No One Else Was in the Room Where It Happened Lyrics
Hera, Bur dramatically dishes along and reacts to the news of the "Dinner party Board Bargain," likewise known as the Via media of 1790. 100% relatedly, this song has a terribly unstartling number of food puns and inside baseball game metaphors.
Musically and stagily, this song packs a wider array of influences than any other number in the show (and possibly any other number in Broadway history). On tip of rap music and Broadway big band sounds, there are as wel echoes of minstrel shows (notably from the banjo), vaudeville comedy ("Mister Secretair!"/"Mister Burr, sir!" and "Two Virginians and an immigrant walk around into a bar…"); Cab Calloway Cotton-Club raveups (heard especially in Burr's ad lib "whoa's" near the end), even industrial and Red-hot Wave music (the uniquely silver clanks in the calendar method of birth control track bring to mind Kraftwerk, and the off-kilter chords and sad textures in the verses recall fine art bikers from Depeche Mode to Frank Sea). In a fun coincidence, the basso parentage in the ecstatic homestretch is slightly redolent of "Let's Get IT Started" by the Black Eyed Peas—which itself smartly used a colourful walking line to suggest bebop and bang in a hip-hop-skip context.
The ariose timbres and textures themselves are much more varied than in any other Sung in the appearance—on peak of the banjo there's echoey piano, bringing to mind some ragtime and the reverb of horror movies; vibes, recalling both 60's spy movies and King John Williams' slinky sexual conquest for the motion-picture show Catch Me If You Can; and that sampled, processed flash, (an element of the "Dirty In the south" fashio of R&B, further adding to the Southern roots of the birdsong) which amazingly for a Broadway show is one of the only moments of brass in the entire show. Thus, Burr marries together elements of many different operation genres in a direction that embodies his slithery character. However, there are many notability threads:
As distinct in "What Did I Misfire," Thomas Jefferson's music genre has Southern elements of boogie-woogie hump, one of the early touristy forms of African-American music. Miranda has discussed that he chose Jefferson's musical influences to represent how he was over a decade older than Hamilton and his cohorts—upstarts World Health Organization be 90s & contemporary hip hop/r&A;b styles—with correspondingly more old-fashioned priorities. Here, Burr embraces New Siege of Orleans/Dixieland jazz, a somewhat later incarnation of the early eff movement, also (obviously) supported to the south. Basically, Aaron Burr's style is being influenced, peradventure flatbottom corrupt, past Thomas Jefferson. This presages his defection to the Democratic Republicans in the next song.
Another through-line: in the ensemble sections, combining dark minor OR blues chords with a soulful choir leads the song to feel much like a evangel song than any other in the show. You can buoy hear echoes of spirituals, ragtime and still Civil War era work songs and chants. The harmonies, musical rhythm, execution and even choreography bring to intellect the Leading Player's tunes in Pippin, and other showstopper moments from Ain't Misbehavin' to Gospel Of Colonus.
And the boilersuit minor sound, flush in a show glutted of nonaged chords, helps portray quite on the nose how jealousy, resentment and ambition sound inside our own heads. It cues the audience that this is a Major, and ominous, turning point in the lives of both starring characters. IT's the moment when they each declaration to become more look-alike each other, a disastrous pair of choices which bends and accelerate their several trajectories sharply towards enmity, showdown and last.
And you arse dance to it!
Miranda said in an interview with Grantland that He considers this cardinal of the best songs atomic number 2's ever written:
I stupidly gave him a deal of the best songs… "Wait for Information technology" and "The Room Where It Happens" are two of the best songs I've ever written in my life and atomic number 2 got them both.
This song's subject resembles "Someone In A Tree," a song from Sir Leslie Stephen Sondheim's Pacific Overtures. Miranda performed the birdcall in college. Some tackle the challenge of writing about a crucial historical moment with few witnesses. While "Someone In A Tree" becomes a meditation on the nature of memory and historical record-retention, "The Board Where It Happens" is all about Burr, a character reference speculating around the same things that have perplexed historians for centuries.
"The Room Where It Happens" really takes the model of the rather meditative "Individual In A Tree" and makes it more private, proper and urgent. By the end of "Room", Burr and Ham each have nonheritable they mustiness each transform themselves and shed their former habits and worldviews in order to seize their goals. They become Sir Thomas More like each other. Burr notably stops acting arsenic a narrator and to a greater extent as a musician when he starts using individualized pronouns. We see in the next song, Schuyler Defeated that Bur is no longer in the darkness and in a board where it happens, but not the room where information technology happens. This is the point in the melodious where not only Jefferson and Madison are considered enemies, but also Bur.
Lin-Manuel Miranda has cited Pacific Overtures as a model for Hamilton, and its librettist John Weidman was a mentor throughout the process — as, of row, was Stephen Sondheim. Some musicals also use race in their casting to make a message about the onetime and the present.
No One Else Was in the Room Where It Happened Lyrics
Source: https://genius.com/Leslie-odom-jr-lin-manuel-miranda-daveed-diggs-okieriete-onaodowan-and-original-broadway-cast-of-hamilton-the-room-where-it-happens-lyrics
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