Because John Laurens needs more love

My sideblog to sigh endlessly about John Laurens and Laurens/Hamilton (Lams). And occasionally other things to do with Hamilton / the American revolution. (icon created by acelaurens.tumblr.com and used with permission)

[bienmoreau]

Ima just leave this here an go tidy my room…..

[incorrect-hamilton-quotes]

A new immigrant came to King’s College today. Who is he? What does he want from us? Why his perfect and beautiful haircut? Why his perfect and beautiful coat? [later] That new immigrant we now know is named Alexander called a town meeting. He has a square jaw, and teeth like a military cemetery. His hair is perfect, and we all hate, and despair, and love that perfect hair in equal measure…He grinned, and everything about him was perfect, and I fell in love instantly

John Laurens (via incorrect-hamilton-quotes)

XD

Two of my favorite things!

[clairertemple-deactivated202210]

Hamilton at the White House

[linmanuel]

Oh I love this pic!

[john-laurens]

Also is it just me or did Rebecca Onion indirectly compare our interpretations of certain historical figures as queer to Jefferson’s sexual relationship with (i.e. rape of) Sally Hemings

[publius-esquire-deactivated2018]

No, she directly compared it:

“But the kind of playfulness around the founders’ sexuality that these posts represent is pretty new. While some political opponents and radical abolitionists might have whispered about Jefferson’s relationship with Sally Hemings in the 19th century, the topic was fairly taboo.”

That was the exact moment I just gave my screen the finger and clicked out. The direct comparison of speculating about consensual same-sex historical relationships to plantation-rape is disgusting; it’s insulting obviously to all queer people - diving into a long, long history straight people have had of depicting all same-sex relationships as depraved - and also to black people (straight and LGBT+); especially since from the tone of her choice of words - “political opponents and radical abolitionists” - it doesn’t even sound like she believes the Jefferson-Hemings affair happened. 

[madtomedgar]

And rape victims

[laurenslove]

W! TF! HOMOSEXUALITY IS NOT ANALOGOUS TO CHILD MOLESTATION AND RAPE

HOW TF ARE PEOPLE STILL BLITHELY COMPARING THEM

haattttttttteeeeee

[not-thesunlightmuse]

CALLING ALL HAMILTRASH

stop scrolling. stop scrolling RIGHT NOW and appreciate this:

yes. that is Lin-Manuel Miranda saying Laurens, I like you a lot and Anthony Ramos going ayyyyyy… at the fucking White House.

[laurenslove]

What a wonderful world

[paperthinrevolutionary]

ev’ryone give it up for America’s favorite fighting cockblock

also i love laf’s shirt 

[drziggystardust]

The story of Jefferson’s sexual possession of his slave was first published in 1802, while Jefferson was president, by a political enemy. Published more than once, it got more checking and fact-checking than The Washington Post and The New York Times demand now; but it was suppressed by historians who wanted Jefferson unstained, uncompromised, by miscegenation or venal exploitation. In 1873, an Ohio newspaper printed the narrative of Madison Hemings, Sally’s third son with Jefferson, born at Monticello in 1805. According to Madison, Sally - who had been sent to Paris to accompany one of Jefferson’s daughters - refused to return to Virginia with Jefferson because she wanted her legal freedom. Still a young girl, she was nearly fluent in French. Jefferson promised her a high place in his household and to free her children at the age of 21. Sometime before leaving France, she became pregnant by Jefferson. Had she stayed in France she would have faced penury, social dislocation, and the omnivorous violence of the French Revolution. On returning to Monticello with Jefferson, she gave birth to their first son, Tom, who physically resembled his father. One Hemings son, according to Jefferson’s legitimate white grandson, Thomas Jefferson Randolph, “might have been mistaken for Mr. Jefferson.” Jefferson did not free Sally’s children; he let them run away, which put them in more jeopardy than if he had freed them… And here is a fact with which to reckon - in the words of Brodie, who broke the boy-historians’ covenant of silence with her careful and thorough investigation of Jefferson’s life: Sally Hemings “was not mentioned in Jefferson’s will, and after his death [in 1826] she appeared on the official slave inventory of 1827 as worth $50. She was fifty-four.”

