#Lin Manuel Mandela

[makeuphall]

#I imagine death so much #it feels more like a memory. #Lin Manuel Mandela #'Hamilton' [1000 x 750]

[cricketburger]

Kinda related to the other thing I was talking about:

The fact that I can’t differentiate canon and fanon like where’d my media literacy go

I’ll start it now off with some anecdotes that a lot of people can relate to probably and then get more obscure as we get on okay??

Common hcs that I forget aren’t real

- Thomas is bisexual (idk where this one even came from but everyone just accepted it)

- Abe listens to weezer (look at him!!)

- Craig isn’t Peruvian (white Craig fanart always throws me off)

- Kenny doesn’t have freckles or scars (he’d fit freckles and also I hc he’d get a scar every time he dies like a bullet shaped one or one on his head from the chainsaw)

- Mike isn’t trans??? (Genuinely everyone I’ve seen agrees with that one)

Okay now the more obscure ones and Mandela effects I’ve forced upon myself (might as well divide them into fandoms):

The owl house:

These are all hunter ones because I like him the most

- Hunter texts like an old man and posts really blurry photos on penstagram

This one comes from a Headcanon I have relating to Melly that she’s the really tech savvy one and creates new slang in ever text and hunter is like a literal caveman like bro probably didn’t even know about electricity until he was 14

Lke melly prbly txts like ths 2 save time n all her txts

AN.d H un T3r TexTs.likethis be,aues hes nevER USEDA0hone be froe

- he also gives really heartfelt apologies for really silly things like

‘Dearest Luz, I am deeply apologetic towards you for my use of the phrase ‘Fatherless Behaviour’ towards you this morning. I was informed by Gus that it was a funny phrase used by humans towards people who are fans of the popular Minecraft Youtuber, Dreamwastaken, which you have mentioned to me that you enjoy. Thus, I found using the phrase to be appropriate for the situation. I was unaware that it had bad undertones however, as I had not been informed about the passing of your father. I hope you can find it in your heart to forgive me. - Hunter.’

- Also all 3 of the blights ratio him on literally everything like he’ll tweet about what happened to Flapjack and they’ll have successfully ratioed him 1931029:1 in 30 seconds

South park:

Okay let me tell you there’s a lot of these so buckle in:

For context, most of these (all) come from a crack episode me and my sister thought up last year about a costume day, so they’re all really stupid and ooc ones (even more so than hunter’s)

- Craig is a huge Hamilton Stan

He absolutely went through a phase from 2016-18, this alongside Bmc and Heathers made him realise he was gay (he probably kinned Laurens and Michael and then realised why like 3 years later and was definitely into JD) his favourite song is what’d I miss and had to buy more storage because of the amount of Hamilton memes on his phone

- On the other hand, Mr Mackey despises LMM with a burning passion

This one started out as a joke where he threatens to expel Craig for liking Hamilton (‘if you come into my office talking about Lin Manuel Miranda I will expel you) but next time it was brought up it was misremembered as Kill so then it snowballed into this weed of a man threatening nuclear genocide on the universe at the mention of this man?? But he does gen seem like the kinda guy who doesn’t like Hamilton (principal Victoria would love it though she’d be super enthusiastic about the inclusion and stuff (not a pc principal level though))

- Principal Victoria is the worlds most performative activist

I drew fanart of her standing next to Craig in a hospital bed holding a pride flag like ‘get well soon!! Please don’t tell your parents about this!! I’m an ally!!’ (Context: she nearly accidentally killed him)

- Kyle and Stan don’t have really high pitched voices, Clyde doesn’t sound like a Chad, and Cartman doesn’t sound like a grater

Context: nobody involved in the voice cast of RotBC can voice act

Bonus, which isn’t from RotBC: Mysterion and Pip aren’t actually best friends and Kenny actually hates him as much as anyone else

#South Park #the owl house #toh #bbc ghosts #clone high #headcanons #fanfiction #Hamilton #rambling #cricketburger

[camppureblood]

NAH CAUSE I COULDVE SWORN THAT THIS WAS “the last face I ever get to see” AM I DUMB???????? Has it always been like this???? Pls respond

