As A Huge Hamilfan, Here Are The Top 20 Best "Hamilton" Songs

As A Huge Hamilfan, Here Are The Top 20 Best "Hamilton" Songs

Don't wait for it to see if your favorite made the list.

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There's no arguing that "Hamilton" is one of the best musicals of all time, and if you've listened, you know every single song is brilliant. However, some have to be better than others, and I have assigned to myself the emotional labor of choosing the best ones. Here are the 20 best songs from "Hamilton:"

1. My Shot

Is this the predictable #1? Yes. But that's because it's just that good. "My Shot" tells us everything we need to know to become invested in the stories of Hamilton, Burr, Laurens, Lafayette, Mulligan, the revolution, and everything else this musical offers us.

2. Satisfied

"Satisfied" is like a piece of flash fiction; it's an entire movie's worth of story in five minutes. Lin-Manuel Miranda acknowledges Angelica Schuyler as the smartest person in every room she was in, and the result is the cleverest rapping and some of the most emotional choices of the entire show.

3. Wait for it

After Hamilton's wedding, Burr empties his heart to the audience on why he can't afford to be like Hamilton. "Wait for it" is one of those songs that reaches under your rib cage and latches onto your heart. It's the reason why you can't dismiss Burr as a villain.

4. The Room Where It Happens

"The Room Where it Happens" occurs well into Act II, and it's only here that we finally see Burr as frenzied and fighting as Hamilton. In most musicals, the protagonist (or protagonists) get their "I Want" song early on, but since Burr tends to hang back in the shadows, it's only now that he fully begins to realize what he has to do to get what he wants.

5. One Last Time

"One Last Time" opens with a humorous exchange between Hamilton and Washington, but switches over to the serious side of things when Washington writes his letter on why he's stepping down from the presidential office. Hamilton paints Washington in a sympathetic light, so his loss is sorely felt. It's made all the more powerful by the use of quotes from Washington's actual farewell address.

6. The World Was Wide Enough

The penultimate number in Hamilton, "The World Was Wide Enough" takes us through the tragic culmination of Hamilton and Burr's feud. Hamilton's acapella verse is one of the most intricate and emotional in the show, and Burr's "I will not let this man make an orphan of my daughter" is probably what won Leslie Odom Jr his Tony.

7. Yorktown (The World Turned Upside Down)

"Yorktown" is one of the most intense numbers; after all, it is showing the colonies' last battle in the war for independence. "Yorktown" is so powerful it could've served as the Act I closer.

8. Who Lives, Who Dies, Who Tells Your Story

"Who Lives, Who Dies, Who Tells Your Story" is the closing number of the show, and gives tell of the historical legacy of Hamilton after his death, as well as bringing emotional closure to the characters.

9. Burn

Hamilton New York

After finding out about Hamilton's affair, Eliza is finally given time to say what she thinks about it. "Burn" shows a more decisive and powerful Eliza, but it's hard to celebrate. Ultimately, we see her heartbreak over the situation, and her strength in the fact that she chooses not only how their family will move forward, but how history will see her.

10. Right Hand Man

"Right Hand Man" introduces us to Washington, one of the most powerful supporting characters, and moves through the story of Hamilton's rise in rank with efficiency, alacrity, and intent, that advances the characters of everyone involved.

11. Washington On Your Side

"Washington On Your Side" is one of my absolute favorites from Hamilton (it's only ranked 11th because I'm trying to be more objective). Jefferson, Madison, and Burr are all conspiring together against Hamilton and it's practically oozing with Disney villain vibes.

12. It's Quiet Uptown

"It's Quiet Uptown" depicts the Hamiltons' mourning after the early death of their eldest son, Phillip. It's a tearjerker, but ultimately shows one of the most moving themes of the show: "Forgiveness. Can you imagine?"

13. The Schuyler Sisters

This is the "Hamilton" song you'd put on at karaoke night. It's catchy, sassy, empowering, and was inspired by Destiny's Child. What more can you ask?

14. Aaron Burr, Sir

I'm a sucker for a good character introduction, and "Aaron Burr, Sir" has plenty. We get our first view of real-time Alexander, nineteen years old, precocious yet unsure, meeting the older, less principled Aaron Burr. And of course, John Laurens, Lafayette, and Hercules Mulligan each get their own verse of personal introduction, before Hamilton rounds their night at the bar by picking a fight with Burr.

15. Non-Stop

"Non-Stop" comes right after "Tomorrow There'll Be More of Us" (not on the cast recording), where Hamilton finds out John Laurens, his closest friend, was killed in battle. Hamilton throws himself into his work, and we are thrown into "Non-Stop" along with him, where we see his rapid career advancements and how they affect the people around him. "Non-Stop" is chock-full of details worth dissecting (my personal favorite is when Burr adjust his question to Hamilton: "Why do you write like you're running out of time, like you're running out of time, are you running out of time?").

