It’s a landslide as a musical – politically, it’s anger: Hamilton censorship

This is about rhythm. Hamilton is a musical that tells the story of America based on rap media. This sounds crazy, but it works well because the show’s influence is very powerful. Lyrics drive narration, rap brings energy to the lyrics, and dancers double the effects of pulsed soundscape by adding visuals. The dramatic lighting synchronized with the music provided the ultimate sensory flourish. It’s like flapping your face with a beautiful velvet glove. This group is a gorgeous solid event, like a five-star hotel inspired by the Wild West theme. Two wooden stairs soared toward a raised gallery filled with thick lasso. Dancing girl in a white wholesale sexy corsets and tights sl sl, p mouth on stage, posing and showing their trim curve.

The lyrics of the show are sometimes witty and sometimes clumsy. On the page they look weak. What does it mean to grow a plant that you never see will look artistically and lazily but perform on stage and be supported by a powerful military rhythm that has a vibrant, printed phrase Unable to arouse. Rap idioms prove surprising flexibility. Everyone knows rap is the ideal channel to express incompetence and brutal anger, but here it finds a new sign up: great, dignified, romantic, comedy.

For wholesale sexy corsets the first time, we saw Hamilton as a strong young lawyer in New York determined to join the anti-British struggle. At the start of the War of Independence, Hamilton lobbying team was commanded. He was rejected, but when he urged a row of soldiers to seize a British cannon in Brooklyn, he drew the attention of General Washington. With the future president behind him, Hamilton’s career soars. After the war, he participated in the lengthy series of meetings that led to the creation of the United States. This takes up much of the second half of the year. These characters use rap to discuss federal funding arrangements, constitutional sophistry, the president’s declaration of war rights, and the formation of the state and the financial sector. Hamilton provided a rhyming lyric in the section explaining why treaty obligations between the United States and France were expired when France executed the king who signed the agreement. This is not what most western performances do. We can imagine Vernon Bogdanov renting a box for his constitutional expert and thinking: “In the end, a piece of music is for us!”

When Washington quits public life, Hamilton is surrounded by his cunning enemies, Jefferson and Madison. Some disturbing coughs can be found in these passages, lacking interest in the British audience. Hamilton’s career culminated when he became First Secretary of the Treasury, but a jealous colleague challenged his fight. The atmosphere of a positive masculinity has never changed. “Ladies?” Said Hamilton. “There are so many people to get rid of”, the female character reduced to a few predictable guest: spoiled wife, virginity fell, wandering maid.

The most striking feature of the show is its political component. Producers want us to think that Hamilton belonged to the oppressed minority. He was born out of wedlock in the Caribbean and was orphaned early in his life. As a teenager in the 1770s, he traveled from the West Indies to Boston. We were told that this made him eligible for “immigration.” (Possibly the wrong word for a traveler to shift from an English dependency to another) as a tribute to the origins of the Caribbean, Hamilton was played by a mixed actor, Jamael Westman. Minority actors also play Jefferson, Madison, Boolean and Washington roles. This idea shows that the thrust and energy of the United States stem from the invaders’ talents, regardless of their source. This is not entirely true, of course, and by trying to create this Caribbean version of early American history, the program manages to evade some unwelcome truths. Their founders include those prosperous white capitalists who used to be concubines and laborers in slavery. Black people must be crazy about this musical. Not only does it pretend that blacks and whites of the 18th century existed under equal conditions, but triad members were also obliged to use money to watch the erroneous versions of their own history.

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