Abstract Over the past two years, something odd has happened on Broadway, which can be accredited to one man, or rather two. A new musical known as Hamilton, based on the genius and life of Alexander Hamilton, is striving to become one of the most beloved, most viewed and widely appreciated Broadway shows of all time, and it is all the creation of Lin Manuel Miranda. This paper aims to address the issues of changing the conventional Broadway music by introducing hip-hop, which seemingly focuses on rapping about relevant issues over edgy beats. In line with relevant literature, the dissertation attempts to explore the role of the introduction of modern hip-hop music and diverse cast playing the protagonist parts of the Founding Fathers in achieving to convey the message of Hamilton while changing the face of orthodox Broadway plays. The paper departs from the question of whether these elements are successful in attracting diverse ethnicities and a younger audience, while simultaneously managing to gross higher ticket sales. KeyWords: Broadway, hip-hop, Hamilton, audience members, diversity.

This dissertation examines the musical "Hamilton" and its relationship to diversity: musically, racially - but also the more complicated links between Broadway and diversity and what the word 'diversity' really entails for this work deemed 'revolutionary'.

An examination of Lin-Manuel Miranda's 'Hamilton: An American Musical', and it's use of the American Dream ideology of writing ones way out of their circumstances, in relation to the historiography of Founder's Chic. Written as my final paper for my Media Criticism course at Queens College.

This reflexión pedagógica discusses the lessons scholars and teachers of Latinx history can learn from the historical vision put forward in Lin-Manuel Miranda's 2015 Broadway musical Hamilton. Following a discussion of the origins of Miranda's Latinx-inflected view of the life and times of Alexander Hamilton, the article places his approach within the context of the existing historiography on US-Latinx history, and assesses the pros and cons, both pedagogical and rhetorical, of taking such a Hamiltonian approach. Keywords Historiography · Alexander Hamilton · Latinx history · Identity · Pedagogy Alexander Hamilton, the first secretary of the treasury and the leading author of The Federalist Papers, was a Nuyorican. Or so he is portrayed in Lin-Manuel Miranda's 2015 Broadway musical Hamilton. Born "a bastard, orphan, son of a whore and a Scotsman" in "a forgotten Spot in the Caribbean," purposely reminiscent of Puerto Rico, he sailed to the "mainland,"

This article considers the frictive intersections of creative decisions and their temporal consequences in the musical Hamilton. Lauded and criticized in its attempt to tell “the story of America then” by “America now”—an oft-quoted statement from creator Lin-Manuel Miranda—we are concerned centrally with what Hamilton does for the present in 2020. We argue that the slippages between Black aesthetics, bodies, and politics both on and offstage; then and now, illustrate a series of temporal dissonances that pervade the racialized and immigrant narratives authorized by Hamilton. Throughout our polyphonic consideration of Hamilton’s, America’s, and our own various tempos and rhythms, we ask: how does the past become a fabulation of a future (never) to come? Keywords: time, temporality, Hamilton, remix, choreography

Review essay

The US is going through an identity crisis. With its demographics changing radically, with an outside world where non-state actors are rapidly emerging and changing old geopolitical rules, with America’s own self-image increasingly criticized and distrusted, Americans are grappling for a (new) sense of identity (and hence future). The musical ‘Hamilton’ is one of the many rising voices that offer their own visions on the identity and future of the US. Returning to the narrative of the Founding Fathers, until now used by conservative groups, it updates this narrative to include racial minorities, women and immigrants and projects an image of the future. In other words, it (ab)uses the past in a contemporary framework to project an image of the future. As such, it becomes political. What is this image of (a future) America the musical creates, and how is it perceived? These questions will form the guidelines through this thesis.