around even though she never got to shake it. 

This whole experience has been really unsettling, so when Yoongi stops and pulls a perfectly preserved book off the shelf, YN nearly sags in relief.

She reaches her hand out for it and Yoongi places it in her palm.

“You’re quite the collector, huh?” he asks her, his fingers still wrapped around the book.

“Yeah,” YN says, gently trying to pull it away from him.

His grip tightens. 

“So am I,” he says, smiling at her.

His teeth are incredibly straight and perfect, a complete contrast to the rest of his sickly and generally unkempt appearance. 

“That’s nice,” YN says, “Can I have the book now?”

“You know, I think the rarer an item is, the better it is for collecting.”

YN nods, agreeing and trying to decide if she should just cut her losses and run. But she’s looked for this book for over a year now and she finally has it in her grasp. She can’t give up yet.

“What do you collect?” YN asks, hoping that indulging him in conversation will get this experience to fly by faster. 

“Figurines, mostly,” he says, “Though everything else in this shop is mine as well, none of it holds my attention for very long. My figures, though. I adore them.”

“I like figures too,” YN says, all of the hairs on her body sticking straight up.

“Really? Would you like to see my collection?”

“No thank -”

“It won’t take long at all!” Yoongi says, suddenly insistent, “I’ll show you and then we can get you checked out, okay?”

Yoongi pulls the book away from YN entirely, practically dangling it in front of her. All the warning bells in her head are going off, but her desire to have this book has her internally soothing herself. Plenty of collectors are weird or just bad at speaking to people. He’s probably just the same as them.

“Okay,” YN says after a moment.

Yoongi gives her that perfect smile again and then turns to walk back the way they came, stopping in front of that snow globe. He picks it up and the entire shelf groans, sinking inwards and to the side to reveal a hidden pathway. A draft wafts up and tousles YN’s hair.

To hell with it. This is too far. Just as YN turns on her heel, preparing to run, Yoongi’s hand grasps her wrist, his skin cold as ice.

“You wanted to see right?” he asks her.

YN’s never seen a man so creepy. Everything about him is off.

“I changed my mind actually,” she says, wetting her lips and trying not to panic as those dead eyes follow the movement of her tongue, “I don’t really need the book.”

“Nonsense,” Yoongi says, dragging her inside, “You simply must see it.”

He’s surprisingly strong to look so sick. YN digs her heels into the floor but Yoongi has no problem dragging her inside. The door shuts behind them and Yoongi pulls her crying and screaming through another maze of pitch-black hallways until he steps foot into a showroom. 

Everything in here is impeccable. The floors shine and the lights overhead are bright. Her attention is immediately brought to the dozens of life-sized figures he has, each of them different. There are men and women, figures of all shapes, sizes, and ages. It looks like a creepily realistic wax museum.

YN doesn’t want to know why Yoongi has these figures. All she wants to do is go home.

“Please let me go,” YN says, tears streaming down her face.

“Let you go?” Yoongi asks her as if he’s genuinely confused, “Why would I let you go? You’re the final piece before my collection is complete.”

YN’s blood turns to ice. She turns her head to look at the figure closest to her, noticing the way its skin is too lifeline to be made of wax.

“Please no,” she begs him, trying her best to fight him off.

Just as she swings her free hand at his skull, he drops her and pushes her harshly, sending her straight to the ground, her skull smacking into the floor. 

Her ears ring and the bright lights overhead blur her vision. She feels nauseous as she raises her hand to touch the blood seeping from her scalp.

“Damn. I’ll have to make sure that gets cleaned up,” Yoongi mutters to himself, annoyed.

YN is terrified on the ground, but the blood on the ground makes her look like an angel, one surrounded by a halo. Yes, she really will be perfect, the very last piece of his collection.

He’s been following her for years, countlessly one step behind her as she snatched up several of the items he wanted for his own collection. It pissed him off to no end until he couldn’t stand it anymore. Even the thought of that smug smiles she always wears in her YouTube videos sent him into an outrage, one that landed him his first figure.

It was an accident, of course. The woman in his store had been there and accidentally knocked over one of his shelves, crushing her underneath it. 

She could have been saved, probably, but he’d never seen someone with a face like hers, so completely one of a kind, something he knew that YN would never be able to possess. 

And so a new obsession started. He would lure people he thought were interesting into his shop and lock them deep inside of it, propping them up on giant doll stands when they submitted to him.

It made him feel so powerful.

But YN was still out there, still always one step ahead of him. And so he laid this trap, ecstatic to finally have her in his possession. 

Yoongi leans over YN, watching as the light slowly starts to fade from her eyes. It’s the prettiest thing he’s ever seen, a true Christmas miracle. He can’t resist sinking to his knees, watching as confusion and fear swirl in her eyes. For once, his own gaze isn’t clouded, clear as a night sky, dark and absent of stars. 

Her blood smears on his fingers but he doesn’t mind, taking YN’s face in his hands tenderly and painting her lips crimson. He kisses her then, sucking her final breath into him, stealing it and her life away.

For an hour he just sits there and looks at her, completely mesmerized. She looks so beautiful in red that he decides to dress her in it, carefully pulling a red dress over her forms. She’s heavy in his arms when he picks her up and takes her to the spot he’s saved just for her, a plush red couch where she looks like she’s lounging peacefully, her lips smudged with her own lifeline.

And finally, his collection is complete. 

[camillemontespan]

drake walker's daughters [one shot]

The one thing Drake Walker had passed to both his daughters was his smirk. The smirk had been Drake's fathers, passed down to him, before extending through the family tree to reach Lily and Luna. The smirk was adopted whenever both of them were doing something they shouldn't. The smirk was unrelenting and showed that underneath their polite manners and smiles was a steely exterior. They were true Walker girls through and through.

Lily was seventeen years old while her little sister was twelve. Aside from the smirk, the two girls were entirely different. Lily was more girly, more confident, while Luna preferred to stay in the background, observing the people around her.

They argued often, like sisters do, but they were also a team.

Drake and Camille had chosen to have their children educated at a 'normal' school that was devoid of nobles. They wanted the girls to have an upbringing that was typical to that of a Cordonian teenager. The Walkers were the only noble family at court to be noble in title only. They didn't care. Drake and Camille wanted to keep their feet firmly on the ground and that applied to their family.

As it was, the Walkers were often invited to court events. Lily put up with the barbed insults from her teenage noble counterparts because to cause a scene would be embarrassing for her parents. Luna struggled with the court politics more and at age twelve, she wasn't used to holding her tongue yet.

Drake and Camille were sat at a table with King Liam, Queen Aurelia, Olivia, Leo, Maxwell and Bertrand. After seventeen years of being the Duke of Valtoria, Drake was now more assured in himself. All it took was his marriage and children to make him feel he had a purpose. He no longer listened to the nobles who insulted him because to him, the only opinions that mattered were his wife's and daughters.

As he turned to Camille to press a soft kiss on her head, the room was interrupted by the sound of a chair scraping harshly against the marble floor, a scream and a furious male voice shouting, 'What the fuck do you think you're doing?!'

The nobles turned to see the 'kids' table in chaos. And right in the centrefold of the drama was Lily, who had Timothy Vancoeur in a headlock.

**********************************************

Drake was up on his feet in an instant to pull his daughter away from Timothy. Timothy was Lily's age and whilst Drake didn't like the boy, he didn't want his daughter to be caught up in a fight. Which begged the question - why was Lily fighting? It was completely out of character.

'Dad, let me go!' Lily screamed, trying to get out of Drake's grip.

'You're a psycho!' Timothy shouted at her. His father, Neville, joined the fray to pull the teenagers apart.

'You're a fucking dick!' Lily shouted back.

'LILY, LANGUAGE!' Drake hollered, managing to pull her away. Lily whipped around to face her father and pointed at Timothy, who's eyes were wife with fury. 'He insulted -'

'I don't care,' Drake interrupted. 'You are old enough to not get into fights. Come on, we're going home.'

Camille had joined them to take Luna's hand. Luna was staring at Timothy with her fists clenched but unlike her older sister, she wasn't being vocal.

The Walker's left the ballroom. Camille whispered 'it's okay honey,' to Luna while Lily stormed ahead of her parents. Drake kept his head held high, like Camille had taught him to do years ago.

*********************************

'Never have I seen such a ridiculous display!' Drake shouted as he paced the living room. 'Lily, you know better than go get involved in things like that! Why did you attack him?'

Lily was sat on the sofa with her arms crossed, an indignant expression on her face. Camille was sitting on the armchair with her head on her hands while Luna was standing in the corner watching her father discipline her usually perfect older sister.

'He's an asshole, dad!' Lily told him. 'He said -'

'I don't care what he said, I care about why you held him in a headlock!'

Luna bit her lip. She had to get involved. She had to help Lily. 'Dad -'

'He insulted us!' Lily shouted. 'He insulted Luna and then he insulted you!'

Drake pressed his fingers on either side of his nose. He was aware that his children put up with jibes but this was the first time that they had actually reacted.

'You aren't to listen to them,' Drake said. 'Their opinions don't matter -'

'But he said the worst thing -'

'Walkers don't listen to the opinions of sheep!' Drake interrupted. 'They stand tall and ignore them.'

Camille cleared her throat. 'Drake, let her talk.'

Lily's eyes were glimmering with tears. She stood up quickly. 'What the point?' she asked. 'Dad never listens to me anyway.'

She stormed out the room and slammed the door. Camille winced. Drake sighed and sat down on the sofa heavily. He became aware that Luna was moving to sit on the floor in front of him. She placed her hand on his knee.

'Dad, I want to tell you what happened.'

Drake looked down at his daughter and sighed. 'What happened Luna?'

*************************************

Luna fidgeted with her necklace as she sat beside her sister at the kids table. She hated court events. She hated feeling on display and she hated the children around her who bragged about their horses, education and parties. Luna was the youngest at the table while Timothy Vancoeur was the oldest. At her young age, Luna had learned quickly that even though Timothy may be the oldest, that didn't mean he was necessarily wiser.

'So father bought me this beautiful Arabian!' Timothy chortled. 'So excited to ride her this Saturday. I need to keep up my skills for polo.'

