Ima just leave this here an go tidy my roomâŠ..
PUT YOUR BEARD IN MY MOUTH
$LAYYYTER
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@laurenslove
Ima just leave this here an go tidy my roomâŠ..
A new immigrant came to Kingâs 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 measureâŠHe 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!
Hamilton at the White House
Oh I love this pic!
Also is it just me or did Rebecca Onion indirectly compare our interpretations of certain historical figures as queer to Jeffersonâs sexual relationship with (i.e. rape of) Sally Hemings
No, she directly compared it:
âBut the kind of playfulness around the foundersâ sexuality that these posts represent is pretty new. While some political opponents and radical abolitionists might have whispered about Jeffersonâs relationship with Sally Hemings in the 19th century, the topic was fairly taboo.â
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; itâs 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 -Â âpolitical opponents and radical abolitionistsâ - it doesnât even sound like she believes the Jefferson-Hemings affair happened.Â
And rape victims
W! TF! HOMOSEXUALITY IS NOT ANALOGOUS TO CHILD MOLESTATION AND RAPE
HOW TF ARE PEOPLE STILL BLITHELY COMPARING THEM
haattttttttteeeeee
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 ayyyyyyâŠÂ at the fucking White House.
What a wonderful world
evâryone give it up for Americaâs favorite fighting cockblock
also i love lafâs shirtÂ
The story of Jeffersonâs 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, Sallyâs third son with Jefferson, born at Monticello in 1805. According to Madison, Sally - who had been sent to Paris to accompany one of Jeffersonâs 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 Jeffersonâs legitimate white grandson, Thomas Jefferson Randolph, âmight have been mistaken for Mr. Jefferson.â Jefferson did not free Sallyâs 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-historiansâ covenant of silence with her careful and thorough investigation of Jeffersonâs life: Sally Hemings âwas not mentioned in Jeffersonâs will, and after his death [in 1826] she appeared on the official slave inventory of 1827 as worth $50. She was fifty-four.â
The Bill of Whose Rights? Andrea Dworkin (via drziggystardust)
just a heads upâiâm going to make this blog my main art blogâiâll start posting other art, such as original art and les mis art on here as well, since itâs gotten too tedious for me to log in and out of my accounts. claquesous will be my aesthetic blog for nowâso look forward to more art! iâll continue posting hamilton and history here, but thereâll be some other stuff every once in a while, as well, just to let you know!
Yes good.
Look at where you are, look at where you started⊠We know we donât deserve you, @linmanuel Just make us proud, that would be enough
The world turned upside down. :')
âHereâs the thing about artistsâtheir job is to fall in love for a living.â âLin-Manuel Miranda (x)
Damn. Yes, good.
you could say I ship it đđ
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*
When he died, all things swift and beautiful and bright would be buried with him.
Alexander Hamilton about John Laurens (via incorrect-hamilton-quotes)
Like, Iâm poor and I definitely will not be able to afford to watch Hamilton in NYC anytime soon, and I get it, but Iâm also an artist and I wanna be paid for the things I create, you know? Bootlegs are always a tough issue tbh
Hereâs the thing. Broadway tapes every single production. Then they store that tape in a vault, and wonât let anyone see it unless theyâre doing research with certain theater organizations. Sometimes, theyâll 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. Itâs not up to Mr. Miranda, and heâs the one getting hurt by the bootlegging, so thatâs got to stop.
But it is up to Broadway. And theyâre evil. And thatâs why they wonât do something that would actually be both generous and probably financially savvy. Welcome to for-profit theater.
Stop with the bootlegging. Thatâs not hurting execs, who have control, and is hurting artists, who donât! 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 donât 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.
Bootlegging doesnât 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 canât. No oneâs thinking âIâm going to go watch a bootleg INSTEAD of seeing the show.â 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 wasnât a terrible bootleg. Did I then think, âwell, Iâve seen the show; now I donât need to pay money to see it later?â 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 wouldnât have hurt the show or the artists producing it, as I wouldnât have seen the show either way.
Iâm 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 donât already get it. Especially if whatâs 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. Itâs not about money, itâs not even about credit, itâs 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 itâs usually not even conveying the things you want it to anymore because itâs shitty quality. Iâm really glad to hear about your love of Spring Awakening, but as an artist (and I canât believe Iâm calling myself one here lmao) please donât do that.
