A Spark Into A Flame: Hamilton & Hip Hop (2026) Movie Script
1
[instrumental music playing]
[Miranda] I'm someone who fell in love
with theater not by seeing Broadway,
but rather by doing the school play.
And I think great musicals have
protagonists that are stuck somewhere
and they want to be somewhere else.
And that is every hip-hop story.
Every hip-hop story we loved
is an MC writing about their world
so specifically
that they make us feel it
and understand it,
and then they transcend their world.
Hamilton couldn't exist with anyone else
writing it because it's everything I love
about theater, about hip-hop.
When I'm reading the book, I'm never
picturing the dudes on the money.
I'm picturing who is the MC that I would
cast in this part in Hamilton's life?
That's why when I started writing
the songs for Hamilton,
I actually started writing it as a mixtape
with hip-hop lyrics that were as dense
as my favorite MCs',
infused with not just their musicianship
but their versatility,
making this hopefully boundary-busting
hip-hop album that told the story.
I had always known Lin to be
super creative and super eclectic.
Like, I just love that his taste of music
just had such a wide breadth
of varieties, of styles, of genres.
And he encompasses all those things.
The fun of writing hip-hop for theater
is that flow determines character.
Flow as a way of indicating intellect
and train of thought
is something I started playing with
in In the Heights.
And then that became like
the ultimate thing
I got to write to in Hamilton.
[Lacamoire] He could sit down
and, like, word-for-word,
like, spit out a Big Pun track
and also, like, sing a song from Camelot
and not miss a note.
[Miranda] With Hamilton,
I'm doing my best Big Pun impression,
and I'm not only rhyming
six times on the line,
I'm doing what Pun does,
which is the end of the line
is the beginning of the next line.
It's hard to analyze which guys is spies
Be advised, chico
We recognize who lies
It's all in the eyes, chico
We read 'em and see 'em
For what they are
I'm past patiently waitin'
I'm passionately smashin'
Every expectation
Every action's an act of creation
I'm laughing in the face
Of casualties and sorrow
For the first time
I'm thinkin' past tomorrow
I was still in In the Heights
while I was writing those opening songs.
So I remember talking to Oskar Eustis
at the Public Theater
to see if, if I wrote the songs,
we could do a concert at the Delacorte,
which is the outdoor theater
where they do Shakespeare in the Park.
And I thought that felt like
a way of straddling
the worlds I wanted to straddle:
a hip-hop concert,
but it's where we do Shakespeare.
But what happened was
it just started becoming a theater piece.
Even though I had
visions of it as a mixtape,
it was becoming a show
as I was writing it.
[Ganbarg] The most memorable things from
that first meeting out of Lin's mouth
was not about partnering with a label
to do a cast recording.
It was, "No, this is a hip-hop mixtape.
The hip-hop mixtape
is gonna be all the hip-hop artists,
you know, performing these songs.
Um, and it's gonna come out
before the show comes out.
The show's called The Hamilton Mixtape.
We're gonna put out an actual mixtape."
[Morales] Some demos were shared,
but they were really rough demos
that gave you a bit of an idea.
He was explaining how
a lot of the characters
were inspired by
rappers that he was influenced by.
And the idea was
we'd put them on the mixtape
and have them cover some of the songs.
[Miranda] We're still talking about doing
a mixtape before the cast album comes out.
But one of the things we realize is,
the only way to convince anyone
is to have them see the show. [chuckles]
I was really proud of In the Heights.
But I could not get hip-hop artists
to come see In the Heights. [chuckles]
It just was not on their radar
because the worlds of hip-hop and Broadway
and off-Broadway are like this.
The Venn diagram barely touches.
And I'm sitting here like this,
trying to pull them together.
So I was ambitious for this
to reach beyond
the theater space.
You know, I just really wanted
my heroes to see it.
[Questlove] My manager called me and said,
"You have to see this.
I insist you see this tomorrow."
And I was like, "Oh, I got plans."
He said, "Ah, ah, ah,
you're going tomorrow."
Before I saw it, I was like,
"There's no way this is gonna be
the way people are describing it."
Because everybody was talking about,
"You've gotta see this thing.
You've gotta see it."
You know,
going into the Hamilton experience,
I was, like, a naysayer.
I may have gone into it, you know,
almost kicking and screaming.
I really took some
required some winning over.
I was just hearing about it too much.
It was to the point where it was like
some crackhead shit was going on.
But the thing was,
it was coming from the right people.
I remember that night
I remember that--
I remember that night
I just might
Regret that night
For the rest of my days
I remember those soldier boys
Trippin' over themselves
To win our praise
I remember
The first time I saw Hamilton,
I was sitting there, thinking, like,
"Okay, I've never seen anything
like this before."