#hamilton #alexander hamilton #lin manuel miranda #lmm #broadway #musicals #musical theater #Mandela effect #????? #camppureblood

[notthetoothfairy]

okay so my boyfriend just tried to tell me something about lin-manuel miranda but forgot his name and called him mandela nelson gonzales instead and I'm just sitting here laughing for eternity

#lin-manuel miranda #remember the time mandela nelson gonzales wrote a musical about south africa's founding fathers lol #hamilton #hamilton related #sort of? :D #LMM

[thefederalistfreestyle]

Hamilton: how Lin-Manuel Miranda’s musical rewrote the story of America (New Statesman):

[. . .] Because of the success of Hamilton – it has been sold out on Broadway since August 2015, won 11 Tony Awards and the 2016 Pulitzer Prize for Drama, and is on tour in Chicago and Los Angeles – there is now an industry devoted to uncovering and explaining its references. Yet the sheer ebullience of the soundscape is not enough to explain why it became a hit. To understand that, we need to understand the scope of its ambition, which is nothing less than giving America a new origin story. “Every generation rewrites the founders in their own image,” says Nancy Isenberg, a professor of history at Louisiana State University and the author of a biography of Aaron Burr. “He [Miranda] rewrote the founders in the image of Obama, for the age of Obama.”

In doing so, Miranda created a fan base that mirrors the “Obama coalition” of Democrat voters: college-educated coastal liberals and mid-to-low-income minorities. (When the musical first hit Broadway in 2015, some tickets went for thousands of dollars; others were sold cheaply in a daily street lottery or given away to local schoolchildren.) He also gave his audiences another gift. Just as Obama did in his 2008 campaign, Hamilton’s post-racial view of history offers Americans absolution from the original sin of their country’s birth – slavery. It rescues the idea of the US from its tainted origins.

[. . .]

There is, of course, a great theatrical tradition of “patriotic myth-making”, and it explains another adjective that is frequently applied to Hamilton: Shakespearean. England’s national playwright was instrumental in smearing Richard III as a hunchbacked child-killer, portraying the French as our natural enemies and turning the villainous Banquo of Holinshed’s Chronicles into the noble figure claimed as an ancestor by the Stuarts, and therefore Shakespeare’s patron James VI and I.

James Shapiro, a professor of English literature at Columbia University, New York, and the author of several books on Shakespeare, first saw the musical during its early off-Broadway run. “It was the closest I’ve ever felt to experiencing what I imagine it must have been like to have attended an early performance of, say, Richard III, on the Elizabethan stage,” he tells me. “But this time, it was my own nation’s troubled history that I was witnessing.”

Shapiro says that Shakespeare’s first set of history plays deals with the recent past, ending with Richard III; he then went back further to create an English origin story through Richard II and Henry V. “Lin-Manuel Miranda was trying to grasp the fundamental problems underlying contemporary American culture,” he adds. “He might, like Shakespeare, have gone back a century and explored the civil war. But I suspect that he saw that to get at the deeper roots of what united and divided Americans meant going back even further, to the revolution. No American playwright has ever managed to explain the present by reimagining so inventively that distant past.” And where Shakespeare had Holinshed’s Chronicles, Miranda had Ron Chernow.

There are Shakespearean references throughout his play. In “Take a Break”, Hamilton writes to his sister-in-law, Angelica:

They think me Macbeth and ambition is my folly. I’m a polymath, a pain in the ass, a massive pain. Madison is Banquo, Jefferson’s Macduff And Birnam Wood is Congress on its way to Dunsinane.

Shapiro says that these “casual echoes of famous lines” are less important than the lessons that Miranda has taken about how to write history. “Another way of putting it is that anyone can quote Shakespeare; very few can illuminate so brilliantly a nation’s past and, through that, its present.”

[. . .]