Lily smiled politely. 'How fabulous.'

Timothy rolled his eyes at Lily. 'Have you even been to a polo match?' he asked. 'What is it your school does? Graffiti on the walls?'

Timothy's friend, Nathaniel Domvalier, burst out laughing. Lily raised her chin and looked away, reminding Luna of their mother.

Luna cleared her throat. 'What's your horses name?' she asked.

Timothy eyed her. 'Red Sky in the Morning,' he replied stiffly. He didn't see the point in engaging with children.

Luna wrinkled her nose. 'Bit of a mouthful,' she said. 'Why not a short name?'

Timothy stared at her in disgust. 'Because all horses who race have names like she does,' he answered in a patronising tone, much like his father, Neville. 'You would know that if you went to polo matches like we do.'

Lily put down her glass and shot Timothy a look that could kill. 'Don't speak to my sister that way.'

Timothy shrugged. 'Like what? She acts like a bloody commoner even though her parents are one of the richest nobles in the country. She should know better.'

Lily clenched the stem of her glass. 'She has better things to worry about than if a horse can win a race using her father's money,' she spat.

'I use my own money actually,' Timothy replied, his voice like silk. 'Not that you common blood would know that. Does your dad even have money in a trust for you? Bet he doesn't. Drake Walker, ha.'

Lily was about to bite back but was interrupted by Luna, who was fiercely protective of their father. 'Our dad has money set aside!' she protested. 'He makes sure we have everything.'

Timothy leaned forward conspiratorially. 'I'm sure he does,' he replied smoothly. 'But if you ask me, he would have done us all a favour of he just let my father kill him in the duel they had years ago. He wouldn't have been around to contaminate court with his common filthy blood-'

Before Luna could realise what was happening, Lily had launched herself at Timothy, her chair scraping harshly against the marble floor. She pulled him out of his chair and grabbed him in a headlock, just as her Aunt Olivia had taught her to do.

*****************************************

Drake swallowed after listening to Luna describe what had happened. Camille was shaking her head in disgust. Drake felt his heart sink as he realised how much his daughters put up with. Not for the first time, he wished they could just be normal children who didn't have this noble life. He longed for a small house with a picket fence and a job that wasn't regal in the slightest.

He stood up and left the room, looking a man on a mission.

********************************************

Drake knocked on Lily's door and slowly entered. She was sat on the window seat with the window open, a cigarette in her hand.

She hastily stubbed the cigarette out and rubbed her eyes which were red rimmed.

Drake bit his lip and eyed the cigarette packet on her bedside table. He took it and popped it in his pocket. 'Don't let your mom see these,' he murmured.

Lily looked out the window and said nothing.

Drake sighed and dragged her pink velvet chair over to the window seat. 'Permission to sit?' he asked. Lily shrugged.

Drake sat down.

He studied his daughter. Her dark hair was pulled into a messy bun and her tanned skin was bare of make up. She was wearing a blue and white stripe camisole and matching pyjama shorts with blue fluffy slipper boots. She looked beautiful. She looked like Camille.

Drake gently reached out to take her hand. Lily blinked and turned to look at her father. Drake smiled weakly. 'I'm sorry I shouted at you.'

Lily shook her head. 'I'm sorry dad. I embarrassed you and mom.'

Drake looked down and then back at her. 'You have your mom's emotions and my temper,' he told her. 'You acted how I would have back in the day. What's the phrase? Like a bull in a China shop.'

Lily wrung her hands together. 'I lacked decorum..'

Drake chuckled. 'That's one way to put it. Look, Luna told me what happened.'

Lily paled. 'Dad, I'm so so sorry about what Timothy said -'

'Let dick heads like Timothy talk,' Drake interrupted. 'I don't care. I don't listen to people like him.'

'But he was so disrespectful..'

Drake shrugged. 'He clearly listens to his father. Honey, its not your job to fight my battles for me.'

Lily rubbed her eyes harshly and sniffled. 'I just hate how everyone makes fun of you and mom. Like you're worthless. But you both have brought so much change for Cordonia! But they treat you like you're shit and its so frustrating. I just want them to see you how I see you.'

Drake leaned forward and took her hands. 'Lily,' he said softly, 'all that matters is how you, Luna and your mom see me. Nobody else. Don't waste your time trying to change their minds, it won't work. Just be content with yourself. Ignore them. Rise above it and just remind yourself that we are strong and good. Nobody can take that away from you.'

Lily frowned. 'How can you be so sure?'

Drake smiled. 'We're Walkers.'

Lily finally grinned and threw her arms around her father. Drake held her tightly and they stayed like that for a long time before pulling away slowly.

'So,' Drake said, 'where did you learn to get a guy five inches taller than you to be put into a headlock?'

Lily giggled. 'Guess.'

Drake groaned. 'Olivia. Should have known.. She's not got you into daggers yet, has she?'

Lily stuck her tongue out and squealed when Drake pulled her into a headlock himself, hollering that she would never own a dagger as long as Drake lived.

[maitredesnavires]

ML Fan Fic: Movie Night - Chapter 6

The final chapter of my first fan fic. Enjoy!

AO3

Marinette sat on her bed, feet dangling off the side. She was furiously writing in a pink polka dotted diary trying desperately to process through the last 24 hours.

Dear Diary,

ADRIEN IS CHAT NOIR. The sweet, beautiful, blonde haired boy that I have been in love with is also my quirky-- and at times irritating-- partner. What am I going to do? Adrien doesn’t like me, he said so himself, but then he came to my house as Chat to “check up on me?” What the heck? Chat has been flirting with Ladybug since we started fighting together. Does Chat like Ladybug? Does Adrien like Ladybug? Then does Adrien actually like me? Will he still like me when he finds out I’m Ladybug? If he finds out I’m Ladybug? Do I tell Chat I know he’s Adrien? Or do I tell Adrien I know he’s Chat? And do I tell him as Marinette or as Ladybug?!

“Tiiiiikiiiiii” Marinette turned to the little red kwami. “I don’t know what to do.”

“Well, Marinette. Maybe you should…” A tapping at the window interrupted her and she flew into a drawer to  hide as Chat Noir’s face came into view through the skylight.

“Good afternoon, Princess,” Chat greeted Marinette as she opened the window to her balcony. “Do you have a minute for your favorite superhero of Paris?”

“Well...I was...actually...um...sure!” She finally managed to squeak out. She wasn’t ready for this. She hadn’t made any decisions or decided what to do or how to do it or when to do it but she definitely wasn’t ready right now, or was she? Could she be? She buried her face in her hands.

“I wanted to apologize,” Chat started off carefully, fully aware that Marinette looked like she was having a mental breakdown. Marinette looked up at him through her fingers, an eyebrow cocked. “Well, for leaving so suddenly last night. It was very rude and I didn’t even get a chance to explain.” Chat rubbed the back of his neck nervously. “You see, I realized something last night that surprised me, although now it doesn’t really seem all that surprising, but when I...uh...smelt your hair...God that sounds weird...I realized that you smell like...gah, still weird...well, that you smell just like…”

“How about finishing that movie, hein?” Marinette cut him off and nearly pushed him off the bed reaching for her laptop.

“Oh,” Chat righted himself and looked back at her. “I mean, Mari, this is kind of important. I think you should know that I know that you’re…”

“Where were we again? The creepy little ghost girl, she was about to off her babysitter right? Or was it the gardner? I forget which one she blamed for killing her at the beginning…” Marinette was fumbling with her laptop password, unshed tears blurring her view.

Chat knew she was Ladybug. Adrien knew she was Ladybug. And he was going to break her heart all over again. She wasn’t good enough. Clumsy, always late, bull-in-a-china-shop Marinette was Ladybug and she was going to lose the love of her life and partner in one fell swoop. The sadness tearing at her heart quickly turned to anger. He couldn’t break her heart if she broke his first.

“Mari...what’s wrong?” Chat lifted her face up to him, his concerned gaze boring a hole into her soul. Her look turned to steel and she jerked her chin away from him.

“I know who you are Chat. I know you’re Adrien,” she started, tears streaming down her face. Chat’s look of bewilderment egged her on. “I know that two days ago, you told me you weren’t interested in me after I told you I loved you. That I loved you, Cha...Adrien. You said thanks but no thanks. And then what did you do? You came to my house. My room. You knew...you knew you had just crushed my feelings and you came over here pretending like everything was okay. Lying to me about who you were and why you were here. And I let you comfort me and and watch a movie with me when you were the one who hurt me in first place. You were the one who broke my heart,” Marinette delivered the last line like a blow, a dagger sliding purposefully into its target.

Chat sat, open-mouthed, staring at Marinette. This was not how he imagined this conversation going. He had wanted to tell her that he knew she was Ladybug, that he loved her completely. He had imagined hugs and impassioned kisses as they made up for lost time, laughing over how blind and stupid they both had been. Instead, Marinette...Ladybug...was destroying him from the inside out. Everything she said was true. He had snubbed her as Adrien and then lied to her as Chat.

“I...I didn’t…know...”

“What, Adrien. You didn’t know I was Ladybug?” she threw the revelation at him like a knife to the heart. “And now that you know, all of the sudden it’s okay? It’s not okay, Adrien. I might be Ladybug, but I’m still clumsy, old Marinette, and if you” her voice broke and a sob wracked her petite body. “If you didn’t love Marinette, then maybe you never really loved Ladybug.”

Adrien sat on his bed, staring numbly once again into the void of his room. He wasn’t even sure how he had ended up back here. Her words echoed in his head, a devastating track on repeat that refused to stop. Maybe you never really loved Ladybug. He knew it wasn’t true. He loved her and he always would. But the words still stung and the look on her face was forever etched into his memory. Two days ago, he had hurt her feelings as Adrien. But today was different. He had completely failed her as both Adrien and as Chat Noir. Her crush and her partner. He wasn’t sure if she would ever forgive him. Silent tears rolled down his cheeks as he hauled himself off his bed to get ready for his fencing lesson.