I was immediately impressed with,
you know, just the lyrical dexterity
and just the level of, you know,
just interwovenness.
Just to take the ethos of hip-hop,
and to develop this amazing story arc,
it was overwhelming
in the best possible way.
The writing just went
to a whole new standard,
a whole new level,
beyond what I could imagine.
So this is what it feels like
To match wits
With someone at your level
What the hell is the catch?
It's the feeling of freedom
Of seein' the light
It's Ben Franklin
With a key and a kite
You see it, right?
The conversation lasted two minutes
Maybe three minutes
Everything we said in total agreement
It's a dream and it's a bit of a dance
A bit of a posture
It's a bit of a stance
[Nas] I thought it was incredible.
Like, the best thing I ever seen.
[Martinez] The thing about hip-hop is,
like, it just boils down to, "Is it good?
Like, do we feel you? Is it authentic?"
And this checked all those boxes.
It was authentic.
It was great storytelling.
It was great wordplay.
Like, the bars are barring. The, you know
You could tell that he cared about
the lines and the words and the metaphors.
There's no way somebody could create that
and not have been a true fan of hip-hop.
[Dessa]
I remember particularly Daveed Diggs
and watching him roll on stage with, like,
a hundred-thousand watts of swag,
and seeing him forward the story in a way
that looked totally native to hip-hop.
That was the
One of the first times that,
for me, I thought,
"I think I understand
this outlandishly ambitious vision."
The battlin' between the MCs
and the skill set that went into the bars
Which wasn't Broadway shit.
It was real hip-hop shit.
"Life, liberty
And the pursuit of happiness"
We fought for these ideals
We shouldn't settle for less
These are wise words
Enterprising men quote 'em
Don't act surprised, you guys
'Cause I wrote 'em
[Residente] The way he did it
was with total freedom.
And when you have that,
I think that's when you can go anywhere.
And that's what he did. He didn't
If he thought about rules,
probably he wouldn't do what he did.
[Nas] I was like, "This is so good
that I need to step my game up
if I wanna rap after I leave this play."
[Busta Rhymes] I was sitting there
with my jaw to the floor
in disbelief, because as I'm looking
at Hercules Mulligan for the first time,
I'm seeing me in Hercules Mulligan.
Hercules Mulligan
I need no introduction
When you knock me down
I get the back up again!
The moment
I read the words Hercules Mulligan,
I pictured his voice saying it.
Hercules Mulligan
And so I was fully prepared to be like,
if Busta Rhymes doesn't like it,
close the show.
Like, if he doesn't get it, like, we're
we fucked up.
And we'll go home and we'll regroup.
We knew it was the greatest thing that
ever happened in the whole wide world
to us and to theater.
We didn't know that other worlds of music
would embrace it in that way.
- Amazing.
- How long did it take you to write it?
- [Miranda] Six years.
- That makes me feel a little bit better.
- Oh, good. I'm glad. I'm glad.
- I feel a little bit better.
- I'm glad.
- No. He sat down and wrote this shit.
It was very exciting. It was very exciting
because it felt like
what I wanted to happen,
which was for hip-hop and theater
to be in conversation,
was happening with this piece.
[Odom] Even though we started
At the very same time
Alexander Hamilton began to climb
How to account
For his rise to the top?
Man, the man is nonstop
[Miranda] It happens maybe once
every 20 years in the theater
where everyone who sees the show,
for better or worse,
goes and tells everyone they know
about the show.
We were exponentially expanding
our audience.
And so that gave us
a whole lot of excitement.
It changed the force of the momentum.
It went from being a speeding car
to a speeding locomotive to a rocketship.
Alexander Hamilton, Hamilton
Just you wait
I am not throwing away my shot
[Ganbarg] Lin had always had the concept
of doing The Hamilton Mixtape.
Once the show became, you know,
capital H, all bold Hamilton,
now was the time
that this was a viable idea. Let's go.
[Black Thought]
What we all knew at that time was
that Lin was vibrating super high.
And when you're vibrating, like,
when you're just at an energetic level,
people are drawn to you.
When Lin hit me
about being on the mixtape,
I mean, anything to do with Hamilton,
I was super in, super with it.
So I got the track.
I wrote "My Way Out."
That's the type of song I wanna be on
'cause that's my life too.
[Miranda] What happened was,
I was still doing the show
while we were getting busy on the mixtape.
And what was so exciting was
these artists I admired so much
were taking the ball and running with it.
I picked up the pen like Hamilton
Street analyst, now I write words
That try to channel 'em
No political power
Just lyrical power
For him to write to the hook,
"Wrote My Way Out,"
was just a dream come true.
I was not planning to be on this mixtape.
