Immigrants, we get the job done! My favorite track from the Hamilton mixtape 🙏🏽 #resist #NoBanNoWall

oozey mess
Three Goblin Art
sheepfilms
hello vonnie
occasionally subtle
Sade Olutola
YOU ARE THE REASON

Cosmic Funnies
trying on a metaphor

Xuebing Du

tannertan36
styofa doing anything
Cosimo Galluzzi
we're not kids anymore.

祝日 / Permanent Vacation
Misplaced Lens Cap

seen from Bangladesh

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seen from Netherlands
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@thcmasjefferson
Immigrants, we get the job done! My favorite track from the Hamilton mixtape 🙏🏽 #resist #NoBanNoWall

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if you had to ch… oh who am i even kidding
“When you smile, you knock me out, I fall apart. And I thought I was so smart.”
Wayne Brady in ‘Hamilton’ is a very interesting 'work in progress’ (Chicago Tribune):
[…] But then that’s the key point of “Hamilton” — when you step away and move into the realm of legacy, you have no control over how your story is told. Or what happens to what you have built. “What is a legacy?” Alexander Hamilton asks, rhetorically. “It’s planting seeds in a garden you never get to tend.” Seeds that might be plowed under, the very moment you’re gone. Tuesday night at the PrivateBank Theatre, I revisited the Chicago production of “Hamilton,” Miranda’s musical about the Founding Fathers. I was supposed to be concentrating on the performance of the recently added Wayne Brady as Aaron Burr to the Chicago company — but was instead consumed by the similarity of the two-person scene, where Washington asks his orator Hamilton to write his gracious farewell address, to what I saw and heard at McCormick Place on Jan. 10 at the Obama farewell address. “Miranda anticipated that last speech, unbelievable,” I wrote in my notes, before changing it to: “I swear Obama saw this scene (and we know he did at least twice), and decided to exit accordingly.” […] By happenstance (I think), the understudy Aubin Wise was in the role of Eliza Hamilton on Tuesday night. The aptly named Wise is superb in the part — and her art brings up the issue of how much better this show works when Eliza has more gravitas. A strong African-American woman, Wise towers over the diminutive Miguel Cervantes, still as scrappy, determined and capable as ever in the show’s title role, and an Eliza of such grace and strength means there is so much more for Hamilton’s demons to fight against. I suspect some in the audience were thinking of Michelle Obama in what Wise was doing. Certainly, one saw an equal partnership. The show is all the better for that. But, for the record, my head also went to our new first lady, Melania Trump of New York City. […] Brady’s energy is more edgy and complicated and staccato. As has been evident from his rules of engagement with Chicago media, the actor known for “Whose Line Is it Anyway?” and “Let’s Make a Deal” has an ongoing persona to maintain, and he is well aware of the need to control his own story. That actually is a better fit for Burr, whose mantra of “smile more and talk less” is, in Miranda’s telling, an expedient choice. Brady has mastered the musical demands already with his lighter but very good voice. And he is beginning to tap into that gulf between self and public character — that sense of putting on a persona that gets the gigs and moves up the ever-perilous ladder but ultimately has to unravel as the need to be true to oneself asserts itself. As it does with us all. Watch Brady closely, for his performance needs to enlarge, and you can see how much he understands Burr. Moreover, Brady is a formidably brilliant improviser, and that makes him a highly reactive and live presence on stage, far more so than Henry, actually. The question is how much of himself — especially his neuroses and Burr-ian jealousies — he is willing to reveal at this moment. How deep is he ready to go? There is a lot more to probe. But then his part is a singularly intense personification of alienation, the difficulty of reconciling the personal and public, caution and revelation, and Brady has only been in this role for two weeks. But he’s running out of time, as are we all; he’s only scheduled to be in the show through April 9.
whose duel is it anyway