It had been six weeks since the librarian was akumatized. Six weeks since Adrien and Marinette had last spoken. Six weeks since Ladybug and Chat Noir had last been in-sync. There had still been akumas, of course. At least one a week. There had been the Recyclinator, a young man upset about the amount of trash in the streets who could create tornadoes of green gas that turned people into trees. There had also been the Director, a movie director whose movie didn’t make it into the festival. He had turned Paris into a black-and-white, silent movie. The look of fear on Ladybug’s face when she had lost her voice again had almost done Chat Noir in. Still, they had persevered. But there were no fist bumps at the end, no puns or quips or flirting. Adrien sat on his couch thinking over the past six weeks. He was exhausted, not from the monsters that terrorized Paris, but from keeping his feelings at bay, walking through each day as if on autopilot. He missed his best friend. And not just the one in red and black spots. Marinette wouldn’t even look at him and he knew Alya and Nino were both feeling the strain too. Adrien covered his eyes with his elbow. The tears that were always on the verge flowing freely down his cheeks. A tapping at his window startled him and he jumped into his fighting stance. A girl in red and black spandex was climbing through his window.

“Ladybug,” her name slipped out of his lips in an awed whisper. She winced and then chastised herself but the name stung. It was a cutting reminder of who he was really in love with. She straightened her shoulders and took a deep breath. She could do this. She had to do this.

“Adrien, I came to apologize,” Ladybug started, voice strong; however, as soon as she saw his red-rimmed eyes, she completely deflated. Looking at the ground, she held her arms over her stomach. “I’m so sorry,” she said as her own tears welled up in her eyes.

“You’re...sorry? What on earth do you have to apologize for?” Adrien had taken two steps toward her but stopped.

“For what I said,” she continued, still looking at the floor. “I didn’t really mean it. I was so upset and afraid and I said what I said out of spite and fear because I just wanted to hurt you before you hurt me. But that wasn’t fair. It’s not your fault you can’t love a train-wreck of a girl like me. I should have never said those things to you like that…”

“Wait what?” Adrien was slowly walking towards her unable to comprehend what she had just said. “You were scared? Of me hurting you? You thought I was there to tell you I didn’t love you?”  

Ladybug took one step backwards, trying to shield herself from getting her heart broken all over again. “I...I understand I’m not...who you thought I was. I...understand if you...feel differently now. I just…” Adrien was standing in front of her now. He lifted her chin up so her eyes met his.

“De-transform.” It was more a command than a request. Ladybug closed her eyes, tears streaming down her face, and shook her head. “Please, my lady, de-transform.” She squeezed her eyes tighter and shook her head again. “Princess, please,” he whispered his plea into the shell of her ear. “I need to see you.” Her transformation broke with a sob and Tiki flew away to find Plagg. Adrien cupped her face with both his hands and gently wiped her tears away with his thumbs.

“Marinette, I have been in love with you since I first saw you take on Hawkmoth while we were fighting Stoneheart.” She looked up and met his gaze. “Yes, you were in a suit, but I knew I loved the strong, brave, kind, and fearless girl under the mask too. I’m so sorry that it took me so long to really see you and I kick myself every day for not realizing it was you sooner. Make that twice a day. You are amazing, both as Ladybug and as Marinette and Mari, I…” Adrien leaned in, his lips not quite touching hers and whispered against them, “I love you” before closing the distance. Her kiss in return and her hands clutching the front of his shirt were all the encouragement he needed to deepen the kiss and tangle his fingers in her hair. He had found her. And she had found him.

[ladybevr]

I don’t think she will even be a Z list.  Once she is of know use to those wanting connections to the Royals she will have absolutely nothing. She is to old with no real acting talent and to old for the young people who will have moved on to younger would be celebs with lives they are more interested in. The young will tire of her. She can not keep having face lifts and Botox  and fillers done. With all that she has already had done I don’t think that she will age well. She already can not compete with young 20-30 year old's.  In my opinion even with all the work that she has had done she still looks every bit her age.  The young are not going to be interested in any fashion items that she will try selling.  The young can be very fickle.  She also won’t have the money for those treatments or for the expensive clothes and jewelry. The stylists and fashion houses will not be lending her clothes and jewelry to wear in pap walks to advertise for them. She will start to look older than their parents and they won’t like her lecturing them. She is to old to be a yachting girl, or suitcase girl or high priced escort. The men are looking for younger women with young supple bodies.  If Harry leaves her then she desperately needs to find a rich man to marry her. But rich men as dumb as Harry are very few and far between. Any man with any degree of intelligence and who may not have heard about all the things she has pulled won’t marry her or set her up as his mistress. No one will be willing to wipe the past two or three years of her life off of the internet. It will all be there for any prospective  husband to find.  She made a gigantic mistake by the not keeping her head down, mouth shut and doing everything asked of her by Royal Family. Leaving was the worst mistake she could possibly have made.  Her so called friends like Oprah, Elton John, James Corbin, and the Obamas will all walk right by her and not acknowledge her as they parade down the red carpets.  None of the woke people will be calling her, they already are not calling her.   No Charity will want anything to do with her as a patron but she may need to avail herself of the services that they provide to their clients. Princess Di even after her divorce still had Charities and causes calling her but she was much younger and she was the mother of a future King.  She worked hard for the causes and charities she believed in and didn’t lecture the people.  She was also loved by a lot of the people. She didn’t try to damage or destroy the Monarchy. She believed in the Monarchy. She didn’t work or cooperate with those who were actively working to take down the Monarchy.  Diana causes but she didn’t lecture the people or governments.  She didn’t embarrass the people or the governments.  She stayed out of politics. Diana knew not to cross that very fine line in the sand. She made the people and governments aware of aids/HIV and of landmines but she did not single out or directly attack any one government. Not like Harry did with the UK government, the Monarchy and the people by calling them racist. Harry was like a bull in a china shop in his approach whereas Diana handled it with subtly and diplomacy.  Diana cared. Where as Meghan and Harry did it only to get attention for themselves and to make money. With Meghan and Harry it was all just a big public relations exercise.

I feel like everything coming from the Harkles is pretty lame. Doing a People’s mag spread? 😂 Everything lights up like a match, which lasts for a hot second and fizzles. TBH even when they do eventually divorce, people will go “meh, we knew it...next....” because they’ve over saturated the media, Meghan’s true intentions are being seen, and Harry will go back to England. They really don’t have anything else to offer.

Yep.

[setfreeexcerpts]

Chapter 14

Waiting Expectantly

_____________________________

Using the cognitive skills of my natural man, outside the compulsion of the Spirit’s guidance, I simply cannot decipher that which is temporal from that which He deems to be something.

Just yesterday, I came across a beautiful snapshot of this principle, found in the first three verses of Psalm 40.      

1   I waited patiently for the Lord;

     he turned to me and heard my cry.

2   He lifted me out of the slimy pit, out of the mud and mire;

     he set my feet on a rock and gave me a firm place to stand.

 3    He put a new song in my mouth, a hymn of praise to our God.

     Many will see and fear the Lord and put their trust in him.

David’s experience could be ours were we to daily walk in the Spirit, increasingly dying to the flesh of our old man. In this passage, David’s experience begins with what? Patience. More specifically, patience for the Lord to move.

But we so refuse to wait because we believe we are called to move, MOVE, MOVE! And, thus, we do so…in our self-empowered, self-asserted, self-confidence. Like the bull in the proverbial china shop, we hammer through too much of life without staying our sledge.

As an aside, I wonder if David wrote this psalm sometime after his confrontation with Nabal. The circumstances surrounding the story revealed to us in I Samuel 25 seem to be fodder for a lesson God wanted to teach David along these lines; namely, that it is frequently not in our best interest to “strap on our sword” in order to be our own solution.

Not only did God teach David that He was sufficiently able to bring about a right solution without David’s taking every matter into his own hands (I Samuel 25:27-38), but he also both saved David from regret and brought blessing into his life in the person of his wife-to-be, Abagail, as part of the lesson. What a story…read it!  

Ok, back to Psalm 40. If we but wait on God, we won’t miss the blessing He may be anxious to deliver into our lives. Again, here’s the storyline:

I wait patiently.

You turn to me and hear.

You lift me out.

You firmly set my feet.

You put a song in my mouth.

Many see, fear and trust in you!

What part of this process is ours? Haha, yes! We merely WAIT - and it is GOD who does the work.

I so fear we really don’t believe He intends to live his life through us SUPERNATURALLY! We are so earth bound, so what-is-tangible bound that very few of us ever believe He intends to move supernaturally in and through us for his purposes.

We THINK we’re out of the way when we come to some conclusion and then ask the Lord to bless it…to put a stop to it if He so desires. But in doing so, we have too often moved first in our natural man–refusing to wait on what we haven’t experienced…God’s supernatural lead. This is the Father’s plan for us, that all glory, honor, credit and praise be his, not claimable by us in any fashion.

But we REFUSE to remain under his umbrella, coming out into storms of our own choosing–when all along he has placed the umbrella over us for protection; He intends that we wait…not until the skies clear and all obstacles are moved, but until the path is lighted–before our feet hit the ground.

So it comes to this: origin determines destination, and what was “of the flesh” originally will never be made spiritual by any amount of “improvement.”

That which is born of the flesh is flesh, and it will never be otherwise. Anything for which we are sufficient in ourselves is “nothing” in God’s estimate, and we have to accept his estimate and write it down as nothing. “The flesh profiteth nothing.” It is only what comes from above that will abide.

We cannot see this simply by being told it. God must teach us what is meant, by putting his finger on something he sees and saying: “This is natural; this has its origin in the old creation, and did not originate with Me; this cannot abide.” Until he does so, we may agree in principle, but we can never really see it. We may assent to, and even enjoy, this teaching that the flesh profiteth nothing, but until we set free the Spirit in our lives to do such operative work, we will never truly loathe ourselves.  

Oh that we would learn to see time as you do, Father.

We fear that this short life must be filled with doing…NOW. We must not, we think, allow ourselves to be accused of slothfulness.

But in doing so, we miss it. We miss your movement–because we move FIRST. Forgive us, Holy Spirit.

We DO desire to let you be Lord, but we feel we see what can be done to effect a given situation forward with our physical eyes and off we go, walking in our own solution–one that may, more often than we know, be lacking in patient, purposeful, watchful anticipation of what you have in store for us.