But then I heard that beat and was like,
I have to get on that.
Runnin' out of time
Like I'm Jonathan Larson's rent check
My mind is where the wild things are
Maurice Sendak
In withdrawal, I want it all
Please give me that pen back
You know, his verse was incredible.
He was vulnerable. He was, uh, lyrical.
He was a kid that was reading
and he winds up bleeding.
Y'all, I caught my first beatin'
From the other kids
When I was caught readin'
"Oh, you think you smart?"
Blaow! Start bleedin'
[Nas] A lot of people are intimidated
by the dude
who's focused and he's more concerned with
teaching himself, educating himself.
And I like people who can tell you
the human side about their experience
and not just the tough exterior.
Ayo, mugshot, gun shot
Dope shot, jump shot
Take your pick
But you only get one shot
Advice from a schoolteacher
To a young tot
Applyin' a sticker
To his Spider-man lunchbox
[Busta Rhymes]
I got the call about being on this record.
And obviously Black Thought is probably
the most incredible MC to me
that ever touched the mic
since the inception of hip-hop.
That's why I hustle hella hard
Never celebrate a holiday
That'll be the day
I coulda finally hit the lottery
[Black Thought] We all like wrote
and rewrote and recorded and demoed,
then, you know, tried and reattempted
those verses many times
just to sort of, to get it down.
See, I've been patiently waitin'
For this moment
To rise up again
That's the way I was molded
And as the last one standin'
As the rest of them foldin'
Give me my one chance to grab the torch
And properly hold it
I said I'm just like my country
I'm young, scrappy and hungry
And I'm not throwin' away my shot
[Residente] Lin-Manuel, with his project,
told me the idea and I loved it.
And I started to write
and he sent me the beat.
And it was nice to collaborate that way.
Con un pico, una pala
Y un rastrillo
Te construimos un castillo
Como es que dice el coro cabrn?
Immigrants, we get the job done
You know, the immigration song,
it's forever
because we're always gonna have
a lot of immigrants,
now and in the future.
It was important at that time
and it's important today.
That's why I wanted to be part of it.
Look how far I come
Look how far I come
Immigrants, we get the job done
[Dessa] For someone
who's come up in indie rap,
usually you're writing about
your own life.
And so one of the biggest joys
of participating in the mixtape
has been to try to get into the mind
of someone who lived generations ago,
who has a different story. That's a really
different task than the usual indie song.
So "Congratulations" for me was probably
one of the most kind of theatrical
studio performances I'd given
in a form that's otherwise very much
a first-person true story.
Congratulations
For the rest of your life
Every sacrifice you make
Is for my sister
Give her the best life
Congratulations
[Black Thought] What Hamilton
and The Hamilton Mixtape sessions
did for hip-hop,
did for music, did for pop culture
was it raised the bar and set a precedent.
[Common] It opens hip-hop up
to a whole nother chapter
in a way that's so revolutionary,
so groundbreaking.
Hip-hop and Broadway didn't have
any meaningful sliver of overlap.
And it really was Hamilton
that had like a gravitational pull
that was sufficient to drag
those two universes together.
This is the growing up
that hip-hop needed.
The penultimate flag planting on the moon
for hip-hop culture.
Nobody else
is making Broadway shows going,
"You know what we gotta do?
We gotta drop a mixtape."
Like, you really have to be
a child of hip-hop to want to do that.
So what an accomplishment
to be able to create something
that can stand alone like that.
It's in a class by itself.
And what an important part of the legacy.
[Miranda] In my wildest dreams,
I never would've thought
hip-hop and musical theater
would become such good friends
in the wake of the show.
But because of Hamilton,
there's now this conversation.
[Nas] Lin is a part of us,
he's a part of hip-hop.
He joined in the army.
And because of the mixtape,
we're all gonna be pieces
of this positive change
that Hamilton brought to the world.
[instrumental music playing]
[instrumental music playing]
[Miranda] I'm someone who fell in love
with theater not by seeing Broadway,
but rather by doing the school play.
And I think great musicals have
protagonists that are stuck somewhere
and they want to be somewhere else.
And that is every hip-hop story.
Every hip-hop story we loved
is an MC writing about their world
so specifically
that they make us feel it
and understand it,
and then they transcend their world.
Hamilton couldn't exist with anyone else
writing it because it's everything I love
about theater, about hip-hop.
When I'm reading the book, I'm never
picturing the dudes on the money.
I'm picturing who is the MC that I would
cast in this part in Hamilton's life?
That's why when I started writing
the songs for Hamilton,
I actually started writing it as a mixtape
with hip-hop lyrics that were as dense
as my favorite MCs',
infused with not just their musicianship
but their versatility,
making this hopefully boundary-busting
hip-hop album that told the story.