The Bill of Whose Rights? Andrea Dworkin (via drziggystardust)

[neviarchive]

just a heads up–i’m going to make this blog my main art blog–i’ll start posting other art, such as original art and les mis art on here as well, since it’s gotten too tedious for me to log in and out of my accounts. claquesous will be my aesthetic blog for now–so look forward to more art! i’ll continue posting hamilton and history here, but there’ll be some other stuff every once in a while, as well, just to let you know!

[laurenslove]

Yes good.

[malloysicals]

Look at where you are, look at where you started… We know we don’t deserve you, @linmanuel Just make us proud, that would be enough

[laurenslove]

The world turned upside down. :')

[jedusaur]

“Here’s the thing about artists—their job is to fall in love for a living.” –Lin-Manuel Miranda (x)

[laurenslove]

Damn. Yes, good.

[aaronbern]

you could say I ship it 😉😉

[laurenslove]

Hamilton Performs At the Grammys

HAMILTON'S GODDAMN WIFE: *gives Hamilton a coat*

Hamilton: *pretty much ignores and continues*

Hamilton's supposed crush/sister in law: *gives Hamilton books*

Hamilton: *looks vaguely confused but at

least he acknowledges HER*

Laurens: *gives him a bag*

Hamilton: *STARES DEEP INTO HIS EYES FOR SEVERAL SECONDS AND CLASPS HIS HAND AND GRINS LIKE A LOVESTRUCK FOOL*

[incorrect-hamilton-quotes]

When he died, all things swift and beautiful and bright would be buried with him.

Alexander Hamilton about John Laurens (via incorrect-hamilton-quotes)

[alexanderhamiltonisthebottom]

Like, I’m poor and I definitely will not be able to afford to watch Hamilton in NYC anytime soon, and I get it, but I’m also an artist and I wanna be paid for the things I create, you know? Bootlegs are always a tough issue tbh

[madtomedgar]

Here’s the thing. Broadway tapes every single production. Then they store that tape in a vault, and won’t let anyone see it unless they’re doing research with certain theater organizations. Sometimes, they’ll release the tape for a limited time 50 years after the show ran as a collectors piece and charge almost as much as they would for tickets. Broadway could make this available if they wanted to. It’s not up to Mr. Miranda, and he’s the one getting hurt by the bootlegging, so that’s got to stop.

But it is up to Broadway. And they’re evil. And that’s why they won’t do something that would actually be both generous and probably financially savvy. Welcome to for-profit theater.

[madtomedgar]

Stop with the bootlegging. That’s not hurting execs, who have control, and is hurting artists, who don’t! Seriously I would be furious if someone did that with one of my shows. The executives make these decisions not the artists. The artists in this case have beant over backwards to give as much access as execs will likely allow. They are still working to broaden that access. Supporting theft of their work because you don’t like the way insulated execs do things is rude, disrespectful, and insulting. Eventually we will probably all get to see it in some form just wait for it.

[edmundofgloucester]

Bootlegging doesn’t actually hurt the artists, though? The people who watch bootlegs are generally huge fans of Broadway/the show itself who would pay the money to see the show on Broadway if they could, but they can’t. No one’s thinking “I’m going to go watch a bootleg INSTEAD of seeing the show.” People who watch bootlegs are choosing between watching the bootleg and not seeing the show at all. Also, bootlegs often create fans of theatre, who then spend money on the show. Way back in May, I watched a bootleg of Deaf West Spring Awakening in LA, and it actually wasn’t a terrible bootleg. Did I then think, “well, I’ve seen the show; now I don’t need to pay money to see it later?” No. Because of that bootleg, I became a huge fan of Spring Awakening, and then, when the show came to Broadway, paid money to go see it twice. Which would not have happened without the bootleg. And if I lived farther away from New York than I do, and had been unable to see the show, it still wouldn’t have hurt the show or the artists producing it, as I wouldn’t have seen the show either way.

[madtomedgar]

I’m not sure I can explain to you why having somebody else record/copy/whatever something you have worked that hard on without your knowledge or permission and then passing it around such that you have no control over it is upsetting if you don’t already get it. Especially if what’s being passed around is poor quality. Let me reiterate. If somebody did that to one of my shows, I would be livid. I would find them and extract both the master copy and an apology. And my shows are under $5 admission because I do care deeply about accessible theater. It’s not about money, it’s not even about credit, it’s about something you bust your ass to create and pour a part of your soul into getting bastardized and taken from you and spread around, and with theatrical performances it’s usually not even conveying the things you want it to anymore because it’s shitty quality. I’m really glad to hear about your love of Spring Awakening, but as an artist (and I can’t believe I’m calling myself one here lmao) please don’t do that.

