#Hamilton vs Burr duel

[riri-loves-cats]

GUYS so I was watching Hamilton the other day, and I noticed this really cool detail:

In Lauren’s duel with Lee, Burr is Lee’s second as we all know

and later, in Burr’s duel with Hamilton, The guy who was playing Lee is now playing William P Vanness (Burr’s 2nd)

I js thought that was a really cool detail

[deadpresidents]

On July 11, 1804 (exactly 220 years ago today), Aaron Burr killed Alexander Hamilton in a duel in Weehawken, New Jersey.

While the Burr-Hamilton Duel is obviously one of the most famous incidents in American history, it's important to take a moment and realize just how insane this event actually was. Burr -- the incumbent Vice President of the United States -- shot and killed Hamilton -- a fellow Founding Father, former Treasury Secretary, and architect of the American financial system. The Vice President of the United States was charged with murder in New Jersey and his home state of New York and avoided being arrested and put on trial because he went back to Washington, D.C. so that he could perform his Constitutionally-prescribed duty to preside over the U.S. Senate for the remainder of his term. While Vice President Burr was under indictment for MURDER, he calmly and efficiently presided over the only impeachment trial of a Supreme Court Justice in American history! Don't let anyone ever convince you that American politics hasn't always been batshit crazy.

[samanthajameswriter]

Duel At Dawn╽The Alexander Hamilton and Aaron Burr Rivarly: July 11th, 1804

“Men give me credit for some genius. All the genius I have is this. When I have a subject in mind, I study it profoundly. Day and night it is before me. My mind becomes pervaded with it. Then the effort that I have made is what people are pleased to call the fruit of genius. It is the fruit of labor and thought.” ― Alexander Hamilton Continue reading Untitled

[dragoninahumancostume]

85 things I love in Hamilton:

When a line of a song repeats on another song but slightly different or the exact same in a slightly different context or the exact same with the same context ("Look around look around" by Eliza vs by Alex, "I'm helpless" in Helpless vs Non-stop vs Say no to this)

The way it sounds like Lin is spitting on the P's in "My time's uP, wise uP, eyes uP"

How everyone agrees that Lafayette let his hair loose after Yorktown and that if he put it on a ponytail again Hamilton would react the same way Doofenschmirtz does with Perry and his hat

Everyone seems to agree Laurens should go running to be with Angelica, Eliza and Maria when they sing "Me? I loved him"

Daveed Diggs

The historical inaccuracy making songs even better (example: "How the sausage gets made" sung in 1790's when sausages were brought in the 1800's. Philip dying before the election of 1800 and in July when he actually died in November of 1801. Burr being Charles' second.)

Being able to tell which song is which even when they start off the same (alexander hamilton, guns and ships and winter's ball) by slight differences

"Can we agree that duels are dumb and immature?" *sends a letter wanting to duel* "All he had to do was die. We ought give it a try." *kills Alex*

"I was chosen for the constitutional convention! :D"

Aaron's voice and expressions

"Wheeeee!" -Charles Lee

Animatics vs The actual musical (example: the king dancing in the animatic, him standing with a death stare in the musical)

Hamilton being happy he finally has friends

The dance in My Shot

Lafayette and Hercules dancing

Hercules showing off his pants

Lafayette flexing his muscles

John Laurens screaming passionately in the "shout it from the rooftops" part

Angelica's voice and expressions

John looking like he's checking Ham out

The difference between the musical and the studio recording, specifically the pauses that for me sound like they're trying to regain some breath to continue singing

Hercules as the flower girl

The foreshadowing (?) ("I may not live to see our glory" *dies*/ *doesn't count to ten in French* *dies because his opponent didn't count to ten*)

Peggy getting distracted by John in Schuyler Sisters

"my dog speaks more eloquently than thee"

"You don't have the votes ha-ha-ha"

Ham stopping his dance and fixing his jacket when Philip enters in Helpless

King George literally spitting in You'll be back

*Philip dies, Ham is mourning* "Can we get back to politics 🙄. Who you gon' vote for?"

When they're waiting for their turn on the song (Ham behind the king before Right Hand Man. John and Laf on the stairs behind Washington in "Your excellency, sir")

Washington's voice

The backup dancers they're literally so good

Ham: making a plan. Hercules: BRAH

Ham pushing Laf away so he could talk with Angelica

HAMILTON WROTE THE OTHER 51

[thebreakfastgenie]

wait does Dick Cheney shooting a man count? it was an accident and the guy lived and everything. but the guy did apologize. to Dick Cheney. who shot him. in the face.

Sarah I humbly request ur top 5 funniest US political scandals -ypq

okay so caveat that there are niche scandals that are funnier I'm just drunk and don't remember

Watergate - everything about it is so fucking stupid

Clinton impeachment - also a lot of stupid decisions here, the president saying "it depends on what the meaning of is is," the Republicans having to can Newt as speaker because he was having an affair with a staffer too and it looked bad, having to ditch one candidate to replace him because he was also having an affair, and finally landing on Hastert (who is an actual pedophile), just the part where Republicans were so sure public opinion would come around but people mostly wanted to stop hearing explicit details about the president's sex life.

idk if this counts as a scandal but the Army McCarthy hearings - if for no other reason than opposing counsel forcing the word "fairy" into the conversation as a microaggression against Roy Cohn