16. What'd I Miss

Now this is how you introduce a character. "What'd I Miss" opens Act II, introducing Jefferson, one of Hamilton's main adversaries (and certainly the one with the most panache).

17. Dear Theodosia

"Dear Theodosia" is another one of the show's slower songs, especially in contrast to "Yorktown" directly preceding it. "Dear Theodosia" encapsulates the hopes and fears of new parents, and is one of the few moments in the show we see Hamilton and Burr without conflict.

18. You'll Be Back

"You'll Be Back" is Hamilton's homage to classic show tunes with an upgraded twist. It's catchy and somewhat predictable musically, but King George III's message to the colonies is written as if it were a creepy, desperate text trying to win back a romantic interest.

19. Take a Break

"Take a Break" bounces between the serious and playful, from Alexander and Angelica's subtle flirtations to Phillip's adorable rap for his father. The real significance of this song is that it's what causes the whole story to go downhill--Alexander does say the M word, after all.

20. Your Obedient Servant

This sassy-with-stakes back-and-forth between Alexander Hamilton and Aaron Burr is one of the show's catchiest and most underrated songs. The best part is that the lyrics are based on real letters between Hamilton and Burr--yes, they were that savage.

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My Best Original Screenplay Oscar Predictions Based Solely On The Writing, As It Should Be

Let's focus on the writing, not the politics.

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The Oscars are almost here, so it's time to make predictions.

Except, if you're like me, you probably haven't seen all the nominated movies. This year, I realized I had not seen any of the films up for Best Original Screenplay. This was a bit of a failure moment for me as a hopeful future screenwriter, but I took the opportunity to do something everyone always says to do when you're learning—read scripts.

I decided to read these scripts and make my predictions based solely on the writing, as it should be. I read each script, then watched the trailer and read a few articles about the movies to answer any questions.

And here's what I decided.

"The Favourite"

I'd heard great things about this movie before reading it, so I was excited to study this screenplay. It was well written, I will be honest, so bravo to Deborah Davis and Tony McNamara. But, it still left some to be desired. It definitely has its good qualities and is justified in its being a, well, fan favorite.

Except, the script relied heavily on subtext for commentary. Any narrative, no matter what time period it takes place in, will be held against the current societal environment regardless of intentions. However, it was clear that this film's intentions were to place a female voice in history and in current outlets. Which, of course, is not a bad thing. However, this film does so with disregard for true equality. The female focus is at the men's expense, which is not true equality (but that's an argument for another time).

I actually found the story predictable. The story tried to build suspense around the war, but even that seemed like a second priority to the writers after the love triangle. The script didn't explicitly tell the reader "how to feel," but it was strongly implied by the end.

"First Reformed"

This was a solid film written by Paul Schrader. Each scene really does move the plot forward which is story 101 but still important to note sometimes. Even the scenes that seemed like they would be time fillers allowed for the voice-over narration of Toller's journal.

This voice over was a nice touch of characterization and introduced well in the first scenes. This introduction was so well written, I could see exactly how it would play out, which is textbook screenwriting. The dialogue was believable. The setting description was a good balance and told part of the story too.

But there was that ambiguous, "La La Land"-dream-sequence-ish ending though.

"Green Book"

Okay, this one. This film is important and was skillfully written, so definitely a bravo to Peter Farrelly, Brian Currie, and Nick Vallelonga.

This film spoke to racial equality in the sense of true equality—meeting on the same level. It took place in one of America's shameful times and followed a white man realizing how things really are for those different from him and learning how to use his privilege in a way that helps and not harms. Like Dr. Shirley said, "You never win with violence." And as far as movies nominated in this category based on true stories, this did the best at maintaining the integrity of the original.

The writing was phenomenal. There was a personality in the action. The characterization was shown, not told. This was done through the actions, letters, reactions, how the characters treat others and how other characters treat the main characters. There was evident development in growth in the two main characters Lip and Dr. Shirley. It ended nicely, and the scenes were paced well.

"Roma"

This story would be better as a novel, in my opinion. The descriptions were beautifully written, so much so that every time there was dialogue or a scene change, I was roughly drawn out of the story. For a script, the action was almost too artsy and I could tell that it would be better visually than in writing. There were a few inconsistencies, like how Pepe calls Cleo "mom" in the beginning when Señora Sofia is actually his mom. Of course, this was probably meant to be just a kid crying for his mom when he was tired, but it leads to some confusion going forward when introducing characters.