It is an alert awareness of your Spirit’s movement we need…and this not of ourselves. Please help us escape our eyesight, Lord Jesus!

Oh God, please be merciful to show us your hand, and strengthen our faith, that it would truly evolve into subjective confidence. We are a weak and pitiful people. Forgive us. DO keep us out of the way, that we may see and marvel in your greatness.

[keywestlou]

HAPPY BIRTHDAY LIZ MOODY

Liz Moody. A spectacular woman. Accomplished. Recognized before her time.

Liz is 84 today. Happy birthday, Liz!

Unfortunate we met only two years ago. I enjoy her company. Our backgrounds similar.

Liz and I are members of the legal profession. Liz smarter than me, however. She was Dean of two law schools. Ended her career as CEO of the Law School Admission Test Corporation. A big deal!

We knew many of the same people in the profession. Judges, practitioners, and educators. Our conversations went on and on.

Age has not diminished Liz’s beauty. Nor her mind. Her body taking a bit of a beating, however. The past few years involving several hip operations. To no avail. She has difficulty walking. Sugar a problem. She was discharged yesterday from the hospital after two weeks and one day where they worked on stabilizing her sugar.

Liz originally from Cleveland. She and her husband purchased a lovely home on Southard in the early 1980’s. Her husband was a prominent Cleveland attorney. He passed away many years ago.

I shall enjoy celebrating Liz’s birthday with her this evening, as will her many Key West friends who will be celebrating with her. A catered event.

Less I forget, dinner with Liz a joy. Dinners she prepared. A gourmet cook. Her choice of wines equal to her culinary talent.

My podcast show last night. Tuesday talk with Key West Lou. As always, loved doing it!

I was happy to share Trip Advisor’s recent ratings re Key West. Number one in three categories.

Discussed China and North Korea a bit. Trump screwing up big time in our relations with the two countries. Already obvious the Kim meeting a failure. Trump was taken advantage of. The tariff war with China begins as a disaster. Chinese, Asian and European markets falling this morning. The U.S. markets will at some point.

If the tariff war continues, I predict a world wide depression a year from now. Hoover became President when the market was at an all time high. Everyone making money. He thought tariffs were warranted. Did not make sense. However, he went ahead anyway. One year later, the Great Depression.

History repeats itself. Trump not aware since he does not read nor is he a student of history.

Hemingway Days are coming! In one week. Begin July 17 and run through July 22.  A fun time. A family event.

As usual, there will be a Hemingway Look a Like contest. One hundred twenty five men from all over the world participating. All a bit chunky, all with white hair and beards, all dressed in white with a red waist band and a red cap.

The Running of the Bulls another event. My favorite.

Additionally, a street fair, arm wrestling contest, 5K run/walk, and a paddle board race.

The most interesting thing from my perspective is that where ever you go that week, Look a Likes will be there. Restaurants, bars.

The Key West Citizen weather reporter continues to be a humorist. Today’s report: A t-storm in spots; tell spot to go home. Tonight: Partly cloudy, as t-shower; birds happy.

Trump as President sets the tone for the country. As have all previous Presidents. If something is ok for a President to do, it is all right for the citizenry.

Trump engages in prejudice and bigotry.

Trump is down on Mexico for a number of reasons. Speaks badly of them all the time. The inevitable had to occur.

Rodolfo Rodriguez is a 91 year old Mexican citizen. He legally visits family in Willowbrook, California twice a year. A few days ago while visiting, he took his daily walk after lunch.

A woman and four men came up to him. The woman shouted: “Go back to Mexico!” The woman then hit him with a concrete block. The four men followed up kicking and beating him.

Rodriguez ended up with a broken jaw, broken cheek bone, 2 fractured ribs, and bruises all over.

The story bad enough so far. Another startling fact, however. The woman was black. She who has probably been subject to prejudice and bigotry her whole life subjected another to that treatment.

Another “Go back to Mexico” situation. A store. Mother and small children shopping. A 40ish man did not like the way the children were behaving. He told the mother, “Go back to Mexico.” A young man came to the woman’s defense.

Then there is the Cook County woman at a public park with her family. Enjoying a cook-out. She was wearing a T-shirt of the Puerto Rican flag.

A man came up to her and began berating her because she was wearing the T-shirt: “You should not be wearing that in the United States.” The woman retorted I am an American citizen. He responded she should then wear a T-shirt of the American flag.

The tirade went on 35 minutes. A park police officer was nearby watching. She told him she was becoming “uncomfortable.” He did nothing. Finally other police officers appeared and broke up the confrontation.

Mexico…..Puerto Rico…..Who began dumping on them thereby encouraging others to do so?

Enjoy your day!

  HAPPY BIRTHDAY LIZ MOODY was originally published on Key West Lou

[vitalmindandbody]

Josh Groban: how the dad whiz grew Broadway’s leading man

The singer with 20 m album marketings to his figure has realized a nightmare by making his Broadway debut starring in Natasha, Pierre and the Great Comet of 1812

Last year might have been an annus horribilis for most, but for Josh Groban, 2016 couldnt have gone much better. The multiplatinum-selling singer-songwriter, who filmed to fame as a teenager, shaped the transition towards Broadway virtuoso after clearing his debut in the musical Natasha, Pierre and the Great Comet of 1812.

A musical adaptation of 70pages of Tolstoys War and Peace, affectionately shortened to The Great Comet, caught Grobans notice when it was in residency at a custom-built supper club in downtown Manhattan. Hed been looking for a new musical project and contacted the producers to say his interest in working on the show.Fast-forward numerous months and Groban is starring on Broadway, singing( merrily) and dancing( reluctantly) in eight executions a few weeks of a indicate with nearly wall-to-wall rave reviews.

The Great Comet is his Broadway debut, but Groban is no stranger to the stage. When he was a child in Los Angeles, his mothers took him to the theater, and he was accepted into Carnegie Mellon Universitys musical theater program but ceased out of his freshman year after being offered a recording spate by Warner Brothers. Seven books and more than 20 m sales later, Broadway was still on his imagination, which was apparentwhen he starred in two concert makes of the musical Chess and then released Stages, an book of musical theater favorites that includes Bring Him Home from Les Misrables and Old Devil Moon from Finians Rainbow.

But none of the carols from Stages resemble musics from The Great Comet, an electro-pop opu that peculiarity only one line of spoken talk in its two-and-a-half-hour product. Composed by Dave Malloy, the score which follows the naive Natasha who, while her fiance, Andrey, is at war, is swept into the fast-paced life in Moscow and falls into an circumstance with the rascal Anatole is a fusion of Russian tribe, classical constitutions, indie stone and punk music.

Josh Groban in Natasha, Pierre and the Great Comet of 1812 Photograph: Chad Batka/ AP

Despite all that, Groban says it was the restlessness and discomfortof Pierre that depicted him to the character and the project.

He simultaneously kind of shuns and blames the vapidness and narcissisms of culture, and at the same occasion so badly wants to be a part of it, he said. I thought that was so much more interesting as a reputation than any of the step-out-in-the-spotlight leading man kind of roles.

Rather than a rising enjoy ballad, that big-hearted quantity for Groban is a song called Dust and Ashes, in which Pierre reflects on the wasted opportunities of his own life and enunciates his want for meaning.

You do have your epiphany and do have the uncovering of true love and rejoice and the comet and all the things that Pierre eventually discovers, Groban continued. I think it establishes that so much more load and mean when youre bumbling and shy and locked in your hole.

While Grobans playing and singing ought to have praised by critics, he is quickly and bluntly self-deprecating about his dancing. Another rationale Pierre appealed to Groban was the specific characteristics did not dance.

The choreographer, one day at recital, he said: Uh, Josh Groban, can you come out in the hallway satisfy? I imagined, Oh, God, am I in trouble? Groban recalled, giggling. He gathered me out and said, Youre going to hate me, but theres a scene in Gypsy Lovers where I make Pierres going to have to dance. So we came up with this five-second rotations that he does, and I can say that I have been a triple threat on Broadway not well, but I have done it. And the neat event about Pierres dancing ability is hes is expected to be drink and supposed to be a bull in a china shop.

Accessing Pierres despair, Groban said, came from his working experience, both personal and artistic, combating self-doubt and self-criticism and fight with a lack of purpose or formation.

Ive never gone through anything to the extreme that Pierre has gone through. Luckily, I contemplate the majority of members of us have not gone through that, he said. But at the same day, we all understand what hopelessness is like. We all understand what a lack of purpose, what a lack of vitality is like. I think we all know what it feels like to break through that and be stronger from it.

Groban has weathered a few onstage mishaps, including one that is really landed him offstage. Caught up in a moment of conflict with another reputation, Groban embossed his hoof so hard that he fell forwardinto the orchestra pit.

Every time I said[ the line] I remained stomping and stepping forwards and I didnt recognise where my paws were, he recalled. Often Im a little furthest back. I missed because the strobe light are so disorienting. I said, You bully! You scoundrel! It was like a vaudevillian farce routine. I descended smack-dab right on to the drum specified.

I had fat padding on so I didnt detect a concept. But my pride was bruised, he prolonged. At least it was when Pierre is drunk and stumbling. At least it wasnt, like, during the course of its final lyric. Complete chaos. I gate-crashed into the pit. It was almost a rim fire. The snare stumble, the cymbal departed piloting. Everyone in the shoot was like: Well, youve done 50 testifies now, but this was your official initiation.

Stunt-casting a establish, with a glittery fame figure taking on a rather limited passage, is nothing new to Broadway, and something Groban is aware of. But the star is quick to emphasize all levels of society of the Comet cast and sing his colleagues praises. If anything, eventually acting on Broadway, which was his dreaming since he was a girl, establishes the self-proclaimed dork who declares to difficulty loosening and celebrating his accomplishments feel like one of the cool teenagers.

When James Corden played my time of Tevye at the Tonys, I was embarrassed, he said, remembering a video of himself as a girl singing If I Were a Rich Gentleman in local schools production processes Fiddler on the Roof. But chiefly I was like, Ogle at that minor who couldnt get a date, who had to put on a fake beard, whose genuinely being onstage as Tevye was the most cathartic thought for me “re going through” a difficult high school ordeal. To see that being aired on the Tonys I so rarely do it, but sometimes I give myself a high five.