Iran-Contra - the guy who set the whole thing up was an insane grifter/arms dealer and no one even knows for sure who he really was. He took a polygraph and failed everything including his name which might be because polygraphs are bullshit but also he could totally have been lying about his name. might have been lying about his nationality. probably was lying about everything else. definitely was lying about how he could totally get those hostages out of Lebanon by selling weapons to Iran. we sold the weapons through Israel (they wanted to prolong a war between Iran and Iraq so both would be too busy to attack them, they were fine with people dying) and one time they showed up in Iran with a giant Star of David on them. this only got linked to the Contras in Nicaragua when Ollie North and company realized this operation which rescued net zero hostages (one guy did get released but someone else got taken hostage immediately) was turning a profit and used it to solve the problem of "we want to fund a right-wing paramilitary but Congress won't let us :(" also one of the other arms dealers involved was Adnan Kashoggi, uncle of murdered journalist Jamal Kashoggi, and he owned a yacht that was a notorious party boat and where Queen once attended a party. they wrote a song about it called Kashoggi's ship. there were rumors that it was an orgy but it probably wasn't. several people have owned the yacht since including, for a while, Donald Trump.

Alger Hiss and the secret pumpkin - some people thought Alger Hiss and Whittaker Chambers were gay and these people included Richard Nixon. also there was a pumpkin involved (used to hide microfilm)

honorable mention to Obama wearing a tan suit

whatever Trump has going on - it's gonna be even funnier in like 20 years when we all have some distance also maybe he'll have died in prison by then

[gyubby99]

@disneyanddisneyships oh i just thought of a VERY angsty idea

What if there was another time Mal confronted Alastor in the au where he cheated? But this time, it was for him letting Theo go to a duel at nineteen??

Like what if Mal, during that, turned into her full demon form and she was almost unrecognizable because of it? Like she was a fucking wild animal because she lost control of everything? Like my characterization of Mal is that she is holding back a lot of grudge in her life. She was a murderer in life so if she gets angry, she forgets control of herself and just loses it. She has a lot of pent up anger to those men she killed that was probably sent down there.

And she loved Theo. Emma was hurt as well. (In this au i think they are dating ok im changing things in my head) and Theo was too sweet for hell. He deserved to be in heaven. But he died before he got to do that.

Not to mention aponi..

A mother's heartbreak is one thing i wouldn't even wish upon my worst enemy.

Aponi was so, SO broken. That boy was all she had after al cheated.

So mal, knowing all of this, had a lot of rage in her.

She was determined to dethrone him.

She could stand a chance, but Alastor has more experience. She knows that.

But she's still willing to try

So she transforms in this demon form, her eyes glowing. She forgot about how she used to be friends with him. She set that aside because he's nothing but a prick to her now.

And there's a fight scene in my head where Mal in her full demon form just flies towards him, pinning him against the wall as she basically drools, and then alastor pushes her off, still trying to reason with her because he still loves aponi and knows that mal is her friend.

Then yk that Ray vs. Dr. Facilier's shadows scene before he died?

Al charges his shadows at her only for her to kick them or some sort of thing like that because her legs glow and stuff (also she fights them off with her eyes)

Then she charges against Alastor again.

Alastor then pulled the whole tentacles thing but she was quick as a bug. One tentacle caught her, but she cut it off, still focusing on Alastor.

Alastor felt a little.. nervous around her for the first time. Her rage was.. interesting.

Entertaining, even.

He was done reasoning with her and decided to just turn into his demon form as well.

Now Mal would've been scared, but in her mind was aponi's face when she collapsed on the ground crying, Emma locking herself up in the room, and more importantly, Theodore.

She knew once he was serious she wouldn't stand a chance

But she felt like for those three, she could atleast try.

Then another fight sequence. Mal does the "eye trick" but it never blinded him, it just sent him tumbling back a little. So, quick as a bug she took a chance

But Alastor was quicker and summoned a holy knife in his hands, but it wasn't to kill her. It was to scare her. She can heal from HIS attacks, so she was fearless. She's a sinner. Dead alone can't kill the dead. But with a holy equipment, you can.

.....but mal was too blinded by her anger like a wild animal lost in control and still drove straight to him, and Al, holding the knife, had stabbed her. In the gut, I think. She shrieks in pain, but still wrapped her hand around his neck. But it was no use. It was holy.

But Alastor still was in his full form, grinning as he'd won.

...not until Aponi walked into the scene. Then Al realized what he'd done.

He caused her another heartbreak.

But what was he meant to do?

Like, not completely hamilton but kinda following the story but with a very angsty twist i made up in my head lmfao

Also to add: this is one of the main parts of the reason why Vox killed Alastor. Cause Vox as both burr and jefferson... would be a lil weird because alastor endorsed vox to win against.. vox! So i think Your Obedient Servant would be very more interesting if this is what drove vox to kill alastor >:)

To each their own, though but this is my own lol

[stillness-in-green]

On Directionality of Movement in BNHA (and the Neat Reversals)

(Take 2 on this post, which gave me fits trying to post it. Fingers crossed it works this time, and sorry for any vanishing posts, people who reblogged the original.)

This post was initially conceived back in December, when I first saw the home release covers for HeroAca’s Season 6.  They look like pretty standard stuff at first glance, but there was something about them that was very, very interesting: the direction the characters were moving.

(Hit the jump for an explanation spiced up with lots and lots of images from first American and then Japanese media.)

So, this is something that’s absolutely ubiquitous in visual media that a reader/viewer is probably never going to consciously register (at least without being told about it, as in, for example, film class or art school) because the emotional cues in play are intrinsically tied to a culture’s written language.[1]  To wit, because written English progresses from the left to the right, the subconscious association with rightward movement is forward progress.  Thus, in American media, be it stage, screen, or graphic panel when a character is moving from the left to the right, that directionality expresses forward movement, progress, agency, empowerment, righteousness, clear-mindedness, healthy ambition, heroism, and so forth.  Progress is towards the unturned page.