I get why artists would be upset about bootlegs. I really do. And Iâm not saying theyâre not. But for so many theatre fans, it really is the only only option? Itâs 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, thatâs 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 itâs a vastly different experience than watching something live. They understand that theyâre 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.Â
For some shows, like Hamilton, where theyâre sung through, I can kind of understand the âdonât watch the bootlegâ 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 havenât 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 weâre talking Fun Home, or Newsies, musicals where most of the action is done in regular scenes, and you canât 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 âbastardizedâ version than a bootleg, because even if theyâre high quality, youâre experiencing a severely limited version of the show.) (And Hamiltonâs 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 thatâs what Iâve been told), and has been incredibly important, and even life-changing, to many people. If we didnât have bootlegs, we would be denying that experience to everyone but people who can afford Broadway tickets, hotel fees, and airplane tickets.Â
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 canât accept that.
So get the script from the library or purchase a copy and read it once itâs released? Sorry but as a straight-play person Iâm having trouble sympathizing when you can at least hear part of it. Theater is by definition a âyou have to be thereâ thing and yes thatâs sad but if the problem turns out to be ticket prices, and since we are talking about big fucking musicals here, well, hey, thereâs a movie of Newsies. Thereâs 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 isnât as comprehensive, the artists looked at it and said âthis is what I want people to experience.â 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 canât you participate in communities if you donât have total and complete full access to the thing? Like⊠people post notes on the staging, post lines sometimes, and, once the showâs been out, the script is readable (as long as you donât perform it which ugh). And Iâm 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 donât do this. I will admit that I wouldnât give a shit about bootlegs of rogers and hammerstein trash, because theyâre dead, so they probably donât care anymore, or at least donât get a vote. And if Alison Bechdel was like âyeah, go ahead, if thatâs how you can see itâ then I also wouldnât care. But in this case the artist has specifically asked, and especially considering how heâs doing his best to make it as accessible as possible, we should respect that.
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.
Lin keeping his cool after Hamiltonâs Grammy performanceÂ
(Original Instagram video was deleted)
This was actually during the rehearsal, not the live performance!
If you listen closely, the obnoxious laugh that lasts too long is me. Like. Itâs actually me.
cutie cutie cute
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 â a show that is sold out until April 2017, with tickets being resold for over US$ 1000 â had a lottery with 21 first row tickets for US$ 10 in every single performance.Â
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 â not seeing every show! â and he wanted listeners to have the best experience possible.Â
Made the Hamilton cast album available for streaming for free at NPR a week before its release.Â
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 canât confirm whether itâs available worldwide, I do know for sure itâs available in Brazil when a lot of other cast albums arenât).
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.Â
Organizes #Ham4Ham shows twice a week since the previews on Broadway, with wonderful performances from the showâs cast, the cast of other shows, guests and celebrities.Â
Letâs 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 Elizaâs other 7 children and put it up on Youtube for us.Â
Continues to organize digital #Ham4Ham shows, making them even more interesting and getting even more high-profile guests.Â
Seriously, just think about it: Hamilton literally has all of the publicity it could get. Tickets couldnât be sold at a faster rate if they wanted to. And yet Lin-Manuel Miranda â 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 â 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.Â
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 wasnât 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). Â
Cowrote #Hamiltome, a book about the making of Hamilton, that aims to enrich our experience with the play even if we donât get the opportunity to see it live.Â
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.Â
Basically, he does many things that I am sure are out of enjoyment but that again: he really doesnât have to do. He does it mainly to make sure we feel included â we the fans, whether weâll be able to see Hamilton on Broadway or not, whether weâre 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 lifeâs work even when that means more work for him and basically no return other than fan appreciation.Â
Just a daily reminder so we can celebrate and thank him always.
Say No To This
ramimaleksgf submitted:
So I thought iâd try my hand at a Say No To This rewrite. Iâm submitting this instead of posting because youâre honestly The Queenâą of rewrites and it needs your approval.Â
The roles are switched in some parts but itâs 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 Laurensâ cabin type thing during the Winter at Valley Forge. At the beginning John is alone until Alex walks into the room.Â
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 couldnât 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
And my God, he looks so fearless, And his bodyâs saying, âplease, yesâ
aaaaaaahh