Early this morning, two hundred and fourteen years ago, Alexander Hamilton was shot in an infamous duel with rival Aaron Burr. Hamilton died the next day, Burr’s days as a legitimate political candidate were over, and both soon faded into relative historical obscurity. Some centuries later, their tale fell into the hands of Broadway force Lin Manuel Miranda, who was fresh off the success of his first full length production, In the Heights. Hamilton’s life and death were about to make an epic comeback, styled to powerhouse ballads, rap battles, and New York city fanfare. Continue reading
Tag Archives: Hamilton: An American Musical
Did Hamilton Write Too Much For His Own Good?
Hamilton wrote … the other FIFTY-ONE!
You probably know that line about the Federalist from the Act One finale of Hamilton, “Non-Stop,” in which Aaron Burr repeatedly asks Hamilton, “how do you write like you’re running out of time?” In the musical, his indefatigable pen is treated as a virtue (and yes, I have at times listened to the number on repeat to motivate my own writing). By contrast, scholars frequently point out that the eighty-five Federalist essays were not widely reprinted when they were first written in late 1787 and early 1788, even if they have since garnered attention as a clear statement of the views of (some of) the Founders on the meaning of the Constitution.[1]
Roundtable: A Proud Taste for Alex & Eliza
Hilary Mantel recently gave the annual BBC Reith Lecture in which she described why she became a historical novelist. Printed in The Guardian, Mantel argued that culture and genes, history and science, put “our small lives in context.” Mantel’s work is of course separated from the theme of this roundtable by two degrees, as she is neither a writer of YA nor of Early America, but the broader question I think she was trying to answer—why we write about what we do—resonate in a conversation on #FoundingFiction. Continue reading
Guest Post: “Have You Read this?:” Teaching About Early Republic Print Culture with Hamilton
We are pleased to share this guest post from Michelle Orihel, an Assistant Professor of History at Southern Utah University. Dr. Orihel received her doctorate from Syracuse University and is currently working on a book manuscript about Democratic-Republican Societies in the post-revolutionary period.
Last spring, I blogged about how I used the song “Farmer Refuted” from Hamilton: An American Musical to teach about the pamphlet wars of the American Revolution.[1] But, that’s not the only song about pamphlets in the musical. There’s also “The Reynolds Pamphlet,” named after the sensational tract published in 1797 in which Alexander Hamilton confessed to adultery.[2]
“Daddy” Schuyler, Hamilton, and the Dakota Access Pipeline
Three things happened in the last couple weeks to put Hamilton back on my mind: 1) the Victoria Palace Theatre in London announced that tickets for the show would finally (finally!) go on sale in January, 2) I started re-reading some of my research notes for this round of book edits, and 3) police arrested and pepper-sprayed peaceful Native Americans—Standing Rock Sioux, along with 90 additional nations and tribes—who were protesting the construction of the Dakota Access Pipeline.[1] I find that being a historian is a job of intellectual mood swings. I read my sources telling me about the horrible things some of the people I study did in the past, and then I have to pull back and contextualize their actions within an eighteenth-century milieu in which many people were terrible people most of the time by 2016’s standards (and people, our standards these days are low). All this is a longish way of saying that I, like many historians, love Hamilton while recognizing that its treatment of Early Republic history misrepresents and sometimes leaves out some of the topics that matter most to me as a historian. And so today I want to talk about Hamilton, settler colonialism, and Native American history—in particular, about land battles and the relationship between Indians, federal governments, and state entities. Continue reading
#WhatComesNext? Book Ideas for the Hamilton Lover in Your Life
With Hamilton’s sweep at the Tonys last night, this year’s phenomenal tide of Hamilton-mania has hit the high-water mark. You’ve cheered each much-deserved award and accolade, you’ve memorized every word of the soundtrack, you’ve devoured the #Hamiltome. Perhaps you’ve kept up with professional historians’ wide range of responses to Lin-Manuel Miranda’s blockbuster. Maybe you’re even one of the lucky few who’ve managed to score tickets to the show itself. But now, fans of the musical (and folks who are simply surrounded by them) might well find themselves asking, #WhatComesNext?
The Junto has the answer! Tomorrow afternoon, when you lose the daily ticket lottery yet again, why not start lookin’ for a mind at work? Grab a great history book and drown your sorrows in a flagon of sweet American Revolution knowledge. Here are some picks, creatively paired with favorite characters from the musical. Continue reading
Guest Post: Michelle Orihel, “A Pamphlet War In Song: Teaching Revolutionary Print Culture with the Musical, Hamilton“
We are pleased to share this guest post from Michelle Orihel, an Assistant Professor of History at Southern Utah University. Dr. Orihel received her doctorate from Syracuse University and is currently working on a book manuscript about Democratic-Republican Societies in the post-revolutionary period.
When I first listened to the Hamilton soundtrack last fall, the song “Farmer Refuted” caught my attention. The song stages a pamphlet war that began in November 1774 between Samuel Seabury, an Anglican minister in Westchester County, New York, and Alexander Hamilton, then an upstart New York college student. Their war of words over the First Continental Congress carried on for nearly four months and encompassed several tracts.[1] Continue reading
Historians and Hamilton: Founders Chic and the Cult of Personality
How does a crony capitalist son of a whore, and a militarist pumped up by delusional aspirations of honor, grow up to be feted by liberal scholars? [*]
Since the turn of the millennium, historians have lambasted the phenomenon of Founders Chic as a fundamental distortion of history. Placing the roles of specific, prominent individuals at the heart of sweeping narratives of the founding era meant that popular histories exaggerated the importance of individuals, at the expense of understanding the contribution of less-celebrated Americans or the role of broader societal and historical processes. Yet much of the reception of Hamilton, the hottest ticket on Broadway, seems to suggest that hagiography is acceptable, so long as it’s done to a catchy song-and-dance routine. It’s as if the only problem with Joseph Ellis, David McCullough and Ron Chernow is that they didn’t write to a hip-hop soundtrack. Continue reading
Hamilton, Art, History, and Truth
By now you’ve probably heard or read something about Hamilton: An American Musical, the hip-hop biography of Alexander Hamilton now running on Broadway. (If not, you can start with our reviews by Chris Minty and Nora Slonimsky and Ben Carp.) I went to see it last week with a group of historians (how’s that for a nerdy event?) and had an amazing time. First of all, the show is fantastic on all of the standard measures of the experience—the acting, the music, the singing and choreography, the set—they’re all great. You should see it if you can, because it’s really that good. But what makes Hamilton a bit different is how interesting it is as a vessel for conveying history to the general public, the argument it makes about Hamilton’s life, and the use of artistic license to make such an incisive historical argument.
Historians Attend Lin-Manuel Miranda’s Hamilton: An American Musical
This post was written by Christopher Minty and Nora Slonimsky, who, many moons ago, woke up early on a Sunday morning to purchase tickets to the opening-night preview performance of Hamilton: An American Musical, which took place on July 13, 2015, at the Richard Rodgers Theater in New York City. This post was originally posted on July 19, 2015. It was removed as a courtesy to the show’s creative and promotional teams. It has been reposted with significant alterations and additions.
Hip-hop is on Broadway, not just in a popular YouTube video. On Monday, July 13, 2015, Lin-Manuel Miranda’s hit off-Broadway musical, HAMILTON, made its debut on the big stage. On August 6, 2015, rebranded as Hamilton: An American Musical, a much-applauded, diverse cast returned to perform in the official opening of a much larger, hopefully long-running production at the Richard Rodgers Theater.
The Junto 