[1] The broader term to use to research this further is “linguistic relativity.”

The chase Furiosa initiates in Mad Max Fury Road spends most of the movie heading to the right, before Max convinces Furiosa to return to the Citadel, at which point, naturally enough, the chase reverses directions, spending the rest of the film heading left.   

Heroically smashing up cars in a rightward-facing direction, while people with less agency flee leftward.   

Elsa spends most of this number moving to the left, the same direction she fled out of Arendelle, but as her resolve grows, the choreography stars reversing, moving her on the z-axis more, and when she declares her resolve to never go back, donning her ice queen dress, her directionality immediately shifts to right-facing.  Even her turn at the end of the sequence, as she spins to walk back inside, is to the audience’s right.

Conversely, when a character is moving from the right to the left—against the flow of written English—that expresses return, backsliding, a lack of agency, powerlessness, wickedness, unhealthy ambition, difficulty, turmoil, and a generally dark or conflicted mentality.  Regression and turmoil lie in the direction of the page that’s already been turned.

Nina’s grasp on reality is beginning to fracture due to the multifaceted stresses she’s facing.   

Jean Grey is classically a heroic character, but you don’t get hero layouts when you’re giving in to dark urges and consuming suns.   

Scar will start trending rightward when Be Prepared really gets underway, that song being all about his future plans and proactive evil, but for the introductory bits, he’s firmly left-facing—as is also the case when he hurls Mufasa to his death.   

Of course, this doesn’t have to be a huge production!  Even something as simple as Charlie Brown walking rightward out to the doghouse to feed Snoopy then leftward to go back inside fits this idea of forward vs. backward motion.  (Compare this to, say, Dagwood, who runs leftward out his door to crash into the mailman every time he’s late for work.)

Naturally, you see this idea of directionality in confrontations as well.

In Hamilton, the title character is reflecting back on his past, the loved ones lost, his actions and the sort of legacy he will leave behind; he "throws away his shot" and dies.  Burr, conversely, is thinking of his living daughter, of his determination to survive; he fires, bullet moving from left to right, and will go on to survive the duel.   

Steven Q. Universe, facing the future despite the embodied wall of stasis and indifference standing in his way.   

The Wicked Witch, facing leftward, attempts to scare the Tin Woodsman and Scarecrow from progressing any further with Dorothy towards her destination, which they would do by following the yellow brick road extending rightward off the screen.   

You can see the reverse positioning—hero facing left, villain facing right—in cases like this, where the hero is making a dramatic defense against a villain in an attempt to stop their progression.   

This isn’t a hard and fast rule, obviously—visual dynamism alone will mean characters move around and change position!  It also doesn’t address movement on the y- and z-axes, nor does it necessarily account for e.g. mixed group compositions or romance scenes.  Also, more intangible things like power dynamics, command of the scene, and shifting character motivations can change who’s moving/facing what direction.  It’s not as basic as good-right, bad-left.  Nonetheless, it’s an interesting thing to watch for.

However, all of the above is reversed in Japanese media.  Written Japanese moves from the right to the left,[2] and therefore the mental association with forward progress/positivity versus regression/negativity is likewise with leftward versus rightward movement.  Following are some obvious examples from works other than BNHA (no live action films because I don’t have the familiarity to be comfortable picking individual shots from them):

[2] In its normal vertical orientation, which is what you’ll find in books and manga.  When arranged horizontally, as in scrolling marquees or banners or the like, usually it reads left-to-right, though this was not the case historically.

Anthy leaves her allegorical coffin, Ohtori Academy, in the final episode of Revolutionary Girl Utena.   

A twist on Sena’s signature move, the Devil Bat Ghost, in Eyeshield 21.  Check any sports manga you read and I would bet you good money that the protagonist team’s goal is on the left in most instances.   

Mima, pictured here Really Going Through It.  Note that Perfect Blue is the inspiration (to say the least) for Black Swan, above, but the psychological break is facing the other direction.   

Cure Dream shows us the mixed feelings of being the leader of the last PreCure team that regularly killed their enemies.   

So, that all laid out, let’s talk about how that looks in BNHA!

Like my other examples, the series is chock-full of examples, both of the usual forward-leftward, regression-rightward directionality, as well as a number of interesting plays against type.  Below, have a pile of examples!

BNHA, manga and anime both, gets piles of face-off shots like this, and in every one of them that I’ve seen, it’s the same general layout: heroes moving leftward, villains rightward.   

Deku attacks towards the turning page, while Muscular attacks against it.  Tokoyami, mired in turmoil and a dangerous loss of control over his power, also faces rightward.   

The specter of the past and the emblem of the future facing in the expected directions.   

Here’s a telling group composition: the Stoplight trio working hard for their futures, ditto the man who moves too fast, while Endeavor and Fuyumi face forward, still somewhat unsure of their current situation, while Natsuo is actively going against the flow.

Of course, it holds in the single character images as well, like so:

   Likewise, you can see the contrast even between images, like these two, announcing the anime adaptation of the Joint Training Arc and My Villain Academia, respectively:

Notice Shinsou, who's a major character in the arc but not quite a Hero Course classmate just yet, has his face turned away, back in the rightward direction.