Recently, hes had a lot to celebrate.

Read more: www.theguardian.com

The post Josh Groban: how the dad whiz grew Broadway’s leading man appeared first on vitalmindandbody.com.

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[vitalmindandbody]

Josh Groban: how the popping hotshot grew Broadway’s leading man

The singer with 20 m album sales to his mention has realise a fantasy by making his Broadway debut starring in Natasha, Pierre and the Great Comet of 1812

Last year might have been an annus horribilis for most, but for Josh Groban, 2016 couldnt have gone much better. The multiplatinum-selling singer-songwriter, who killed to fame as a teenager, realise the transition to Broadway adept after shaping his entry in the musical Natasha, Pierre and the Great Comet of 1812.

A musical adjustment of 70pages of Tolstoys War and Peace, affectionately lessened to The Great Comet, caught Grobans scrutiny when it was in residency at a custom-built supper club in downtown Manhattan. Hed been looking for a new musical project and contacted individual producers to express his interest in working on the show.Fast-forward many months and Groban is starring on Broadway, singing( happily) and dancing( reluctantly) in eight acts a few weeks of a demo with almost wall-to-wall rave reviews.

The Great Comet is his Broadway debut, but Groban is no stranger to the stage. When he was a child in Los Angeles, his mothers took him to the theater, and he was accepted into Carnegie Mellon Universitys musical theater program but drooped out of his freshman time after being offered a recording slew by Warner Brothers. Seven books and more than 20 m marketings afterwards, Broadway was still on his mind, which was apparentwhen he starred in two concert creations of the musical Chess and then secreted Stages, an album of musical theater favorites that includes Bring Him Home from Les Misrables and Old Devil Moon from Finians Rainbow.

But none of the sungs from Stages resemble themes from The Great Comet, an electro-pop opera that features exclusively one strand of spoken exchange in its two-and-a-half-hour production. Composed by Dave Malloy, the score which follows the naive Natasha who, while her fiance, Andrey, “re at war”, is swept into the fast-paced life in Moscow and falls into an circumstance with the rascal Anatole is a fusion of Russian kinfolk, classical compositions, indie rock and punk music.

Josh Groban in Natasha, Pierre and the Great Comet of 1812 Photograph: Chad Batka/ AP

Despite all that, Groban says it was the restlessness and discomfortof Pierre that gleaned him to the character and the project.

He simultaneously kind of shuns and criticizes the vapidness and narcissisms of society, and at the same hour so badly wants to be a part of it, he said. I thought that was so much more interesting as a persona than any of the step-out-in-the-spotlight leading man kind of roles.

Rather than a soaring adore ballad, that large-hearted digit for Groban is a song announced Dust and Ashes, in which Pierre reflects on the wasted opportunities of his own life and expresses his longing for meaning.

You do have your epiphany and do have the detection of true love and pleasure and the comet and all the things that Pierre eventually discovers, Groban resumed. I think it dedicates that so much more weight and signify when youre bumble and shy and locked in your hole.

While Grobans acting and singing have been praised by pundits, he is quickly and bluntly self-deprecating about his dancing. Another conclude Pierre appealed to Groban was the character did not dance.

The choreographer, one day at rehearsal, he said: Uh, Josh Groban, can you come out in the hallway satisfy? I made, Oh, God, am I in disturbance? Groban withdrew, giggling. He drew me out and said, Youre going to hate me, but theres a scene in Gypsy Lovers where I ponder Pierres going to have to dance. So we came up with this five-second rotations that he does, and I can say that I have been a triple threat on Broadway not well, but I have done it. And the neat situation about Pierres dancing ability is hes is expected to be drink and supposed to be a bull in a china shop.

Accessing Pierres despair, Groban said, came from his own experiences, both personal and artistic, battling self-doubt and self-criticism and fight with a lack of purpose or organize.

Ive never gone through anything to the extreme that Pierre has gone through. Fortunately, I recall most of us have not gone through that, he said. But at the same epoch, we all know what it is hopelessness is like. We all understand what a lack of purpose, what a lack of vitality feels like. I think we all know what it feels like to break through that and be stronger from it.

Groban has weathered a few onstage misfortunes, including one that is really landed him offstage. Caught up in a few moments of conflict with another character, Groban stamped his paw so hard that he fell forwardinto the orchestra pit.

Every time I said[ the line] I retained stomping and stepping forwards and I didnt recognise where my hoofs were, he recalled. Usually Im a little farther back. I missed because the strobe lights are so disorienting. I said, You bully! You scoundrel! It was like a vaudevillian farce number. I descended smack-dab right on to the container given.

I had fat padding on so I didnt seem a happen. But my ego was bruised, he persisted. At least it was when Pierre is drunk and stumbling. At least it wasnt, like, during the course of its final lyric. Terminated chaos. I gate-crashed into the crater. It was almost a rim film. The snare stumble, the cymbal travelled running. Everyone in the shed was like: Well, youve done 50 demoes now, but this was your official initiation.

Stunt-casting a demo, with a glittery personality call taking on a very limited lead, is nothing new to Broadway, and something Groban is aware of. But the wizard is quick to emphasize all levels of society of the Comet cast and sing my honourable colleagues kudoes. If anything, eventually play-act on Broadway, which was his reverie since he was a adolescent, stirs the self-proclaimed dork who admits to difficulty loosening and celebrating his accomplishments feel like one of the cool boys.

When James Corden played my clip of Tevye at the Tonys, I was flustered, he said, recollecting a video of himself as a girl singing If I Were a Rich Man in a school production processes Fiddler on the Roof. But principally I was like, Gaze at that boy who couldnt get a appointment, who had to put on a imitation beard, whose genuinely being onstage as Tevye was the most cathartic circumstance for me “re going through” a difficult high school ordeal. To see that being aired on the Tonys I so rarely do it, but sometimes I yield myself a high five.

Recently, hes got a lot to celebrate.

Read more: www.theguardian.com

The post Josh Groban: how the popping hotshot grew Broadway’s leading man appeared first on vitalmindandbody.com.

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[vitalmindandbody]

Josh Groban: how the daddy excitement grew Broadway’s leading man

The singer with 20 m album marketings to his figure has recognized a dreaming by making his Broadway debut starring in Natasha, Pierre and the Great Comet of 1812

Last year might have been an annus horribilis for most, but for Josh Groban, 2016 couldnt have gone much better. The multiplatinum-selling singer-songwriter, who filmed to fame as a girl, moved the transition to Broadway wizard after doing his introduction in the musical Natasha, Pierre and the Great Comet of 1812.

A musical adjustment of 70pages of Tolstoys War and Peace, affectionately abridged to The Great Comet, caught Grobans courtesy when it was in residency at a custom-built supper club in downtown Manhattan. Hed been looking for a brand-new musical campaign and contacted the producers to express his interest in working on the show.Fast-forward numerous months and Groban is starring on Broadway, singing( gladly) and dancing( reluctantly) in eight recitals a few weeks of a evidence with virtually wall-to-wall rave reviews.

The Great Comet is his Broadway debut, but Groban is no stranger to the stage. When he was a child in Los Angeles, his mothers took him to the theater, and he was accepted into Carnegie Mellon Universitys musical theater program but descent out of his freshman time after being offered a recording transaction by Warner Brothers. Seven books and more than 20 m sales afterwards, Broadway was still on his thought, which was apparentwhen he starred in two concert products of the musical Chess and then released Stages, an album of musical theater favourites that includes Bring Him Home from Les Misrables and Old Devil Moon from Finians Rainbow.

But none of the psalms from Stages resemble tunes from The Great Comet, an electro-pop opera that features merely one cable of sounds exchange in its two-and-a-half-hour make. Composed by Dave Malloy, the score which follows the naive Natasha who, while her fiance, Andrey, “re at war”, is swept into the fast-paced life in Moscow and falls into an occasion with the rascal Anatole is a fusion of Russian folk, classical arrangements, indie rock-and-roll and punk music.

Josh Groban in Natasha, Pierre and the Great Comet of 1812 Photograph: Chad Batka/ AP

Despite all that, Groban says it was the restlessness and discomfortof Pierre that described him to the character and the project.

He simultaneously kind of shuns and criticizes the vapidness and narcissisms of society, and at the same meter so badly wants to be a part of it, he said. I thought that was so much more interesting as a attribute than any of the step-out-in-the-spotlight leading man kind of roles.

Rather than a rising adore ballad, that big figure for Groban is a song called Dust and Ashes, in which Pierre reflects on the wasted opportunities of his own life and enunciates his hunger for meaning.

You do have your epiphany and do have the discovery of true love and rejoice and the comet and all the things that Pierre eventually discovers, Groban prolonged. I think it hands that much better weight and meaning when youre bumbling and shy and locked in your hole.

While Grobans playing and singing have been praised by critics, he is quickly and bluntly self-deprecating about his dancing. Another rationale Pierre appealed to Groban was the character did not dance.

The choreographer, the working day at recital, he said: Uh, Josh Groban, can you come out in the hallway satisfy? I fantasized, Oh, God, am I in misfortune? Groban echoed, chortling. He gathered me out and said, Youre going to hate me, but theres a scene in Gypsy Lovers where I suppose Pierres going to have to dance. So we came up with this five-second gyrates that he does, and I can say that I have been a triple threat on Broadway not well, but I have done it. And the neat concept about Pierres dancing ability is hes supposed to be wino and supposed to be a bull in a china shop.

Accessing Pierres despair, Groban said, came from his working experience, both personal and aesthetic, battling self-doubt and self-criticism and fight with a lack of purpose or arrangement.

Ive never gone through anything to the extreme that Pierre has gone through. Fortunately, I contemplate most of us have not gone through that, he said. But at the same time, we all understand what hopelessness feels like. We all know what it is a lack of purpose, what a lack of vitality is like. I think we all know what it feels like to break through that and be stronger from it.

Groban has weathered a few onstage mishaps, including information that actually landed him offstage. Caught up in a moment of conflict with another reference, Groban stamped his paw so hard that he fell forwardinto the orchestra pit.

