Skip to main content

Lin-Manuel Miranda Breaks Down How He Wrote Hamilton‘s Big Hit, “My Shot”

The current moment has forced the original cast and crew of Lin-Manuel Miranda’s massive hit musical Hamilton to revisit and reevaluate the story it tells about America’s founding. As Miranda himself told The Root’s Tonja Renée Stidhum, “All of these guys are complicit in the brutal practice of slavery, slavery is the third line of our show… that is just a prerequisite for the story we’re telling.” But he didn’t first set out to write history. “Originally, this was a concept album. I wanted to write a hip hop album, so I was never picturing the guys on the statues that are being torn down right now. I was picturing, ‘What are the voices that are best suited to tell the story.’”

Debuting in more optimistic times, when the country had its first Black president, Hamilton declared, says Leslie Odom, Jr. (who played Aaron Burr) that “if this history belongs to all of us… then we’re going to take it and we’re going to say it and use our own words to tell it!” Controversy and critique aside, there’s no denying Miranda’s tremendous gifts as a dramatist and songwriter, on display not only in Hamilton but in the Moana soundtrack.

How does he do it? Riding the wave of renewed Hamilton fandom after the Disney release of the original cast film, Miranda recently sat down with Rotten Tomatoes to discuss his process. When he gets to Hamilton, he gives us a detailed breakdown of “My Shot,” which, he says, took him a year to write.

“It was not only writing Hamilton’s ‘I want’ song,” says Miranda, “although it certainly is that. It was also proving my thesis that Hamilton’s intellect is what allows him to propel through the narrative of the story.” The play’s protagonist proves his intellectual worthiness by mastering and making his own the styles of Miranda’s favorite rappers, from Big Pun to Jay Z to Biggie to Mobb Deep. “I’m grabbing from the influences and paying homage to those influences. …I’m literally calling on the ancestors of this flow. …The ‘Whoah’ section, I’ll just say, is based on the AOL startup sound because I wanted it to feel like …his words are connecting with the world.”

Whether or not any of Hamilton’s younger viewers have ever heard the AOL startup sound, the detail reveals how Miranda’s mind works. His creations emerge from a matrix of references and allusions, each one chosen for its specific relation to the story. Many of these callbacks go over the audience’s heads, but they still have their intended effect, creating tension in “the densest couplets that I could write,” Miranda says. The message in “My Shot,” within the context of the musical itself, is that “Hamilton is the future within this group of friends.” But the message of Hamilton has nothing to do with the 18th century and everything to do with the 21st. Perhaps its most subversive idea is that the highest leadership in the U.S. might just as well look like Hamilton as Hamilton. See Miranda and the Hamilton cast perform "My Shot" at the White House just below.

via Laughing Squid

Related Content:

Watch Lin-Manuel Miranda Perform the Earliest Version of Hamilton at the White House, Six Years Before the Play Hit the Broadway Stage (2009)

A Whiskey-Fueled Lin-Manuel Miranda Reimagines Hamilton as a Girl on Drunk History

The Muppets Sing the First Act of Hamilton

Josh Jones is a writer and musician based in Durham, NC. Follow him at @jdmagness

Lin-Manuel Miranda Breaks Down How He Wrote Hamilton‘s Big Hit, “My Shot” is a post from: Open Culture. Follow us on Facebook, Twitter, and Google Plus, or get our Daily Email. And don't miss our big collections of Free Online Courses, Free Online Movies, Free eBooksFree Audio Books, Free Foreign Language Lessons, and MOOCs.



from Open Culture https://ift.tt/32I7Ypr
via Ilumina

Comments

Popular posts from this blog

Board Game Ideology — Pretty Much Pop: A Culture Podcast #108

https://podtrac.com/pts/redirect.mp3/traffic.libsyn.com/secure/partiallyexaminedlife/PMP_108_10-7-21.mp3 As board games are becoming increasingly popular with adults, we ask: What’s the relationship between a board game’s mechanics and its narrative? Does the “message” of a board game matter? Your host Mark Linsenmayer is joined by game designer Tommy Maranges , educator Michelle Parrinello-Cason , and ex-philosopher Al Baker to talk about re-skinning games, designing player experiences, play styles, game complexity, and more. Some of the games we mention include Puerto Rico, Monopoly, Settlers of Catan, Sorry, Munchkin, Sushi Go, Welcome To…, Codenames, Pandemic, Occam Horror, Terra Mystica, chess, Ticket to Ride, Splendor, Photosynthesis, Spirit Island, Escape from the Dark Castle, and Wingspan. Some articles that fed our discussion included: “ The Board Games That Ask You to Reenact Colonialism ” by Luke Winkie “ Board Games Are Getting Really, Really Popular ” by Darron Cu...

Ishkur’s Guide to Electronic Music: An Interactive, Encyclopedic Data Visualization of 120 Years of Electronic Music

In a very short span of time, the descriptor “electronic music” has come to sound as overly broad as “classical.” But where what we (often incorrectly) call classical developed over hundreds of years, electronic music proliferated into hundreds of fractal forms in only decades. A far steeper quality curve may have to do with the ease of its creation, but it’s also a factor of this accelerated evolution. Music made by machines has transformed since its early 20th-century beginnings from obscure avant-garde experiments to massively popular genres of global dance and pop. This proliferation, notes Ishkur—designer of Ishkur’s Guide to Electronic Music —hasn't always been to the good. Take what he calls “trendwhoring,” a phenomenon that spawns dozens of new works and subgenera in short order, though it’s arguable whether many of them should exist. Ishkur, describes this process below in an excerpt from his erudite, sardonic “Frequently Unasked Questions”: If fart noises were sudde...

How Led Zeppelin Stole Their Way to Fame and Fortune

When Bob Dylan released his 2001 album  Love and Theft , he lifted the title from a  book of the same name by Eric Lott , who studied 19th century American popular music’s musical thefts and contemptuous impersonations. The ambivalence in the title was there, too: musicians of all colors routinely and lovingly stole from each other while developing the jazz and blues traditions that grew into rock and roll. When British invasion bands introduced their version of the blues, it only seemed natural that they would continue the tradition, picking up riffs, licks, and lyrics where they found them, and getting a little slippery about the origins of songs. This was, after all, the music’s history. In truth, most UK blues rockers who picked up other people’s songs changed them completely or credited their authors when it came time to make records. This may not have been tradition but it was ethical business practice. Fans of Led Zeppelin, on the other hand, now listen to their...