You can see it more generally in the action itself, as well, not just the promo art.  Think of moments like Shigaraki emerging from the warp at USJ, the race during the Sports Festival, the direction of All Might’s final punch—as well as Shouto’s later victory over Dabi—at Kamino, the direction Gentle Criminal (and thus Deku following him) is heading when trying to reach UA, and so forth.

And then there are the interesting subversions.

Usually, in the days of their most pitched rivalry, the forward-moving Deku is moving left, while the tumultuous, stuck in the past Bakugou is moving right, but he drifts more leftward-facing as he gradually begins to get his head on straight, as in their fight post-Kamino.   

Shigaraki would be on the left if he were facing down Deku, but against All Might?  Not so much.  That makes this less a good versus evil stare-down and more a past versus future one.   

This incredibly fucking telling composition, which I’ll let speak for itself:

   Shigaraki, having the protagonist slot on loan for the duration of My Villain Academia, spends most of the Deika fight facing in the direction of the future, though Re-Destro interrupts this to take the left-facing when he’s challenging Shigaraki about having no vision.  Shigaraki’s pseudo-apotheosis has his facing right as he destroys everything around him (Re-Destro facing left as he sees his future rewritten and his burden removed), but by the time we come to the aftermath in the crater, Shigaraki is moving forward again.

   Interestingly, that does not necessarily follow for the rest of the League!  Dabi and Geten trade off facings through the whole arc, while Toga is mostly rightward facing against Curious, only getting the leftward advancement at the very tail end, once she transforms into Uraraka.  Twice’s doubles are often fairly leftward-aimed, as they’re driving the action forward, but Jin himself spends his big confrontation mostly facing outward, towards the reader, only getting much leftward-facing when he’s helping the unconscious Toga afterward.  Mr. Compress, not having a dedicated match-up, is all over the place.

Spinner, though?  Spinner is following Shigaraki both literally and in the sense that he spends the arc coming into his own.  Thus, even when Shigaraki’s gotten ahead of him, Spinner maintains the leftward aim.

   This can get more complicated than simple inversion, too!

For example,  Gigantomachia is leftward moving in, really, virtually every scene he’s in.  It really adds to how much he feels like a complete force of nature that, all throughout his earliest introduction, Kirishima’s flashback, MVA, and both war arcs, there are literally two (2) sequences in which he’s anything other than leftward-oriented for the bulk of his appearances, and both of them occur when he’s significantly struggling to make forward progress.

The first comes  when he’s trying to leave the Gunga Villa and facing steep resistance; this conveniently lets the kids  facing him (+Mount Lady, when she can get out ahead of him) heroically face left, like they usually do.  Once Machia clears the Villa battleground, however, the rest of his route to Jakku is smooth, even sailing, and shows him returned to his usual leftward orientation.

The second is once he’s actually reached Jakku and the sedative has started kicking in.  While he still gets a good number of leftward orientations, he’s tied down in a lot of them, and they’re mixed with more rightward and a considerable number of outward facings.

And that’s it, really.  Even escaping from the holding facility built around him and confronting AFO, he gets leftward facing, with that only reversing in the moment AFO strikes him down.

Unlike Machia, Deku facing stiff opposition gets to keep a leftward progression when he comes up against heroic opposition in his fight against his classmates.

Shigaraki and Overhaul, appropriately for their vying for control of the villainous future,  are constantly vying for the leftward facing position in their scenes/art spreads.

And then there’s the example that prompted this whole post—the home release covers of Season 6:

In other circumstances, I might chalk this up to the heroes being in the defending position—like Gandalf against the Balrog—but BNHA has not tended to do much with that visual; the heroes usually get to keep their heroic leftward facing even when they’re on the defense, as indeed is the case for all of Jakku that comes to mind!  Yet just this once, for the anime art, we can see the futility the heroes are up against, trying to stop, as Dabi so aptly put it, the future coming down the pipeline, where all the heroes’ lip service will be blown away by chaos.

Thanks for reading through this, all, and my apologies if I mixed up my right and my left anywhere! I hope you enjoyed the pictures, and that you have fun spotting the patterns in your future media intake!

[lokigodofaces]

okay, so i've never seen hamilton, i've only listened to the soundtrack, but lin-manuel miranda was so smart with it. with the elements being repeated over and over again in later songs all the fricking time (aaron burr's introductory narration, helpless, satisfied, not gonna throw away my shot, rise up, wait for it, the room where it happens, wouldn't it be nice to have ____ on our side, talk less smile more, history has its eyes on you, who lives who dies who tells your story, raise a glass to freedom, look around at how lucky we are to be alive right now, eliza talking about the narrative, ten duel commandments, would be enough, i could go on and on), the great foreshadowing (the references to death and gun shots in the room where it happens, i'm not going to throw away my shot, burr & alexander being 2nds in the first duel shown, hamilton talking about dying in glory during the war, philip dying the same way alexander will, etc), the contradictions (burr is main narrator even though we know the whole time he will kill alexander, helpless being a romantic song but every time it's brought up later it's eliza being distressed, washington on his side vs hamilton on your side, jefferson & burr vs hamilton for a while and then jefferson & hamilton vs burr, burr thinking that duels are immature & then challenging hamilton to a duel, hamilton wanting to die in glory at war then dying alone in a duel, hamilton always talking about not throwing away his shot & then he threw away his shot at the end, etc).

it's just so good & so impressive & every time i think about it i'm even more impressed (i didn't connect the dots about alexander not throwing his away his shot & the end until writing this post!). & yeah, it's not like miranda chose for phillip to die or whatever, it's based on history. but he managed to take the real historical elements and portray them in a very interesting way with very interesting foreshadowing and contradictions. while writing banger music that had constant call backs.