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The first brother: George Washington who died (not for the greed of power but instead) after stepping down and passing on his power to the next president to allow the country’s system of democracy.
The second brother: Philip Hamilton who died wanting to defend his father’s name and legacy.
The third brother: Alexander “I imagine death so much it feels more like a memory” Hamilton.
Lin-Manuel Miranda, Donald Glover, Issa Rae and Damien Chazelle in One Epic Conversation (The Hollywood Reporter):
[…]
CHAZELLE Do you feel like you have to convert skeptics as much [on stage]?
MIRANDA Not so much convert the skeptics, but it is certainly true that when you’ve got a camera and the subject is this close, there’s a bigger threshold you have to cross to break into song.
CHAZELLE Yeah. It’s because people assume the camera is telling you the truth.
MIRANDA I had an interesting thing with Hamilton. We start with heightened language — this heightened hip-hop speech. And there was a version of Act 1 of Hamilton where we’d have songs and then we would break into scenes and there’d be like, “Hey, I’ll see you at the dinner” dialogue. We realized it didn’t work with Hamilton because when you have an opening number that is this intense, heightened speech, to go back to, “Oh, I’m going to have some water,” you can’t drop the ball.
FAVREAU But what was so cool about that is, when I saw Hamilton with my daughter, I was like, “This is like Shakespeare.” We look at Shakespeare now like it’s classic and it’s old-fashioned, but at the time, the iambic pentameter, blank verse, all that was very current, and I would say the equivalent of the poetry of your show. And they were telling stories about characters that were hundreds of years old then.
MIRANDA Right.
FAVREAU So there’s a way to bring the audience in. Whether you knew the stories or not, you were going to get entertained. I thought it was a really good idiom for our time, whether it was conscious or otherwise. [Hamilton] draws you in, there’s always a beat going, and there’s an engine driving through the whole piece. And I went in there being a little skeptical, as you always are when somebody says how awesome something is.
GLOVER Everything now is like, “This is the best thing!”
RAE It’s a rush to be able to say, “This is the best thing I’ve ever seen, and if you don’t agree, you’re an idiot and everybody get on board.” And there’s such a pressure to live up to that. I don’t ever want that for my own work. No matter what it is, I don’t want everyone to be on board or everyone to exclaim that it’s the best thing they’ve ever seen. The goal is to make people feel and to make people talk about it. But there’s such a hype culture right now.
GLOVER You can only be like, “This is the worst” or “This is [the best]” because there’s no room for discussion.
[…]
GLOVER I just did a concert and there were no phones allowed, and people enjoy it differently.
MIRANDA Theater is one of the last bastions of that.
CHAZELLE Yeah, it’s true.
MIRANDA I work in the art form where you’re in the room with the people who are performing, and that’s something you can’t replace. Especially talking about online stuff, I think we curate our reality so much. We block that friend on Facebook who is talking about politics constantly or putting up videos you’re not ready to see at 9 in the morning. But in the theater, you’re all watching the same thing.
FAVREAU And going from obscurity to being drilled down by the limelight, how did that affect things?
MIRANDA It happened in stages. First, YouTube weirdly is tied into Hamilton too because I performed at the White House.
FAVREAU For Obama, yeah.
MIRANDA 2009. I had only written the opening song.
RAE That’s crazy.
MIRANDA And so that went online. And then this is where good luck comes into it because it didn’t look like a C-SPAN event. HBO filmed the night because they were filming their poets who had performed. So the footage of it looks like a movie. It took me six years to write the show, but I had a bunch of social studies teachers who were ready. They were like, “I’ve been showing this one clip to my kids for six years.” Like, “There’s a whole show coming?” So I knew we’d get school groups. It’s the rest of it that was really overwhelming. And doing the show is what kept me sane. We’re more like chefs when we’re actors onstage. We’ve got to make it from scratch that night.
FAVREAU The night I went, that was a particularly good night, you said.
MIRANDA That was a really great crowd. You went the night Bernie Sanders was there. And it was at the peak of his campaign.
FAVREAU I’m glad I can’t look back at a copy of that. Whereas when you look at something that’s filmed, you could always go back to that movie.
MIRANDA We ran six months off-Broadway and everyone is experiencing the thing in real time and they don’t know what they’re coming in for. And when the cast album [came out], you get the whole show. It’s the entire plot of the show.
FAVREAU And everybody knew it.
MIRANDA We shifted from, “I’m experiencing this” to, “This is Rocky Horror, I know all the words and I want to sing along in the front row.”
[…]
CHAZELLE But you must have had to bury yourself for a while just to create Hamilton. Did you feel like the outside world was going, “What the hell are you doing?”
MIRANDA Everyone goes through this, whether you’re even in the arts or not. What are the things you do to support your family and keep going while you’re doubling down on the passion project? I was on a TV show [Do No Harm] that made the record of the lowest-rated debut in the history of NBC.
RAE Oh yeah.
MIRANDA But I took that job because they told me they were going to kill me off at the end of the first season, and it shot in Philly, not L.A., so I could stay home. I was No. 5 on the call sheet. It was a lot of great theater actors, like Phylicia Rashad and Steve Pasquale and Mike Esper.
CHAZELLE I’ve got to watch this now.
MIRANDA It was notorious because it had one of the worst advertising [campaigns], it was like a Jekyll-and-Hyde doctor plot. And it was a guy who had his hands and there was a face on his hands.
GLOVER Oh yeah. I remember those posters.
MIRANDA Paul F. Tompkins used to call him Dr. Facehands because the sign was up all over L.A. But to me, that was my Hamilton residency. I was making a living, I was only working two days a week, and I was going to historical Philly where I would go do research on Hamilton. I wrote “Satisfied” in my trailer. So everyone, you balance those things out. […]
read (or watch) the full round table to hear from the other great participants & their work
Hamilton, wading through snow: burr
Aaron: *slams out of the snow* tA LKING SHIT AGAIN I SEE
HEY FUCKERS, THOUGHT YOU GOT RIDDA ME? NOPE. LET ME LEARN YALL A THING ON KING LEOPOLD I Okay, so first, like, look at him because GODDAMN like fucking LOOK AT THAT HAIR, MAN. But anyways, onto history! So he coronared when he was 45?!?!? like, damn, he has more paitence than a teacher saying, “i’ll wait” and standing there like a jackass. He was offered to be lind of Grecce but was all like, “I’m good m8” and also fought napoleon???? which was cool???? So, in summary: king leopold i of belgium was pretty cool i guess and was an attractive man who didn’t like napoleon so i like him
Jefferson: *breathes*
Hamilton: I DISAGREE WITH YOU ON S O O O O O O MANY LEVELS

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ivyrobinson:
Elizabeth Judd + Hamilton
“She knows she’s dope. She’s beautiful but not vain. She’s smart but not arrogant. It’s like, all killer, no filler.”
“He gets me in a way that no one else does. I’m a scientist at heart. I try very hard not to let my emotions cloud my judgments and he’ll see through that and see what I’m really feeling.”
If I throw away my shot, is this how you’ll remember me? What if this bullet is my legacy?
Watch me engage ‘em! Escape ‘em! Enrage ‘em!
Do you know what Angelica said when we saw your first letter arrive? She said “holy shit, that is a thick envelope. How many pages do you think are in there?”

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“Ah so you’ve discussed me…”