Every time I said[ the line] I obstructed stomping and stepping forward and I didnt realise where my feet were, he withdrew. Often Im a little furthest back. I missed because the strobe light are so disorienting. I said, You bully! You scoundrel! It was like a vaudevillian farce routine. I descended smack-dab right on to the drum adjusted.

I had fat padding on so I didnt feel a happen. But my self-love was bruised, he resumed. At least it was when Pierre is drunk and stumbling. At least it wasnt, like, during the final chant. Ended chaos. I gate-crashed into the crater. It was almost a rim fire. The trap collision, the cymbal ran winging. Everyone in the direct was like: Well, youve done 50 demoes now, but this was your official initiation.

Stunt-casting a depict, with a glittery fame refer taking on a very limited lope, is nothing new to Broadway, and something Groban is aware of. But the virtuoso is speedy to emphasize the community of the Comet cast and sing his colleagues accolades. If anything, ultimately playing on Broadway, which was his nightmare since he was a teen, obligates the self-proclaimed dork who admits to difficulty loosening and celebrating his accomplishments feel like one of the cool boys.

When James Corden played my clip of Tevye at the Tonys, I was embarrassed, he said, recollecting a video of himself as a teen singing If I Were a Rich Serviceman in local schools production of Fiddler on the Roof. But chiefly I was like, Search at that minor who couldnt get a year, who had to put on a fake beard, whose rightfully being onstage as Tevye was the most cathartic thought for me going through a difficult high school know. To see that being aired on the Tonys I so rarely do it, but sometimes I pay myself a high five.

Recently, hes got a lot to celebrate.

Read more: www.theguardian.com

The post Josh Groban: how the daddy excitement grew Broadway’s leading man appeared first on vitalmindandbody.com.

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[vitalmindandbody]

Josh Groban: how the papa excitement grew Broadway’s leading man

The singer with 20 m album auctions to his name has realise a daydream by making his Broadway debut starring in Natasha, Pierre and the Great Comet of 1812

Last year might have been an annus horribilis for most, but for Josh Groban, 2016 couldnt have gone much better. The multiplatinum-selling singer-songwriter, who shot to fame as a teen, shaped the transition towards Broadway adept after drawing his entry in the musical Natasha, Pierre and the Great Comet of 1812.

A musical adaptation of 70pages of Tolstoys War and Peace, affectionately abbreviated to The Great Comet, caught Grobans scrutiny when it was in residency at a custom-built supper club in downtown Manhattan. Hed been looking for a new musical campaign and contacted individual producers to express his interest in working on the show.Fast-forward many months and Groban is starring on Broadway, singing( gladly) and dancing( reluctantly) in eight executions a week of a demo with almost wall-to-wall rave reviews.

The Great Comet is his Broadway debut, but Groban is no stranger to the stage. When he was a child in Los Angeles, his mothers took him to the theater, and he was accepted into Carnegie Mellon Universitys musical theater program but dropped out of his freshman time after being offered a recording slew by Warner Friend. Seven books and more than 20 m sales later, Broadway was still on his mind, which was apparentwhen he starred in two concert creations of the musical Chess and then secreted Stages, an book of musical theater favourites that includes Bring Him Home from Les Misrables and Old Devil Moon from Finians Rainbow.

But none of the songs from Stages resemble themes from The Great Comet, an electro-pop opera that peculiarity exclusively one boundary of sounds talk in its two-and-a-half-hour yield. Composed by Dave Malloy, the score which follows the naive Natasha who, while her fiance, Andrey, is at war, is swept into the fast-paced life in Moscow and falls into an occasion with the rascal Anatole is a fusion of Russian kinfolk, classical constitutions, indie rock and punk music.

Josh Groban in Natasha, Pierre and the Great Comet of 1812 Photograph: Chad Batka/ AP

Despite all that, Groban says it was the restlessness and discomfortof Pierre that outlined him to the character and the project.

He simultaneously kind of shuns and blames the vapidness and narcissisms of culture, and at the same age so badly wants to be a part of it, he said. I thought that was so much more interesting as a persona than any of the step-out-in-the-spotlight leading man kind of roles.

Rather than a flying affection ballad, that large-hearted multitude for Groban is a song called Dust and Ashes, in which Pierre reflects on the wasted opportunities of his own life and articulates his hunger for meaning.

You do have your epiphany and do have the breakthrough of true love and euphorium and the comet and all the things that Pierre eventually detects, Groban continued. I think it sacrifices that so much more weight and sense when youre bumbling and shy and locked in your hole.

While Grobans playing and singing have been praised by commentators, he is quickly and bluntly self-deprecating about his dancing. Another ground Pierre appealed to Groban was the character did not dance.

The choreographer, the working day at rehearsal, he said: Uh, Josh Groban, can you come out in the hallway delight? I reputed, Oh, God, am I in trouble? Groban withdrew, tittering. He attracted me out and said, Youre going to hate me, but theres a scene in Gypsy Lovers where I thoughts Pierres going to have to dance. So we came up with this five-second twirls that he does, and I can say that I have been a triple threat on Broadway not well, but I have done it. And the nice situation about Pierres dancing ability is hes supposed to be drunk and supposed to be a bull in a china shop.

Accessing Pierres despair, Groban said, came from his own experiences, both personal and artistic, duelling self-doubt and self-criticism and fight with a lack of purpose or structure.

Ive never gone through anything to the extreme that Pierre has gone through. Luckily, I recollect most of us have not gone through that, he said. But at the same occasion, we all know what it is hopelessness is like. We all understand what a lack of purpose, what a lack of vitality feels like. I think we all know what it feels like to break through that and be stronger from it.

Groban has weathered a few onstage accidents, including information that actually territory him offstage. Caught up in a moment of conflict with another reference, Groban stomped his foot so hard that he fell forwardinto the orchestra pit.

Every time I said[ the line] I remained stomping and stepping forwards and I didnt realise where my hoofs were, he withdrew. Generally Im a little furthest back. I missed because the strobe lights are so disorienting. I said, You bully! You scoundrel! It was like a vaudevillian slapstick routine. I fell smack-dab right on to the container adjusted.

I had fat padding on so I didnt appear a situation. But my pride was bruised, he prolonged. At least it was when Pierre is drunk and stumbling. At least it wasnt, like, during the final song. Terminated chaos. I disintegrated into the quarry. It was almost a rim film. The trap hitting, the cymbal started operating. Everyone in the shoot was like: Well, youve done 50 substantiates now, but this was your official initiation.

Stunt-casting a present, with a glittery luminary mention taking on a very limited running, is nothing new to Broadway, and something Groban is aware of. But the hotshot is quick to emphasize the community of the Comet cast and sing his colleagues praises. If anything, eventually acting on Broadway, which was his daydream since he was a girl, constitutes the self-proclaimed dork who acknowledges to difficulty relaxing and celebrating his accomplishments feel like one of the cool teenagers.

When James Corden played my clip of Tevye at the Tonys, I was humiliated, he said, echoing a video of himself as a boy singing If I Were a Rich Guy in a school production processes Fiddler on the Roof. But mainly I was like, Appear at that girl who couldnt get a appointment, who had to put on a bogus beard, whose absolutely being onstage as Tevye was the most cathartic happening for me “re going through” a difficult high school ordeal. To see that being aired on the Tonys I so rarely do it, but sometimes I yield myself a high five.

Recently, hes got a lot to celebrate.

Read more: www.theguardian.com

The post Josh Groban: how the papa excitement grew Broadway’s leading man appeared first on vitalmindandbody.com.

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[vitalmindandbody]

Josh Groban: how the pa awarenes became Broadway’s leading man

The singer with 20 m album marketings to his identify has recognized a fantasy by making his Broadway debut starring in Natasha, Pierre and the Great Comet of 1812

Last year might have been an annus horribilis for most, but for Josh Groban, 2016 couldnt going to go significantly greater. The multiplatinum-selling singer-songwriter, who filmed to fame as a adolescent, prepared the transition to Broadway star after preparing his debut in the musical Natasha, Pierre and the Great Comet of 1812.

A musical adaptation of 70pages of Tolstoys War and Peace, affectionately shortened to The Great Comet, caught Grobans attention when it was in residency at a custom-built supper club in downtown Manhattan. Hed been looking for a brand-new musical job and contacted individual producers to express his interest in working on the show.Fast-forward many months and Groban is starring on Broadway, singing( blithely) and dancing( reluctantly) in eight executions a few weeks of a depict with almost wall-to-wall rave reviews.

The Great Comet is his Broadway debut, but Groban is no stranger to the stage. When he was a child in Los Angeles, his parents took him to the theater, and he was accepted into Carnegie Mellon Universitys musical theater program but lowered out of his freshman time after being offered a recording deal by Warner Brothers. Seven albums and more than 20 m sales subsequently, Broadway was still on his subconsciou, which was apparentwhen he starred in two concert yields of the musical Chess and then released Stages, an book of musical theater favourites that includes Bring Him Home from Les Misrables and Old Devil Moon from Finians Rainbow.

But none of the chants from Stages resemble melodies from The Great Comet, an electro-pop opera that boasts merely one text of spoken dialogue in its two-and-a-half-hour creation. Composed by Dave Malloy, the score which follows the naive Natasha who, while her fiance, Andrey, “re at war”, is swept into the fast-paced life in Moscow and falls into an circumstance with the rascal Anatole is a fusion of Russian kinfolk, classical constitutions, indie rock-and-roll and punk music.

Josh Groban in Natasha, Pierre and the Great Comet of 1812 Photograph: Chad Batka/ AP

Despite all that, Groban says it was the restlessness and discomfortof Pierre that described him to the character and the project.

He simultaneously kind of shuns and blames the vapidness and narcissisms of civilization, and at the same time so badly wants to be a part of it, he replied. I thought that was so much more interesting as a reference than any of the step-out-in-the-spotlight leading man kind of roles.

Rather than a flying affection ballad, that big-hearted amount for Groban is a song called Dust and Ashes, in which Pierre reflects on the wasted opportunities of his own life and expresses his libido for meaning.

You do have your epiphany and do have the detection of true love and exultation and the comet and all the things that Pierre eventually discovers, Groban persisted. I think it hands that so much more heavines and sense when youre bumbling and balk and locked in your hole.