i don't know, i've always mildly liked the soundtrack but recently i decided to listen to it all the way through which i had never done before & i'm impressed

[theworstfoundingfathers]

Who is the worst? Round 1: Robert Livingston vs Aaron Burr

Robert Robert Livingston (November 27, 1746 (Old Style November 16) – February 26, 1813) was an American lawyer, politician, and diplomat from New York, as well as a Founding Father of the United States. He was known as "The Chancellor" after the high New York state legal office he held for 25 years. He was a member of the Committee of Five that drafted the Declaration of Independence, along with Thomas Jefferson, Benjamin Franklin, John Adams, and Roger Sherman. Livingston administered the oath of office to George Washington when he assumed the presidency April 30, 1789. Livingston was also elected as a member of the American Philosophical Society in 1801.

Livingston, a member of a large and prominent family, was known for continually quarreling with his relatives.

In 1789, Livingston joined the Jeffersonian Republicans (later known as the Democratic-Republicans), forming an uneasy alliance with his previous rival George Clinton and Aaron Burr, then a political newcomer. Livingston opposed the Jay Treaty and other initiatives of the Federalist Party, founded and led by his former colleagues Alexander Hamilton and John Jay. He ran for governor of New York as a Democratic-Republican, unsuccessfully challenging incumbent governor John Jay in the 1798 election.

Aaron Burr Jr. (February 6, 1756 – September 14, 1836) was an American politician and lawyer who served as the third vice president of the United States from 1801 to 1805. Burr's legacy is defined by his famous personal conflict with Alexander Hamilton that culminated with Burr killing Hamilton in a duel in 1804, while Burr was vice president.

Burr traveled west to the American frontier, seeking new economic and political opportunities. His secretive activities led to his 1807 arrest in Alabama on charges of treason. He was brought to trial more than once for what became known as the Burr conspiracy, an alleged plot to create an independent country led by Burr, but was acquitted each time. With large debts and few influential friends, Burr left the United States to live as an expatriate in Europe. He returned in 1812 and resumed practicing law in New York City. Burr's brief second marriage resulted in divorce and further scandal. Handicapped by a stroke and financially ruined, Burr died at a boarding house in 1836.

[afewshortdays]

feeling like shit so here's a shitpost :P hopefully this reaches a classics audience because I know you're in tumblr somewhere :)

so. picture the scene: it's ancient rome... or is it? nope, it's Hogwarts but make it Latin.

So I was thinking today (rare ik) about the gen z edition of harry potter, and how great it would be to have that, but it's just ancient Rome, not in the latin language, but set in Rome.

The great hall would be decked with couches so everyone lounges about eating food; the sorting hat would just be a superior toga, and harry would get locked in the baths. The chamber of secrets? more like the developed underfloor heating system they had going on.

and the best part? the duels... or curse battles if you will. it's giving Hamilton vs Burr, and they just stand there and inscribe curses on tablets and chuck them into nearby baths until one of them outcurses the other

and that's all I have left in my little Latin brain I reckon I'll add to this when the ideas return, but in the meantime I'll be trying to outcurse my nemesis

love, wren

I love this!! we should totally write it, only you'd have to do the latin bits because I stitll haven't learnt the 3rd declension - Anastasia

[icarusbetide]

i'm currently getting jostled on the train but i wanted to try answering to the best of my ability, and i'm sure others can add on/clarify.

tldr: i wouldn't trust tiktok for accurate information. i think i know what kind of post you're referring to, the "alexander hamilton rizzler he pulled all these people" edits have gone around before. they're often made in a joking way to point out hamilton's charm, but for most of these people, i think it's fair to say that the objective evidence says close relationship or at least interesting relationship, and it's too far to suggest an affair. like so much, most of the *evidence* would be anecdotes and letters.

Meade: probably one of hamilton's closest intimates during the war as another aide. it's been speculated that he knew about ham's relationship with laurens, and he was specifically pointed out by ham in this famous letter to laurens in 1780:

"I hate Congress - I hate the army - I hate the world - I hate myself. The whole is a mass of fools and knaves; I could almost except you and Meade."

meade is also the aide who went into the chimney to read hamilton's letters privately, as said by mchenry to hamilton:

"Meade writes you all that is interesting, and conducts the most weighty matters with a great deal of cunning sagacity. He thrust himself up the chimney this morning, while we were dressing round the fire, in order to be more at liberty as I supposed to read your letter, or hide any thing it might contain, from profane eyes"

so yes, i would say an incredibly close friend, but not much to go for romantic entanglement.

Burr: oh hamburr my beloved. he and hamilton obviously shared one of the most fascinating political and personal relationships of the time. there are striking moments, like the time when hamilton might've prevented burr's suicide by helping him with his money troubles, especially compared to hamilton's combative, almost obsessive political attitude towards him. and of course, the famous "and there was the poetry" anecdote about burr after ham's death, where he stroked a bust of hamilton while sighing or something like that. i do want to note that burr often took on a cavalier, almost showy attitude towards hamilton after the duel, and much of that "there was the poetry" moment was probably him playing it up, rather than a sincere, tender moment if that makes sense.

again, in good conscience, cannot say there's much evidence for romantic feelings. don't get me wrong, they could've had hate-you-but-also-so-intrigued-by-you sex at some point during their intertwined careers but we just don't know.