[edmundofgloucester]

I get why artists would be upset about bootlegs. I really do. And I’m not saying they’re not. But for so many theatre fans, it really is the only only option? It’s see the bootleg or not see the show at all, and I understand why artists would prefer them to not see the show at all, but if you live in like, Nevada, that’s cutting you off from a community and a passion that is probably a major, major part of your life. And people who watch bootlegs understand that it’s a vastly different experience than watching something live. They understand that they’re not getting the full experience; we just want to see the show so we can understand the story and the the context of the cast albums. 

For some shows, like Hamilton, where they’re sung through, I can kind of understand the “don’t watch the bootleg” argument because you still get to experience the show in its entirety, even if you can only see it with one sense instead of two. I have still not seen Hamilton. I haven’t watched the bootleg because I have tickets for the show in October and I want to see it live first. But I still became a huge fan because the cast recording is so comprehensive and it encompasses the whole show. But if we’re talking Fun Home, or Newsies, musicals where most of the action is done in regular scenes, and you can’t come even close to fully experiencing the show through a cast recording. (I would argue, that in those cases, the cast recording is more of a “bastardized” version than a bootleg, because even if they’re high quality, you’re experiencing a severely limited version of the show.) (And Hamilton’s music became accessible fairly quickly, while it can take over a year for the common public to even be able to get the recording itself for other shows.) Fun Home is a groundbreaking musical, having the first lesbian main character in Broadway history (or at least that’s what I’ve been told), and has been incredibly important, and even life-changing, to many people. If we didn’t have bootlegs, we would be denying that experience to everyone but people who can afford Broadway tickets, hotel fees, and airplane tickets. 

I completely understand why artists are angry when people bootleg. But until theatre is made more accessible (and good for you for keeping ticket prices down to try to make it accessible for your community), not having bootlegs would mean that a vast number of people would be completely excluded from the Broadway community. And I just can’t accept that.

[madtomedgar]

So get the script from the library or purchase a copy and read it once it’s released? Sorry but as a straight-play person I’m having trouble sympathizing when you can at least hear part of it. Theater is by definition a “you have to be there” thing and yes that’s sad but if the problem turns out to be ticket prices, and since we are talking about big fucking musicals here, well, hey, there’s a movie of Newsies. There’s a movie version of Les Mis. watch the films. Funhome is a book, which you can read! Difference with the cast recording is that, while like photocall, it isn’t as comprehensive, the artists looked at it and said “this is what I want people to experience.” Watch the clips that are released, watch the Tony performances. Or maybe if all the people watching bootlegs started really lobbying the companies who control rights, prices on rights, etc, maybe then the prices would go down, shows could be performed in more places, and theater could go back to its roots of being a common art. And why can’t you participate in communities if you don’t have total and complete full access to the thing? Like… people post notes on the staging, post lines sometimes, and, once the show’s been out, the script is readable (as long as you don’t perform it which ugh). And I’m especially not buying the bootleg justifications on this show because of how many clips are available, how many performances by the cast are available, how comprehensive the soundtrack is, and because the artist has asked that people don’t do this. I will admit that I wouldn’t give a shit about bootlegs of rogers and hammerstein trash, because they’re dead, so they probably don’t care anymore, or at least don’t get a vote. And if Alison Bechdel was like “yeah, go ahead, if that’s how you can see it” then I also wouldn’t care. But in this case the artist has specifically asked, and especially considering how he’s doing his best to make it as accessible as possible, we should respect that.

[laurenslove]

This is a simple choice of A) respect the artist's wishes and don't pirate their shit when they're going out of their way to give you such a huge amount of free content to begin with, or B) do what you want, because you think your fulfillment matters more than their feelings about it. Lin has clearly stated his desires. If you care about and respect him, then enjoy all the amazing work he's put out there already for us and don't pirate the experience that he wants to keep live-only for now. If not, well, no one can really stop you, but please at least have the decency to keep it on the DL and don't expect to not get called out for it.

[there-are-only-two-things-i-love]

Lin keeping his cool after Hamilton’s Grammy performance 

(Original Instagram video was deleted)

[majorandre]

This was actually during the rehearsal, not the live performance!