While Grobans playing and singing have been praised by commentators, he is quickly and bluntly self-deprecating about his dancing. Another conclude Pierre appealed to Groban was the character did not dance.

The choreographer, one day at rehearsal, he told: Uh, Josh Groban, can you come out in the hallway please? I made, Oh, God, am I in trouble? Groban recalled, chuckling. He drew me out and announced, Youre going to hate me, but theres a scene in Gypsy Lovers where I envision Pierres going to have to dance. So we came up with this five-second twirl that he does, and I can say that I have been a triple threat on Broadway not well, but I have done it. And the neat occasion about Pierres dancing ability is hes is expected to be drunk and supposed to be a bull in a china shop.

Accessing Pierres despair, Groban enunciated, came from his own experiences, both personal and aesthetic, battling self-doubt and self-criticism and to fight a lack of purpose or organize.

Ive never gone through anything to the extreme that Pierre has gone through. Fortunately, I feel most of us have not are going through that, he spoke. But at the same time, we all know what it is hopelessness feels like. We all know what it is a lack of purpose, what a lack of vitality feels like. I think we all know what it feels like to break through that and be stronger from it.

Groban has weathered a few onstage mishaps, including information that actually territory him offstage. Caught up in a few moments of conflict with another persona, Groban embossed his hoof so hard that he fell forwardinto the orchestra pit.

Every time I pronounced[ the line] I prevented stomping and stepping forwards and I didnt realise where my paws were, he recalled. Often Im a little furthest back. I missed because the strobe light are so disorienting. I mentioned, You bully! You scoundrel! It was like a vaudevillian slapstick routine. I fell smack-dab right on to the drum defined.

I had fat padding on so I didnt detect a event. But my pride was bruised, he continued. At least it was when Pierre is drunk and stumbling. At least it wasnt, like, during the final song. Complete chaos. I gate-crashed into the crater. It was almost a rim hit. The snare ten-strike, the cymbal departed operating. Everyone in the shoot was like: Well, youve done 50 depicts now, but this was your official initiation.

Stunt-casting a reveal, with a glittery luminary epithet taking on a rather limited run, is nothing new to Broadway, and something Groban is aware of. But the sun is speedy to emphasize the community of the Comet cast and sing my honourable colleagues adorations. If anything, finally performing on Broadway, which was his reverie since he was a teen, reaches the self-proclaimed dork who acknowledges to difficulty loosening and celebrating his accomplishments feel like one of the cool children.

When James Corden played my clip of Tevye at the Tonys, I was humiliated, he replied, recollecting a video of himself as a boy singing If I Were a Rich Guy in a school production processes Fiddler on the Roof. But chiefly I was like, Search at that girl who couldnt get a appointment, who had to put on a bogus whisker, whose genuinely being onstage as Tevye was the most cathartic happening for me going through a difficult high school event. To see that being aired on the Tonys I so rarely do it, but sometimes I sacrifice myself a high five.

Recently, hes had a lot to celebrate.

Read more: www.theguardian.com

The post Josh Groban: how the pa awarenes became Broadway’s leading man appeared first on vitalmindandbody.com.

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[vitalmindandbody]

Josh Groban: how the papa superstar became Broadway’s leading man

The singer with 20 m album auctions to his refer has recognise a nightmare by making his Broadway debut starring in Natasha, Pierre and the Great Comet of 1812

Last year might have been an annus horribilis for most, but for Josh Groban, 2016 couldnt have gone much better. The multiplatinum-selling singer-songwriter, who killed to fame as a teen, built the transition towards Broadway hotshot after making his introduction in the musical Natasha, Pierre and the Great Comet of 1812.

A musical adaptation of 70pages of Tolstoys War and Peace, affectionately shortened to The Great Comet, caught Grobans notice when it was in residency at a custom-built supper club in downtown Manhattan. Hed been looking for a new musical assignment and contacted the producers to express his interest in working on the show.Fast-forward numerous months and Groban is starring on Broadway, singing( blithely) and dancing( reluctantly) in eight concerts a few weeks of a indicate with nearly wall-to-wall rave reviews.

The Great Comet is his Broadway debut, but Groban is no stranger to the stage. When he was a child in Los Angeles, his mothers took him to the theater, and he was accepted into Carnegie Mellon Universitys musical theater program but stopped out of his freshman time after being offered a recording deal by Warner Brother. Seven books and more than 20 m auctions afterwards, Broadway was still on his recollection, which was apparentwhen he starred in two concert creations of the musical Chess and then liberated Stages, an album of musical theater favorites that includes Bring Him Home from Les Misrables and Old Devil Moon from Finians Rainbow.

But none of the sungs from Stages resemble melodies from The Great Comet, an electro-pop opera that peculiarity merely one route of sounds exchange in its two-and-a-half-hour creation. Composed by Dave Malloy, the score which follows the naive Natasha who, while her fiance, Andrey, “re at war”, is swept into the fast-paced life in Moscow and falls into an thing with the rascal Anatole is a fusion of Russian tribe, classical constitutions, indie boulder and punk music.

Josh Groban in Natasha, Pierre and the Great Comet of 1812 Photograph: Chad Batka/ AP

Despite all that, Groban announces it was the restlessness and discomfortof Pierre that depicted him to the character and the project.

He simultaneously kind of shuns and criticizes the vapidness and narcissisms of civilization, and at the same experience so badly wants to be a part of it, he supposed. I thought that was so much more interesting as a reference than any of the step-out-in-the-spotlight leading man kind of roles.

Rather than a surging adoration ballad, that large-hearted number for Groban is a song called Dust and Ashes, in which Pierre reflects on the wasted opportunities of his own life and articulates his want for meaning.

You do have your epiphany and do have the uncovering of true love and euphorium and the comet and all the things that Pierre eventually discovers, Groban resumed. I think it returns that much better heavines and implication when youre bumbling and balk and locked in your hole.

While Grobans behaving and singing ought to have praised by pundits, he is quickly and bluntly self-deprecating about his dancing. Another conclude Pierre appealed to Groban was the character did not dance.

The choreographer, the working day at rehearsal, he announced: Uh, Josh Groban, can you come out in the hallway please? I reckoned, Oh, God, am I in bother? Groban remembered, chortling. He gathered me out and pronounced, Youre going to hate me, but theres a scene in Gypsy Lovers where I conclude Pierres going to have to dance. So we came up with this five-second revolve that he does, and I can say that I have been a triple threat on Broadway not well, but I have done it. And the nice happen about Pierres dancing ability is hes is expected to be drunkard and supposed to be a bull in a china shop.

Accessing Pierres despair, Groban read, came from his own experiences, both personal and artistic, battling self-doubt and self-criticism and fight with a lack of purpose or design.

Ive never gone through anything to the extreme that Pierre has gone through. Luckily, I recollect the majority of members of us have not are going through that, he remarked. But at the same experience, we all was aware that hopelessness feels like. We all was aware that a lack of purpose, what a lack of vitality feels like. I think we all know what it feels like to break through that and be stronger from it.

Groban has weathered a few onstage misfortunes, including one that is really territory him offstage. Caught up in a moment of conflict with another reputation, Groban embossed his foot so difficult that he fell forwardinto the orchestra pit.

Every time I pronounced[ the line] I continued stomping and stepping forward and I didnt recognise where my feet were, he remembered. Often Im a little farther back. I missed because the strobe light are so disorienting. I told, You bully! You scoundrel! It was like a vaudevillian slapstick number. I descended smack-dab right on to the container defined.

I had fattened padding on so I didnt seem a happen. But my pride was bruised, he resumed. At least it was when Pierre is drunk and stumbling. At least it wasnt, like, during the final lyric. Terminated chaos. I gate-crashed into the crater. It was almost a rim fire. The snare hit, the cymbal extended operating. Everyone in the shoot was like: Well, youve done 50 presents now, but this was your official initiation.

Stunt-casting a see, with a glittery personality call taking on a rather limited range, is nothing new to Broadway, and something Groban is aware of. But the idol is speedy to emphasize the community of the Comet cast and sing my honourable colleagues praises. If anything, lastly play-act on Broadway, which was his nightmare since he was a teen, builds the self-proclaimed dork who declares to difficulty relaxing and celebrating his accomplishments feel like one of the cool children.

When James Corden played my time of Tevye at the Tonys, I was humiliated, he articulated, recalling a video of himself as a girl singing If I Were a Rich Male in a school production processes Fiddler on the Roof. But principally I was like, Appear at that kid who couldnt get a year, who had to put on a phony beard, whose genuinely being onstage as Tevye was the most cathartic concept for me going through a difficult high school event. To see that being aired on the Tonys I so rarely do it, but sometimes I establish myself a high five.

Recently, hes got a lot to celebrate.

Read more: www.theguardian.com

The post Josh Groban: how the papa superstar became Broadway’s leading man appeared first on vitalmindandbody.com.

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[vitalmindandbody]

Josh Groban: how the dad perception became Broadway’s leading man

The singer with 20 m album auctions to his name has realized a daydream by making his Broadway debut starring in Natasha, Pierre and the Great Comet of 1812

Last year might have been an annus horribilis for most, but for Josh Groban, 2016 couldnt going to go something better. The multiplatinum-selling singer-songwriter, who killed to fame as a girl, stimulated the transition to Broadway star after reaching his debut in the musical Natasha, Pierre and the Great Comet of 1812.

A musical adjustment of 70pages of Tolstoys War and Peace, affectionately decreased to The Great Comet, caught Grobans attention when it was in residency at a custom-built supper club in downtown Manhattan. Hed been looking for a new musical programme and contacted individual producers to say his interest in working on the show.Fast-forward numerous months and Groban is starring on Broadway, singing( happily) and dancing( reluctantly) in eight renditions a week of a demo with nearly wall-to-wall rave reviews.

The Great Comet is his Broadway debut, but Groban is no stranger to the stage. When he was a child in Los Angeles, his mothers took him to the theater, and he was accepted into Carnegie Mellon Universitys musical theater program but put out of his freshman time after being offered a recording transaction by Warner Brother. Seven books and more than 20 m sales afterwards, Broadway was still on his attention, which was apparentwhen he starred in two concert makes of the musical Chess and then released Stages, an book of musical theater favourites that includes Bring Him Home from Les Misrables and Old Devil Moon from Finians Rainbow.

