Category: Uncategorized

kheldara:

what she says: i’m fine

what she means: look around look arOUND what’s ur name man Seventeen; Seventeen Eighty One CODE WORD ROCHAMBEAU i am not throwing away MY SHOT u want a revolution i want a revelation i’m just like my country i’m young scrappy and hungry, awesome wow, aaron burr SIR, look around look around ‘ow u say anarchy “During France’s July Revolution of 1830, Lafayette declined an offer to become the French dictator (wiki) ” I GET THE FUCK BACK UP AGAIN, whaaaaaaaaaaat,  how does a??? bastard orphan???, (can we get back to politics) write like you’re rUNNing out of time, we know who’s doing the planting, if u stand for nothing what will u fall for? NOT THROWING AWAY, Burr dramatically dishes on and reacts to the news of the “Dinner Table Bargain,” also known as the Compromise of 1790, MY SHOT! angelicaaaaaa, talk less smile more, hey hey hey hey, you’ll be beeeaachhhk, how did lin-manuel miranda weave flirty punctuation into a musical!? you will never find anyone as trusting or kind, ALEXANDER HAMILTONnever gon’ be president nowALEXANDER HAMILTON

A detail that I couldn’t get into the show. It ends with Eliza [Hamilton] and it’s all about her 50 years alive after Hamilton died. Something else: Eliza established the first school in Washington Heights.

And we had a line. And I put it in, where it was like “the first school” — and they went, in Washington Heights. I took the melody from my own shit in In the Heights, but it was just too on the nose. You just can’t. Even though it’s historically true, I can’t actually say “in Washington Heights” at the end of my fucking show. But it was there to be mine.

So imagine, I’m reading this book. And then I read that in the closing chapter. It was a confirmation — I was supposed to do this.

Lin-Manuel Miranda, Genius: A Conversation With ‘Hamilton’ Maestro Lin-Manuel Miranda (via realfinemood)

So, the scariest show we have done — and it’s all been easy since then — was three weeks at the Public Theater. Busta Rhymes is in the front row. Listen, this is an unapologetic love letter to hip-hop. [Rappers] didn’t come see In the Heights. A couple people did, Run-D.M.C., a few other old heads that love the genre in any form — they came. I was so nervous, [Busta] was in the front row, he took a redeye to get there. And I remember we were doing “My Shot,” and back at the Public, it was literally a “Pass the Courvoisier” line — it was, “Rise up, don’t this shit make my people wanna rise up” — and I saw him go [mimics big smile] and whisper to Riggs [Morales, a longtime record label A&R]. My feet are off the ground I’m rapping so hard because, you know, I got into a fistfight to get the last copy of “Scenario” when I was 13 years old. It’s the only fistfight I’ve ever been in in my life. I was like, Don’t look at Busta, don’t look at Busta. Then I look into the second row and Mandy Patinkin is sitting above Busta Rhymes. If there is a Busta Rhymes of musical theater, it probably is Mandy Patinkin. And it was just fucking crazy, when the people you’ve emptied your pockets to see are seeing you. It’s a crazy feeling. It’s both ennobling and totally humbling and totally terrifying. But after Busta, everything was cool

Genius: A Conversation With ‘Hamilton’ Maestro Lin-Manuel Miranda (Grantland)

#tbt to February

(via realfinemood)

creating-tabs:

In the year 2148, explorers on Mars discovered the remains of an
ancient spacefaring civilization. In the decades that followed, these
mysterious artifacts revealed startling new technologies, enabling
travel to the furthest stars. The basis for this incredible technology
was a force that controlled the very fabric of space and time.

They called it the greatest discovery in human history.

The civilizations of the galaxy call it… MASS EFFECT.