If you listen closely, the obnoxious laugh that lasts too long is me. Like. It’s actually me.

[laurenslove]

cutie cutie cute

[sweetestinthemiddle]

A list of all of the wonderful things Lin-Manuel Miranda has done for Hamilton fans since writing Hamilton (which was really the only thing he had to do)

Made sure Hamilton – a show that is sold out until April 2017, with tickets being resold for over US$ 1000 – had a lottery with 21 first row tickets for US$ 10 in every single performance. 

Made sure the Hamilton cast album was recorded in the most powerful way possible, in a way that is not standard or cheap for theater cast albums, because he grew up listening to cast albums – not seeing every show! – and he wanted listeners to have the best experience possible. 

Made the Hamilton cast album available for streaming for free at NPR a week before its release. 

Made the album available on Spotify, a relatively easy access platform (you can listen for free with ads), and not only in the US (I can’t confirm whether it’s available worldwide, I do know for sure it’s available in Brazil when a lot of other cast albums aren’t).

Created a partnership with the Rockefeller Foundation and others that will allow 20,000 New York high school students to see Hamilton and have the history integrated with their class curriculum. 

Organizes #Ham4Ham shows twice a week since the previews on Broadway, with wonderful performances from the show’s cast, the cast of other shows, guests and celebrities. 

Let’s just pause for a second. He cowrote a number about the 8 Hamilton kids, guys. For #Ham4Ham. Dude won an actual genius grant for his writing and he took the time to write about Alexander and Eliza’s other 7 children and put it up on Youtube for us. 

Continues to organize digital #Ham4Ham shows, making them even more interesting and getting even more high-profile guests. 

Seriously, just think about it: Hamilton literally has all of the publicity it could get. Tickets couldn’t be sold at a faster rate if they wanted to. And yet Lin-Manuel Miranda – who performs a show a day most days, just finished cowriting a book, is writing songs for a Disney movie, has a one-year-old son – takes the time to come up with 2 videos and record them every week because he appreciates us.

Is making sure Hamilton will tour nationally in the US and open on the West End in London. 

Allowed the Grammys to air the opening number live. Again, Hamilton does not need this kind of publicity to sell tickets. He also made a wonderful heart-felt speech and that wasn’t even his first Grammy.

Has expressed the desire to film Hamilton (But please be realistic and realize that even if they do intend to film it, it would never happen within the first year of the show opening on Broadway).  

Cowrote #Hamiltome, a book about the making of Hamilton, that aims to enrich our experience with the play even if we don’t get the opportunity to see it live. 

Collaborated with RadicalMedia to make a documentary about the making of Hamilton that will air on PBS.

Tweets constantly and is on tumblr. He checks out our posts and our fanarts. He comments on them. He BAHAHHAHHAs our jokes. He answers questions on Twitter whenever he has the time. 

Basically, he does many things that I am sure are out of enjoyment but that again: he really doesn’t have to do. He does it mainly to make sure we feel included – we the fans, whether we’ll be able to see Hamilton on Broadway or not, whether we’re musical theater kids or hip hop kids or just people who just found this album on Spotify and loved it. He does it because he wants us to feel included in his life’s work even when that means more work for him and basically no return other than fan appreciation. 

Just a daily reminder so we can celebrate and thank him always.

[john-laurens]

Say No To This

ramimaleksgf submitted:

So I thought i’d try my hand at a Say No To This rewrite. I’m submitting this instead of posting because you’re honestly The Queen™ of rewrites and it needs your approval. 

The roles are switched in some parts but it’s easy to figure out if you just follow the tune of the actual song. Also there are some parts that im super proud of and others that are okay but. It is what it is.  This starts in Hamilton and Laurens’ cabin type thing during the Winter at Valley Forge. At the beginning John is alone until Alex walks into the room. 

I borrowed a line or two from @byactions , those that i used are underlined. This was only because i loved those lines SO MUCH that i couldn’t think of a laurens/alex rewrite without them. thank you.

This needs a read more but i cant on submit omg

This was absolutely excellent!  Exactly what I imagined for a Hamilton/Laurens rewrite of this song.  Thanks for sharing!

Keep reading

[laurenslove]

And my God, he looks so fearless, And his body’s saying, “please, yes”

aaaaaaahh