Lafayette: probably the relationship most objectively reasonable to debate over. he, laurens, and hamilton were all very close to each other, but lafayette seemed especially fond of hamilton and struck an strong connection with him very early on, as "a man whom I love very much and about whom I have occasionally spoken to you [his wife]".

"Hamilton was to me, my dear Sir, more than friend, he was a brother. We were both very young, when associated with our common father; our friendship, formed in days of peril and glory, suffered no diminution from time: with Tilghman and with Laurens, I was upon terms most affectionate; but with Hamilton, my relations were brotherly."

so much love!! maybe romantic? but then he says "brotherly"!

their letters are very cute and a lot of it is lafayette whining about hamilton ghosting him.

“What is the matter with my dear Hamilton and by what chance do I live in fruitless expectation of some lines from him? Does it begin to be the play in your, or rather in our Country, to take European airs, and forget friends as soon as they have turned their heels?

there's the ambiguity of Romantic florid language vs actual romantic feelings and the very demonstrative nature of friendships at that time. but i wouldn't be surprised if lafayette did have a small crush on hamilton, or at least a huge amount of affection.

Andre: the one where hamilton had the crush! he writes about andre to laurens, bemoaning his circumstances, at length. like at length. here's a short excerpt:

There was something singularly interesting in the character and fortunes of André. To an excellent understanding well improved by education and travel, he united a peculiar elegance of mind and manners, and the advantage of a pleasing person. ’Tis said he possessed a pretty taste for the fine arts, and had himself attained some proficiency in poe⟨try,⟩ music and painting. His knowlege appeared without ostentation, and embellished by a diffidence, that rarely accompanies so many talents and accomplishments, which left you to suppose more than appeared. His sentiments were elevated and inspired esteem. they had a softness that conciliated affection. His elocution was handsome; his address easy, polite and insinuating. By his merit he had acquired the unlimited confidence of his general and was making a rapid progress in military rank and reputation. But in the height of his career, flushed with new hope from the execution of a project the most beneficial to his party, that could be devised, he was at once precipitated from the summit of prosperity and saw all the expectations of his ambition blasted and himself ruined.

he also famously protested andre's execution and manner of execution (hanging) to washington, to no avail. once again, he wrote to laurens, "Never perhaps did any man suffer death with more justice, or deserve it less", "Among the extra ordinary circumstances that attended him, in the midst of his enemies, he died universally esteemed and universally regretted". that probably did some damage to hamilton's strained relationship with washington as well.

i think he was going "i don't know if i want to be him or be with him" to some level lmao. but not sure if there's any anecdotes about how andre felt about him? probably grateful and pleased to have someone in his corner in that unfamiliar, intense situation.

Tallmadge: not sure why he was included at all, actually. i haven't seen a huge amount of letters or even personal letters between the two, although i might have missed something. there is a lot of potential for interesting scenarios in their respective positions during the war for sure, but i just don't know enough lol.

YALL PLEASE HELP ME AND TELL ME IF THIS IS WRONG.. someone on TikTok was saying Alexander had an affair/romantic thing with Meade, Burr, Lafayette, Andre and Tallmadge (separate times obvs) but like HUH WHEN WHAT WHY

[deadpresidents]

re: your answer about burr and hamilton, whose side are you on?

To paraphrase Chris Rock: "I'm not saying he should have killed the dude...but I understand."

[pionpink]

Aaron Burr, sir. Post-duel :’(

[cooperraeblankenship]

So historically:

Pistol duels (such as Hamilton vs. Burr) almost ALWAYS had what was called a ‘second’ who observed the duel and might step in if the first participant went down. That’s not unusual at all, and we have to assume it’s not forbidden in an Agni Kai. It’s even possible that Iroh was Zuko’s second in Zuko vs. Zhao.

If we assume that seconds are allowed in an Agni Kai then we also have to assume that Katara is allowed to be there. I’d also like to point out that pistol duels do not require a designated space, only for the participants to be ten paces, for the seconds to be behind the duellers, and for the doctor to turn around for deniability. Zuko vs. Zhao is evidence that Agni Kais likewise do not require a designated arena to take place, as this duel took place on the deck of a ship. Zuko even challenged Azula to an Agni Kai in the middle of a hallway in Ba Sing Se. To quite Spider-Man Noir, “We don’t pick the ballroom - we just dance.”

The only previous violation of the rules of an Agni Kai that we know for sure was Zhao attacking Zuko after already having been defeated. However, from what we know about dueling in real life, I think we can assume that the reason Azula is the one who violated Agni Kai rules and not Zuko or Katara is because she attacked Katara while Zuko was still in play. This would be like Hamilton shooting Burr’s second instead of shooting towards Burr. However, there is an important technicality here:

The Fire Sages left. There was no referee, and Azula had no second, meaning that the only people to judge if there was an infraction were Azula, Zuko, and Katara — and because Zuko wasn’t about to let Katara get electrocuted, he took the hit himself which consequently made the shot legal.

However, at this point, Zuko can’t fight anymore, but he also isn’t defeated or dead. This is the purpose of having a second at your duel, and technically speaking, we are never explicitly told (in the show at least) that and Agni Kai has to be between two firebenders (even though Agni does mean Fire). Katara is now fully allowed to engage Azula because she is Zuko’s second.

Nobody in this fight really cheated. Azula shooting lightning at Katara was a dirty move, but would only have been illegal if it had actually hit Katara. Zuko also wasn’t cheating by having Katara there, because it’s a reasonable enough assumption that a second is allowed in an Agni Kai (even though it seems like it’s more common not to have one). And Katara didn’t cheat because by the time she began fighting, she would now have been expected to be in play if Zuko had not yet yielded (which he had not).