This film was artfully written by Alfonso Cuarón. Most of the time, there was a good balance between detailed and vague descriptions (except that one part that described the color of the sky even though this is a black and white movie). I was struck by the impactful use of sound descriptions woven into the script, such as the car horn or the plane flying overhead. This was something that was present in the other scripts but didn't make as much of an impact, in my opinion, as it did in "Roma"

"Vice"

Oh goodness, where to begin? Adam McKay begins this script with an indignant tone in the superimposed text saying they "did their f***ing best" to tell a true story. But did they? No. If this Best Original Screenplay award is based on the writing, then "Vice" is shockingly nominated. If it's based on political people-pleasing, then I guess the nomination makes sense. The film is riddled with a bias to the left. It assumes the viewers agree with the flat narrative of the film and that we all see the characters as the one-dimensional people they movie portrays. The film even addressed this bias at the end, but the way they did didn't level the playing field at all, but just pandered to that bias, trying to pick a fight. Well, they shouldn't be dignified with a response, in my opinion.

But I digress. The writing. That's what we're here for.

Unfortunately, even the writing was objectively bad compared to the other scripts. And I don't say that lightly. It read like a school project that was completed the night before it was due. There were typos everywhere (notably, "due" was spelled "do"). The story and scenes seemed willy-nilly thrown together with the only goal of pushing an opinion. The framework and organization were centered around how best to convince the viewer of McKay's views, not tell the story. It's a very serious subject that's covered here and could've been handled better instead of this script that reads like a comedy with political propaganda tendencies.

And now, my predictions for best original screenplay go to...

I'll break this down into categories.

My favorite: "Green Book."

What should win: "Green Book."

What will probably win: "The Favourite."

They all have a chance, but if "Vice" wins, then what are we all here for? The writing, or politics?

The other films all had their stance in politics without taking away from the story being told. "The Favourite" was female-driven with LGBT aspects and classist themes while telling the story of Queen Anne and her ladies. "First Reformed" critiqued megachurch culture, environmental activism, and big business while telling Toller's story of grief. "Green Book" also had some classist themes and attacked racist tendencies in a way that can educate and change minds by telling a historical story. "Roma" was the story of a family set in cultural and political context. But "Vice" was just about politics and not the story.

Let's focus on the stories. Let's focus on the writing.

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7 Philosophical Ways In Which Winnie The Pooh Understands Food

Short easy words like "what about lunch?"

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Despite being a "Bear of Little Brain," Pooh really gets food. His philosophy behind food shines through the entire Hundred Acre Wood.

Here are 7 ways this "silly ol' bear" may not be quite so silly when it comes to food.

1. A highlight of the day is food.

"It is more fun to talk with someone who doesn't use long, difficult words but rather short, easy words like 'What about lunch?"

Pooh doesn't cut any corners with his simple love of food. To him, the highlight of a day is when he eats, what he eats, and with whom he eats it. Food is easily accessible to many of us living in the Western world, and viewing food as a source of joy gives us at the barest minimum several moments of happiness every day.

2. Food brings motivation and joy.

Routines have a comfort and an excitement in their own selves—food can be a consistent bright spot in your day. Having a routine or something you look forward to with your eating habits can make even the most stressful days positive. For Pooh it's honey. For some, it might be a piece of chocolate, or something green, or always eating breakfast. For me, it's a cup of tea.

3. Food eases loneliness.

Friends are important. And food is important. And the two can physiologically be correlated. Studies show that if a person is lonely, holding a hot cup of tea can make them feel less alone.

There will always be times in our life that we are alone, even just physically, even just for a night. Something to smile about can make the difference between being alone, and being lonely—and comfort food is comforting for a reason. When you're feeling a bit eleven o'clock ish, a bit of honey can be just the thing.

4. Food bonds people.  

"What I like best in the whole world is Me and Piglet going to see You, and You saying 'What about a little something?' and Me saying, 'Well, I shouldn't mind a little something, should you, Piglet,' and it being a hummy sort of day outside, and birds singing."

Food is embedded in our lives every day. Our eating patterns form in relation to other people and is integrally linked to social groups. Sharing food with other people is one of our oldest forms of connecting with other people and creates an instant, natural bond.

5. Food has its own spiritual power.

Milne's cognizance of the spiritual nuances behind food is easily seen in this exchange between Piglet and Pooh. This moment, so simple, speaks volumes. Piglet recognizes that food brings comfort to a distressed emotional state, and food offers support to help Pooh find himself again.

Food (or its routines, or its comfort) can help bring us to a balanced, centered, more spiritual state. Also who hasn't been hangry? It's very difficult to be zen when you're hangry.

6. Food feeds the imagination.

The internationally famous chef Anthony Bourdain viewed food as a powerful storytelling tool. Some native American cultures believe food tells you where you've come from and where you're going. It can empower you to reassert control over your own self and your own life; it reunites you with your spiritual or imaginative self. ("For Bourdain," 2018).

Milne here captures the je ne sais quoi behind food—where food has not only a physiological and emotional influence, it also has an imaginative influence as well.

7. Food exists to nourish and fill us.

We need to eat to survive, and it doesn't take a Bear of Little Brain to tell us how wonderful it is that something we need is also something we find so much delight and joy in. Pooh got how beautiful it is to enjoy a good meal--and thankfully, with a yummy snack or a home-cooked meal or a trip out to eat, you can too.

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