I love Hamilton – I think the level of my nerdery about it so far has probably made that clear – but I find it fascinating that its overtly political agenda has been so little discussed, beyond noting the radicalism of casting black actors as white founders. Surely this is the “Obama play”, in the way that David Hare’s Stuff Happens became the “Bush play” or The Crucible became the theatre’s response to McCarthyism. It’s just unusual, in that its response to the contemporary mood is a positive one, rather than sceptical or scathing. (And it has an extra resonance now that a white nationalist is in the White House. One of the first acts of dissent against the Trump regime was when his vice-president, Mike Pence, attended the musical in November 2016 and received a polite post-curtain speech from the cast about tolerance. “The cast and producers of Hamilton, which I hear is highly overrated, should immediately apologise to Mike Pence for their terrible behaviour,” tweeted Trump, inevitably.)

Hamilton tries to make its audience feel OK about patriotism and the idealism of early America. It has, as the British theatre director Robert Icke put it to me this summer, “a kind of moral evangelism” that is hard for British audiences to swallow. In order to achieve this, we are allowed to see Hamilton’s personal moral shortcomings, but the uglier aspects of the early days of America still have to be tidied away.

There’s a brief mention, for instance, of Jefferson’s relationship with his slave Sally Hemings – whom he systematically raped over many years. But the casting of black and Hispanic actors makes it hard for the musical to deal directly with slavery, and so the issue only drips into the narrative rather than being confronted. There’s a moment after the battle of Yorktown when “black and white soldiers wonder alike if this really means freedom – not yet”. Another sour note is struck in one of the cabinet rap battles between Hamilton and Jefferson, in which the former notes acidly, “Your debts are paid cos you don’t pay for labour.”

In early workshops, there was a third cabinet battle over slavery – and the song is available on The Hamilton Mixtape, a series of reworkings and offcuts from the musical. When a proposal is brought before Washington to abolish slavery, Hamilton tells the cabinet:

This is the stain on our soul and democracy A land of the free? No, it’s not. It’s hypocrisy To subjugate, dehumanise a race, call ’em property And say that we are powerless to stop it. Can you not foresee?

Ultimately, though, the song was cut. “No one knew what to do about it, and [the founding fathers] all kicked it down the field,” Miranda explained to Billboard in July 2015. “And while, yeah, Hamilton was anti-slavery and never owned slaves, between choosing his financial plan and going all in on opposition to slavery, he chose his financial plan. So it was tough to justify keeping that rap battle in the show, because none of them did enough.”

***

In March 2016, Lin-Manuel Miranda returned to the White House. This time, one of the numbers he performed was a duet from the musical called “One Last Time”, sung with the original cast member Christopher Jackson playing George Washington. After Alexander Hamilton tells the first US president that two of his cabinet have resigned to run against him, Washington announces that he will step down to leave the field open.

It is the political heart of the play’s myth-making, comparable to Nelson Mandela leaving Robben Island. The decorated Virginian veteran was the only man who could unite the fractious revolutionaries after they defeated the British. Washington could have become dictator for life; instead, he chose to create a true democracy. “If I say goodbye, the nation learns to move on./It outlives me when I’m gone.”

For a nation just beginning to think that Trump could really, actually become its president, seeing the incumbent acknowledge that his time was nearly over was a powerful moment. For Obama watching it in the audience, it must have felt like his narrative had come full circle.

Towards the end of the song, Hamilton begins to read out the words of the farewell address he has written, and Washington joins in, singing over the top of them. It was a technique cribbed from Will.i.am’s 2008 Obama campaign video, in which musicians and actors sing and speak along to the candidate’s “Yes, we can” speech.

In his memoir, Dreams from My Father, Obama had written, “I learnt to slip back and forth between my black and white worlds, understanding that each possessed its own language and customs and structures of meaning, convinced that with a bit of translation on my part the two worlds would eventually cohere.”

This was the promise of his presidency: that there was not a black America or a white America, a liberal America or a conservative America, but, as he said in his breakthrough speech at the 2004 Democratic convention, “a United States of America”. The man who followed him clearly thinks no such thing, but nonetheless the nation must learn to move on.