I'm sick and tired of having this conversation so I'll put my opinion out there and if you don't like it, there the door 🚪

Zuko was the one to cheat at the Agni Kai, not Azula

And I can already hear the antis coming at me so before you start yelling, read the whole thing carefully.

Zuko cheated because he had a teammate in a one on one duel. And plz don't say Katara wasn't his teammate because she walked into the arena to defend him, changing herself from an observer to a participant. To make it easier to understand, I decided to draw it out to y'all:

Those are some screenshots from the final Agni Kai. Do you notice those little tiles around the clean ground? Do you wanna know what they mean (at least from my point of view)?

Do you see it? Yes? Good! Let's do that again!

Do you see it it again? Great! Let's do this one last time, just to be safe shall we?

I know you see it this time! It's clear as day! Katara wasn't supposed to be standing there. She's is forfeiting and since if she were to fight she'd work with Zuko and against Azula, she is considered part of Zuko's team. So her cheating is Zuko's cheating too.

And don't try to pull any of that "she was already there" bullshit because...

...she was nowhere around Zuko before the forfeiting scene.

Now, I know some people are going to say stuff like "there wasn't an official arena so Katara could walk there" and here is what I have to say to you:

If you don't want to count the area as an arena then you can't count the fight as an Agni Kai since a designated dueling space is necessary.

And if it's not an Agni Kai then there weren't any rules to be broken, so why exactly are you attacking Azula for breaking a non-existent rule?

However, if you want to believe that the fight was an Agni Kai, you have to accept that the clear ground was the arena. To accept that is to also accept that Katara forfeited, causing Zuko to lose, either by tramming up and making her cheating his also or by needing him to save her from the lightning Azula was allowed to throw at her since she was participant.

In the end of the day, Zuko did get burned, Azula didn't, Katara cheated, Azula didn't. So how come people still believe Azula wasn't the winner?

To sum up, this is my opinion on the subject. I'm not posting it to cause an argument but to make people aware as to who they'll have to deal with if they interact with me. If you agree, good for you. If you don't, suck it up or leave cause I'm in no mood to talk about this again when I have already said everything I had to say. Now don't bother me about this ever again.

[get-vengeance-on-the-ducks]

my favourite parts of different hamilton songs (act 1)

NOTE: many of the people portrayed in this musical were slave owners and overall not super great people. i like the musical and the actors but NOT these guys as people in the historical context, just keep that in mind. i do not condone the attitudes and behaviours of the eighteenth century, but a musical about the eighteenth century with rapping and amazingly talented poc actors? weeeellll...

alexander hamilton: "another immigrant coming up from the bottom" HE'S AN IMMIGRANT GUYS AN IMMIGRANT

aaron burr, sir: "talk less/smile more" "i heard your mother say come again" "tell the king casse-toi/who is the best?/c'est moi" this was a GOOD song

my shot: literally all of it. especially the moment when hamilton says "i think your pants look hot" and the rap part in the last half.

the story of tonight: seeing four poc on a stage singing about friendship warmed my heart so much (:

the schuyler sisters: "i'm a trust fund baby/you can trust me" i laughed my ass off at that. and angelica's response was so girlboss. plus their little fist-pump WERK moment.

farmer refuted: the rapping and the way seabury and hamilton try to out-sing each other is epic

you'll be back: need i say anything? the king is an icon. it's bad that he's lowkey one of my favourite hamilton characters, right? yeah, it's bad.

right hand man: the end is great (as you can tell, i have a thing for the rap parts in hamilton) and i liked the introduction to washington

a winter's ball: burr going "but what do we have in common?/ we're reliable with the LADIES/there are so many to deflower"

helpless: eh, but hamilton's little dance while eliza proudly sings "that boy is mine" is hilarious

satisfied: again, literally everything

wait for it: burr's underrated, he actually has motivations and feelings and in this song you can understand that he just wants to stay alive and stay safe

stay alive: again, rapping

ten duel commandments: not gonna lie, this bored me a bit

that would be enough: i may or may not have cried

guns and ships: i was amazed by daveed rapping in a french accent and this song has been stuck in my head for the past three week. "sir he knows what to do in a trench, ingenuitive and fluent in french, i mean"

history has its eyes on you: washington makes some good points

yorktown (the world turned upside down): hamilton and lafayette going "immigrants - we get the job done" made me grin from ear to ear because DAMN IF THAT AIN'T THE TEA. the instrumental in this part is AHMAZING.

what comes next: "you're on your own *insert sarcasm* awesome, wow"

dear theodosia: this was really sweet and i love that burr was included

non-stop: ooh boy was this a good song. the part at the end where they all sing together shows all the voices in hamilton's head going through the pros and cons of staying vs leaving to be treasury secretary.

[thespoonisvictory]

Hamilton Hot Take: A Hamilton that kept in the deleted songs and workshop versions tell a superior story (So Broadway vs Off-Broadway version). And, no, I’m not just talking about Congratulations (although that one should’ve also been kept).

A significant part of Hamilton’s narrative focuses on the relationship between Burr and Hamilton. From the beginning, their ideologies and the way they get ahead are completely different. Burr keeps his true opinions and thoughts close to his chest. He never reveals anymore than what will make him most agreeable to others. His persona is one of inoffensively likable. Hamilton is quite the opposite. He is never indecisive, always shooting off his own opinions. He takes risks in order to grab at better opportunities, but often this leads him to gathering more enemies. And despite these differences, Hamilton and Burr remain good friends who have a lot of mutual respect (and envy) of one another.

