Lin-Manuel Meets \u3cem\u3eMoana\u3c/em\u3e

In this article originally published in Public Books, Daniel Pollack-Pelzner wonders whether a Disney musical and a Lin-Manuel Miranda musical want the same thing

Dispute Resolution Themes Abound in “Hamilton: An American Musical”

Robust dispute resolution themes run through Hamilton: An American Musical, Lin Manuel-Miranda\u27s award-winning Broadway play about the United States\u27 first treasury secretary. Many songs in Hamilton revolve around dispute resolution mechanisms that weave throughout Hamilton\u27s life

Interartes (cinema, música) e expressão artística: Coro Mozart & “Hamilton”

Série Estudos Interartes (Cinema, Música) | Expressão ArtísticaVídeo de “Hamilton” (de Lin-Manuel Miranda; Arr. Lisa Despain; Adapt: Dionísio Vila Maior; Coreografia e direção de expressão artística: Dionísio Vila Maior), com interpretação do Coro Mozart. Gravação realizada em 2020. Produção Técnica: PRE – Pro Rent Events | Som | iluminação | Multicâmera | Streaming | VideoledN/

Lin-Manuel Miranda and the Future of Originalism

This chapter discusses how Lin Manuel Miranda\u27s Hamilton: An American Musical is changing the future of originalism. Originalism in constitutional law has recently had a generally conservative valence not because the Founders were an eighteenth-century version of the Federalist Society, but because readings of Founding era sources that favored right-leaning causes were generally predominant in the community of constitutional lawyers. Since 2015, however, the millions of Americans who have listened obsessively to Hamilton\u27s cast album or packed theaters to see the show in person have been absorbing a new vision of the Founding. The blockbuster musical narrative has retold America\u27s origin story as the tale of a heroic immigrant with passionately progressive politics on issues of race and issues of federal power. And so the balance shifts: inspired in part by this retelling, a new orientation toward the Founding will come into view. Hamilton offers this alternative vision at the dawn of a period when liberals will find themselves attracted to rediscovering the Founding Fathers as political and jurisprudential allies

A “Hip-Hop” Broadway Masterpiece or a Misrepresentation of Hip Hop Culture

In February of 2015, a music sensation hit the streets of New York City and started a revolution across the country. The renowned Lin Manuel Miranda; composer, musician and actor, debuted his six-year creation - an integration of hip hop music into the world of Broadway through the sensational story of Alexander Hamilton. Based off of Ron Chernow’s 2004 biography of Alexander Hamilton, this entirely musical production details the story of the poor immigrant who came to America with big ideas and wrote his way to being a predominate figure in American history (Miranda, 2016). Impressive choreography is combined with powerful lyrics to narrate Alexander Hamilton’s journey through war, politics, his family and the birth of our nation. Concerned with protecting his legacy and having his voice heard, Hamilton constantly put himself in compromising positions for the greater good of our country. The show’s unconventional structure and use of race bending casting has caused a true Broadway revolution across the country

“Alexander Hamilton embodies hip hop.”: The Words That Sparked a Revolution

This paper focuses on Alexander Hamilton, one of the most influential founding fathers, and how he embodies a genre of music known as hip hop. There are many aspects of hip hop culture that Alexander Hamilton embodied. The examples of hip hop culture used in this article are the Tupac Shakur and Biggie Small rivalry, Nas writing his way out of the Queens housing project, the “Ten Crack Commandments”, and “Fight the Power” by Public Enemy. Examples from Alexander Hamilton’s life consist of his rivalry with Aaron Burr, writing his way out of poverty, the duel code of honor, the Federalist Papers, and the Reynolds pamphlet. Research was done through New York Times articles, Rolling Stones articles, and Alexander Hamilton, a biography by Ron Chernow that was used as the inspiration for Hamilton the Musical. Genius, a website where readers can find lyrics of songs and different references in to hip hop, was also used. This website was used to compare Biggie Small’s “Ten Crack Commandments” to Lin Manuel-Miranda’s “Ten Duel Commandments”. Rolling Stones articles were used to explain the importance of hip hop culture as it relates to political writing. The New York Times articles were used because they went into depth about comparisons of Hamilton to hip hop. The biography by Ron Chernow was used to explain Alexander Hamilton’s life, rivalries, and writings. Research was also taken from Hamilton the Musical, quoting songs that summed up Hamilton’s personality, written by Lin Manuel-Miranda