In his farewell address in January 2017, Obama returned to the “Yes, we can” speech, using its words as the final statement on his presidency:

I am asking you to hold fast to that faith written into our founding documents; that idea whispered by slaves and abolitionists; that spirit sung by immigrants and homesteaders and those who marched for justice; that creed reaffirmed by those who planted flags from foreign battlefields to the surface of the moon; a creed at the core of every American whose story is not yet written: yes, we can. Yes, we did.

For the playwright JT Rogers, this is the true triumph of Hamilton – giving today’s multiracial America a founding myth in which minorities have as much right to be there as Wasps. It is political “in the sense of reclaiming the polis” – the body of citizens who make up a country. “The little village we live in outside the city, everyone in the middle school knows the score verbatim,” Rogers adds. “They recite it endlessly and at length, like Homer.”

the full long-read here!

#hamilton #meta #u.s. politics #obama #new statesman #history #shakespeare

[magnoliacelebration]

Nouman Ali Khan and Tommy Wiseau

Jadi ada yang tanya, gimana pendapat saya soal skandal ustadz Amrik yang lagi ngehype enam bulan terakhir ini.

Terus saya jawab; heartbreak aja sih walaupun kalau ditanya sebagaimana heartbreak, ga heartbreak-heartbreak amat. Biasa. Kek yang... “Yha, ya udah.” Kalau ada yang pasang ceramahnya Beliau di FB (yes, di FB, di Twitter mah suci haha), ya udah. Lewat. Lagian pas skandalnya muncul, saya udah jarang banget ngedengerin ceramah Beliau. Termasuk ceramah beberapa Muslim scholar.

Lebih banyak dengerin TED-talk.

Sama beberapa petuahnya Tommy Wiseau.

Iya, hype The Room, dan beberapa di-retweet sama Lin-Manuel Miranda kemarenan. Iya, saya kira Lin-Manuel cuman sekedar trolling doang, secara saya tahu The Room is the worst movie ever. Tapi pas saya perhatiin orangnya (tweetnya), ternyata Tommy Wiseau lagi sesuai dengan kebutuhan nurani dan jiwa saya dibanding ceramah-ceramah Nouman Ali Khan pra-skandal.

Lah kok iso?

Haha. Ya bisa aja, wqwqwq. 

Dia tahu karyanya luar biasa jelek tapi tetep berusaha, tetep punya persistensi, yang mana kayaknya saya lagi ga butuh melihat orang dengan baju baik, saya cuman butuh orang yang persisten dan konsisten ke arah yang baik.

Ya udah, makanya akhir-akhir ini saya sering banget ngeretweet tweetnya Lin-Manuel Miranda dan Tommy Wiseau. Yang mana mungkin jenis mortal-sin-nya lebih banyak daripada NAK, tapi ya udah BODO AMAT GAES =)) I adore Lin-Manuel Miranda and Tommy Wiseau. Okay?

Intinya...

...kenapa si anon tanya saya soal Nouman Ali Khan deh? Apakah karena saya bajunya Muslim banget? Wqwqwq.

Ya kalau nanya soal sexual predator, ya udah jelas mau itu dia Muslim kek, Atheist kek, orang Hollywood kek, sama aja, menjijikkan. Oh, kalau ditanya soal heartbreak, lebih heartbreak pas denger Kevin Spacey ternyata predator kampret lho. Kek yang, “Ih...” karena saya ngefans banget ma doi.

Kalau nanya, apakah saya masih akan denger ceramahnya NAK? Udah jarang, serius, saya udah jarang denger ceramah.

Yang jelas akhir-akhir ini kalau saya cari sosok publik figur, rata-rata emang saya cari skandal sama ceweknya gimana. Kayak Nelson Mandela, banyak ceweknya akhirnya saya skip ga tertarik cari tahu soal Beliau, walaupun dia emang bener-bener pahlawan. Ga tahu, ini otomatis aja, wakakakak. Tapi ga semua sih, wqwqwq. Dan soal Tommy Wiseau, oh, ga tahu gimana track record-nya ma cewek. Yang jelas Lin-Manuel Miranda sayang banget ma bininya. 

Jadi? Ini terkait value sih. Lagi nyari sosok publik figur lelaki yang penyayang aja, hahaha.

Ya udah.

#rant #lol