Until the second act that is. And the second act is also unfortunately where things start getting cut and rewritten.

As the dsmp fandom would put it, Broadway A. Hamilton is made “smooth” compared to his original counterpart. He’s much calmer and more reasonable. He’s pride and short temper have been stripped away. And Burr, in comparison, is stripped of much of his more sympathetic traits. Aside from Dear Theodosisa (Reprise) and really any mention of his family being entirely cut, he’s made to be far more malicious and villainous in other songs, compared to their original lyrics.

Take for example, Schuyler Defeated. Both versions start on Eliza and Philip finding out about Eliza’s father being challenged for his seat in the senate. In the Broadway version, Eliza is very unconcerned with this development and she and Philip leave the song as quickly as they entered, happy to go and meet the new senator. The original, in contrast, starts out with a panicked Eliza, desperate to find Alexander because she knows exactly how he’ll take this. Hamilton’s characterization also vastly changes depending on the version. Broadway Hamilton is very calm, innocently asking about Burr’s change in party affiliation. Meanwhile, og Hamilton comes out swinging, already furious, he demands to know when Burr changed parties. Hamilton is far more personally offended in this version, framing Burr running against Schuyler as an attempt to “make a fool of [him],” compared to to the Broadway version where he seems more offended on behalf of his father-in-law. The only thing that stops Hamilton from doing anything stupid for what is essentially just running for senate AND not the personal attack Hamilton views it as, is Eliza and, later in the deleted song “Let It Go,” Washington talking him down from it.

Another example is the Broadway vs original versions of “Your Obedient Servant.” The Broadway version is undoubtedly framed in a deeply negative light. He is furious, unable to understand Hamilton’s support of Jefferson, viewing it as an attempt to keep him from winning, as something done to spite Burr specifically. Meanwhile, the original Burr is more calm in level headed in explaining his feelings. In both versions, Burd makes accusations towards Hamilton. In the original, he backs up his claims with a source in the form of a private letter sent in confidant, while Broadway Burr makes accusations of Hamilton calling him “amoral [and] a dangerous disgrace,” which is never said by Hamilton anywhere and has no basis. This combined with Burr already suggestion they can name a time and place I’d they have a disagreement, makes Burr come across as far more petty and eager to start a fight. Faced with accusation with no basis, Broadway Hamilton responds fairly reasonably, saying he would need to sight a specific source for him to be able to disavow those words, and provides his own list of disagreements with. Original Hamilton, however, is very flippant of the accusations, being incredibly petulant in denying Burr’s accusations, mocking the wording of them. And yes, while both Burr’s escalate the conversations to threats, the Hamilton’s responses show just how different these versions. Broadway Hamilton stands by what he says and defending himself by saying that everything he said is true and that Burr stands for nothing. Which is completely true, so Burr then challenging Hamilton to a duel makes Burr seem unreasonable and angry that Hamilton pointed out how his own ideology screwed him over. While original Hamilton makes the whole disagreement incredibly personal, for no reason, bringing up Burr’s dead wife to mock him. It’s only then that Burr challenges Hamilton to a duel, to which Hamilton agrees to almost immediately, showing how rash the original Hamilton is, compared to the Broadway version who thinks the challenge over for a few seconds before agreeing.

And finally, “Ten Things, One Things,” really shows how far their friendship and understanding of each other has fallen off. Burr’s perspective shows how much he wants Hamilton to apologize and back down from the duel, only realizing at the 8th count that this is a serious duel, and Hamilton won’t be backing down. Meanwhile Hamilton goes into the duel considering the possibility they might die, but as the counting continues he becomes more and more convinced he and Burr will survive. He is specifically is assured of this by realizing it’s not in Burr’s political interests to kill him. While Hamilton scrutizes the area, Burr’s own fear and paranoia takes hold, convinced Hamilton will shoot, Burr resolves to kill Hamilton first, so his daughter will not orphaned. All the while, is so assured of his safety that he starts to think about going to back to his house to see Eliza awaken. Neither one of them are able to fathom the possibility of the other outside of the image they’ve created of each other. Hamilton cannot see a Burr that wouldn’t wait, and Burr cannot see a Hamilton who would throw away his shot.

Far more emphasize is placed on Hamilton’s violent anger in the original, while in the Broadway version this is lost and Burr is pained more as the unreasonable instigator in their deteriorating friendship, when the original makes it so much more complicated than that. Broadway is so much more Black and White in the story it tells, where the villain Burr shoots our hero Hamilton, rather than the far more interesting story of a friendship between two men based on mutual respect, admiration, and envy and how that friendship ultimately changed both until they could no longer understand each other and how that inability to see how the other had changed, led to their ultimate falling out in the form of final duel.

I’m not saying the workshop versions of songs are better musically (I know jack shit about music) but they make Hamilton’s characterization and relationship with Burr so much richer and that’s why the story they tell is so much better to me.

TLDR; Hamilton is less of bitch in the Broadway version and it makes me >:(

I hope this makes sense, I started to ramble

^^^

god damn this is so good idk what to do with this other than nod and tell you to run my blog for me

also- this reminds me of what happened to off broadway orpheus vs live broadway orpheos, bc ob!orpheus is a self confident bitch who was charismatic and funny and I like him so much, and b!orpheus is a awkward little rat creature who doesn't make as much sense both as a character and in the narrative. he got smoothed