But none of the chants from Stages resemble melodies from The Great Comet, an electro-pop opera that boasts merely one line of sounds talk in its two-and-a-half-hour make. Composed by Dave Malloy, the score which follows the naive Natasha who, while her fiance, Andrey, is at war, is swept into the fast-paced life in Moscow and falls into an thing with the rascal Anatole is a fusion of Russian kinfolk, classical structures, indie rock and punk music.

Josh Groban in Natasha, Pierre and the Great Comet of 1812 Photograph: Chad Batka/ AP

Despite all that, Groban tells it was the restlessness and discomfortof Pierre that outlined him to the character and the project.

He simultaneously kind of shuns and criticizes the vapidness and narcissisms of society, and at the same occasion so badly wants to be a part of it, he mentioned. I thought that was so much more interesting as a reference than any of the step-out-in-the-spotlight leading man kind of roles.

Rather than a rising ardour ballad, that large-scale number for Groban is a song announced Dust and Ashes, in which Pierre reflects on the wasted opportunities of his own life and articulates his desire for meaning.

You do have your epiphany and do have the discovery of true love and glee and the comet and all the things that Pierre eventually detects, Groban persisted. I think it gives that so much more heavines and entail when youre bumbling and balk and locked in your hole.

While Grobans playing and singing have been praised by critics, he is quickly and bluntly self-deprecating about his dancing. Another reasonablenes Pierre appealed to Groban was the specific characteristics did not dance.

The choreographer, one day at recital, he announced: Uh, Josh Groban, can you come out in the hallway satisfy? I reckoned, Oh, God, am I in fus? Groban recalled, laughing. He gathered me out and added, Youre going to hate me, but theres a scene in Gypsy Lovers where I recollect Pierres going to have to dance. So we came up with this five-second whirl that he does, and I can say that I have been a triple threat on Broadway not well, but I have done it. And the neat happen about Pierres dancing ability is hes is expected to be drunkard and supposed to be a bull in a china shop.

Accessing Pierres despair, Groban replied, came from his working experience, both personal and artistic, duelling self-doubt and self-criticism and struggling with a lack of purpose or arrangement.

Ive never gone through anything to the extreme that Pierre has gone through. Fortunately, I reckon the majority of members of us have not gone through that, he pronounced. But at the same period, we all was aware that hopelessness feels like. We all was aware that a lack of purpose, what a lack of vitality feels like. I think we all know what it feels like to break through that and be stronger from it.

Groban has weathered a few onstage misfortunes, including one that actually property him offstage. Caught up in a moment of conflict with another reputation, Groban stomped his hoof so difficult that he fell forwardinto the orchestra pit.

Every time I articulated[ the line] I kept stomping and stepping forwards and I didnt recognize where my paws were, he recollected. Generally Im a little furthest back. I missed because the strobe light are so disorienting. I enunciated, You bully! You scoundrel! It was like a vaudevillian farce number. I descended smack-dab right on to the container prepared.

I had fat padding on so I didnt find a event. But my self-love was bruised, he sustained. At least it was when Pierre is drunk and stumbling. At least it wasnt, like, during the course of its final psalm. Terminated chaos. I gate-crashed into the quarry. It was almost a rim hit. The trap punch, the cymbal disappeared operating. Everyone in the cast was like: Well, youve done 50 evidences now, but this was your official initiation.

Stunt-casting a indicate, with a glittery personality identify taking on a very limited operate, is nothing brand-new to Broadway, and something Groban is aware of. But the hotshot is speedy to emphasize all levels of society of the Comet cast and sing my honourable colleagues praises. If anything, ultimately play-act on Broadway, which was his fantasy since he was a boy, moves the self-proclaimed dork who declares to difficulty loosening and celebrating his accomplishments feel like one of the cool children.

When James Corden played my time of Tevye at the Tonys, I was humiliated, he answered, echoing a video of himself as a teen singing If I Were a Rich Boy in a school production processes Fiddler on the Roof. But principally I was like, Gaze at that kid who couldnt get a time, who had to put on a bogus beard, whose rightfully being onstage as Tevye was the most cathartic stuff for me “re going through” a difficult high school ordeal. To see that being aired on the Tonys I so rarely do it, but sometimes I render myself a high five.

Recently, hes had a lot to celebrate.

Read more: www.theguardian.com

The post Josh Groban: how the dad perception became Broadway’s leading man appeared first on vitalmindandbody.com.

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[vitalmindandbody]

Josh Groban: how the popping perception became Broadway’s leading man

The singer with 20 m album sales to his identify has recognise a fantasy by making his Broadway debut starring in Natasha, Pierre and the Great Comet of 1812

Last year might have been an annus horribilis for most, but for Josh Groban, 2016 couldnt have gone something better. The multiplatinum-selling singer-songwriter, who killed to fame as a boy, established the transition towards Broadway stellar after moving his introduction in the musical Natasha, Pierre and the Great Comet of 1812.

A musical adjustment of 70pages of Tolstoys War and Peace, affectionately diminished to The Great Comet, caught Grobans scrutiny when it was in residency at a custom-built supper club in downtown Manhattan. Hed been looking for a new musical job and contacted individual producers to represent his interest in working on the show.Fast-forward many months and Groban is starring on Broadway, singing( happily) and dancing( reluctantly) in eight renditions a week of a reveal with almost wall-to-wall rave reviews.

The Great Comet is his Broadway debut, but Groban is no stranger to the stage. When he was a child in Los Angeles, his parents took him to the theater, and he was accepted into Carnegie Mellon Universitys musical theater program but descent out of his freshman year after being offered a recording cope by Warner Brothers. Seven albums and more than 20 m marketings afterwards, Broadway was still on his thought, which was apparentwhen he starred in two concert yields of the musical Chess and then liberated Stages, an album of musical theater favourites that includes Bring Him Home from Les Misrables and Old Devil Moon from Finians Rainbow.

But none of the lyrics from Stages resemble melodies from The Great Comet, an electro-pop opu that peculiarity exclusively one boundary of spoken exchange in its two-and-a-half-hour production. Composed by Dave Malloy, the score which follows the naive Natasha who, while her fiance, Andrey, is at war, is swept into the fast-paced life in Moscow and falls into an liaison with the rascal Anatole is a fusion of Russian kinfolk, classical arrangements, indie boulder and punk music.

Josh Groban in Natasha, Pierre and the Great Comet of 1812 Photograph: Chad Batka/ AP

Despite all that, Groban alleges it was the restlessness and discomfortof Pierre that drew him to the character and the project.

He simultaneously kind of shuns and criticizes the vapidness and narcissisms of culture, and at the same day so badly wants to be a part of it, he enunciated. I thought that was so much more interesting as a character than any of the step-out-in-the-spotlight leading man kind of roles.

Rather than a soaring adore ballad, that large-hearted amount for Groban is a song announced Dust and Ashes, in which Pierre reflects on the wasted opportunities of his own life and enunciates his hunger for meaning.

You do have your epiphany and do have the detection of true love and joy and the comet and all the things that Pierre eventually discovers, Groban persisted. I think it sacrifices that much better load and meaning when youre bumble and balk and locked in your hole.

While Grobans playing and singing ought to have praised by critics, he is quickly and bluntly self-deprecating about his dancing. Another intellect Pierre appealed to Groban was the specific characteristics did not dance.

The choreographer, the working day at rehearsal, he did: Uh, Josh Groban, can you come out in the hallway satisfy? I recalled, Oh, God, am I in misfortune? Groban recalled, laughing. He pulled me out and replied, Youre going to hate me, but theres a scene in Gypsy Lovers where I fantasize Pierres going to have to dance. So we came up with this five-second whirl that he does, and I can say that I have been a triple threat on Broadway not well, but I have done it. And the nice stuff about Pierres dancing ability is hes is expected to be wino and supposed to be a bull in a china shop.

Accessing Pierres despair, Groban spoke, came from his working experience, both personal and artistic, battling self-doubt and self-criticism and fight with a lack of purpose or formation.

Ive never gone through anything to the extreme that Pierre has gone through. Fortunately, I speculate the majority of members of us have not are going through that, he added. But at the same era, we all understand what hopelessness feels like. We all understand what a lack of purpose, what a lack of vitality feels like. I think we all know what it feels like to break through that and be stronger from it.

Groban has weathered a few onstage accidents, including information that is really landed him offstage. Caught up in a moment of conflict with another character, Groban stamped his paw so difficult that he fell forwardinto the orchestra pit.

Every time I said[ the line] I impeded stomping and stepping forward and I didnt recognise where my hoofs were, he echoed. Usually Im a little furthest back. I missed because the strobe lights are so disorienting. I said, You bully! You scoundrel! It was like a vaudevillian slapstick routine. I descended smack-dab right on to the drum determined.

I had fattened padding on so I didnt detect a occasion. But my self-love was bruised, he resumed. At least it was when Pierre is drunk and stumbling. At least it wasnt, like, during the course of its final song. Complete chaos. I crashed into the cavity. It was almost a rim shooting. The trap smack, the cymbal went winging. Everyone in the shed was like: Well, youve done 50 pictures now, but this was your official initiation.

Stunt-casting a see, with a glittery fame call taking on a very limited passage, is nothing brand-new to Broadway, and something Groban is aware of. But the hotshot is quick to emphasize the community of the Comet cast and sing his colleagues adorations. If anything, eventually playing on Broadway, which was his fantasy since he was a teen, attains the self-proclaimed dork who declares to difficulty tightening and celebrating his accomplishments feel like one of the cool boys.

When James Corden played my clip of Tevye at the Tonys, I was humiliated, he mentioned, recollecting a video of himself as a boy singing If I Were a Rich Soul in a school production processes Fiddler on the Roof. But mainly I was like, Seem at that teenager who couldnt get a date, who had to put on a imitation whisker, whose genuinely being onstage as Tevye was the most cathartic thing for me going through a difficult high school know-how. To see that being aired on the Tonys I so rarely do it, but sometimes I give myself a high five.

Recently, hes had a lot to celebrate.

Read more: www.theguardian.com

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