“Who Lives, Who Dies, Who Tells Your Story?” Lin-Manuel Miranda’s Hamilton: An American Musical

[Abstract] The main aim of this final project will be to analyze and comprehend the relevance and impact of Lin-Manuel Miranda’s Hamilton: An American Musical (2015) on musical theater as well as in society in general. The focus will be put on both the creative process and the critical reception the show has received since its premiere. To do so, I will provide a complete and detailed summary of the plot and the main characters, as well as a close-reading analysis of five specific songs: “My Shot,” “One Last Time,” “Non-Stop,” “Dear Theodosia,” and “The Schuyler Sisters.” The methodology used to achieve these goals will include, firstly, the study of Hamilton: The Revolution by Lin-Manuel Miranda and Jeremy McCarter, which is the main source of information on which this dissertation will be based on and, secondly, a compilation of interviews given by the members of the creative team which include the actors and actresses as well as Miranda himself. The conclusions reached are that Hamilton: An American Musical has marked a before and an after in the history of musical theater and the way in which history is taught. Consequently, it will serve as an inspiration for future works of similar (or greater) importance.Traballo fin de grao (UDC.FIL). Inglés: estudios lingüísticos y literarios. Curso 2021/202

From Oklahoma! to Tick, Tick...Boom! The Evolution of the Musical from the Golden Age to Jonathan Larson’s Rock works

El musical cinematográfico no evoluciona de forma paralela a los musicales teatrales que se llevan a los escenarios en Broadway. Esto genera un desfase de una década aproximadamente entre los musicales que se estrenan en la Costa Este y los que llegan a Hollywood. En 2021, Lin-Manuel Miranda dirige Tick, tick... Boom!, una obra con la que revive a Jonathan Lar- son, heredero de las influencias del musical de Richard Rodgers y Oscar Hammerstein II, y Stephen Sondheim.Musical films do not evolve in parallel with the theatrical musicals on Broadway. It creates a gap of about a decade between the musicals on Broadway and those produced in Hollywood. In 2021 Lin-Manuel Miranda, director of the film Tick, Tick... Boom! revives Jonathan Larson, heir to the influences of the musicals of Richard Rodgers & Oscar Hammerstein II, and Stephen Sondhei

Que Ondee Sola - Summer 2018

Student publication founded in 1972, articles include: Rising Up: Lin-Manuel Miranda Talks About Hurricane Maria Relief Efforts in Puerto Rico, The Student Eye in Hurricane Irma, All-American Mutt: Brown in White Spaces, Marisol: Two worlds in chaos and painhttps://neiudc.neiu.edu/qos/1333/thumbnail.jp

Lin-Manuel Miranda: new articulations of latinidad in the Hollywood imagination

When it comes to representation for Latinx in the US film industry, Lin-Manuel Miranda stands out as one of the most varied and complex of Latinx creators working in cinema today (Mcmanus 2018; Scaletta 2021; Kawa 2021). Although he has enjoyed a blooming success through an ascending presence in Anglo-US entertainment industry, Miranda’s career as a Latinx creator runs also in parallel with current Latinx demographic shifts in the United States, specifically as we move from the late twentieth into the twenty-first century. Thus, we discern how his various roles as an actor and director complicate existing schemas or paradigms of silver-screen Latinx representation and Latinidad in contemporary film spectrum. In this essay, I assess how critical race theory concepts such as assimilation and panlatinidad are foregrounded in the mediated construction of Lin-Manuel Miranda cinematic career, negotiated and contained in the context of US Latinidad in 21st century cinema. In order to do so, this paper will focus on the concept of assimilation and mixed-race theories according to Latinx film representation. Then, I will discuss on Miranda’s panethnic understanding of Latinidad, as a way of improving the stereotypical conditions of Latinx representation in recent Hollywood. In the last part of this essay, the case study of two of his films, one as an actor ("Mary Poppins Returns", 2018) and the other one as a creator/director ("In the Heights", 2021) provides meaningful insight of the representation of Latinidad in contemporary US films in ways that implicitly address a crisis of racial/ethnic solidity onscreen, hence encapsulating a powerful sense of cultural equality crafted toward the representation of Latinx in US culture