I had always known Lin to be
super creative and super eclectic.
Like, I just love that his taste of music
just had such a wide breadth
of varieties, of styles, of genres.
And he encompasses all those things.
The fun of writing hip-hop for theater
is that flow determines character.
Flow as a way of indicating intellect
and train of thought
is something I started playing with
in In the Heights.
And then that became like
the ultimate thing
I got to write to in Hamilton.
[Lacamoire] He could sit down
and, like, word-for-word,
like, spit out a Big Pun track
and also, like, sing a song from Camelot
and not miss a note.
[Miranda] With Hamilton,
I'm doing my best Big Pun impression,
and I'm not only rhyming
six times on the line,
I'm doing what Pun does,
which is the end of the line
is the beginning of the next line.
It's hard to analyze which guys is spies
Be advised, chico
We recognize who lies
It's all in the eyes, chico
We read 'em and see 'em
For what they are
I'm past patiently waitin'
I'm passionately smashin'
Every expectation
Every action's an act of creation
I'm laughing in the face
Of casualties and sorrow
For the first time
I'm thinkin' past tomorrow
I was still in In the Heights
while I was writing those opening songs.
So I remember talking to Oskar Eustis
at the Public Theater
to see if, if I wrote the songs,
we could do a concert at the Delacorte,
which is the outdoor theater
where they do Shakespeare in the Park.
And I thought that felt like
a way of straddling
the worlds I wanted to straddle:
a hip-hop concert,
but it's where we do Shakespeare.
But what happened was
it just started becoming a theater piece.
Even though I had
visions of it as a mixtape,
it was becoming a show
as I was writing it.
[Ganbarg] The most memorable things from
that first meeting out of Lin's mouth
was not about partnering with a label
to do a cast recording.
It was, "No, this is a hip-hop mixtape.
The hip-hop mixtape
is gonna be all the hip-hop artists,
you know, performing these songs.
Um, and it's gonna come out
before the show comes out.
The show's called The Hamilton Mixtape.
We're gonna put out an actual mixtape."
[Morales] Some demos were shared,
but they were really rough demos
that gave you a bit of an idea.
He was explaining how
a lot of the characters
were inspired by
rappers that he was influenced by.
And the idea was
we'd put them on the mixtape
and have them cover some of the songs.
[Miranda] We're still talking about doing
a mixtape before the cast album comes out.
But one of the things we realize is,
the only way to convince anyone
is to have them see the show. [chuckles]
I was really proud of In the Heights.
But I could not get hip-hop artists
to come see In the Heights. [chuckles]
It just was not on their radar
because the worlds of hip-hop and Broadway
and off-Broadway are like this.
The Venn diagram barely touches.
And I'm sitting here like this,
trying to pull them together.
So I was ambitious for this
to reach beyond
the theater space.
You know, I just really wanted
my heroes to see it.
[Questlove] My manager called me and said,
"You have to see this.
I insist you see this tomorrow."
And I was like, "Oh, I got plans."
He said, "Ah, ah, ah,
you're going tomorrow."
Before I saw it, I was like,
"There's no way this is gonna be
the way people are describing it."
Because everybody was talking about,
"You've gotta see this thing.
You've gotta see it."
You know,
going into the Hamilton experience,
I was, like, a naysayer.
I may have gone into it, you know,
almost kicking and screaming.
I really took some
required some winning over.
I was just hearing about it too much.
It was to the point where it was like
some crackhead shit was going on.
But the thing was,
it was coming from the right people.
I remember that night
I remember that--
I remember that night
I just might
Regret that night
For the rest of my days
I remember those soldier boys
Trippin' over themselves
To win our praise
I remember
The first time I saw Hamilton,
I was sitting there, thinking, like,
"Okay, I've never seen anything
like this before."
I was immediately impressed with,
you know, just the lyrical dexterity
and just the level of, you know,
just interwovenness.
Just to take the ethos of hip-hop,
and to develop this amazing story arc,
it was overwhelming
in the best possible way.
The writing just went
to a whole new standard,
a whole new level,
beyond what I could imagine.
So this is what it feels like
To match wits
With someone at your level
What the hell is the catch?
It's the feeling of freedom
Of seein' the light
It's Ben Franklin
With a key and a kite
You see it, right?
The conversation lasted two minutes
Maybe three minutes
Everything we said in total agreement
It's a dream and it's a bit of a dance
A bit of a posture
It's a bit of a stance
[Nas] I thought it was incredible.
Like, the best thing I ever seen.
[Martinez] The thing about hip-hop is,
like, it just boils down to, "Is it good?
Like, do we feel you? Is it authentic?"
And this checked all those boxes.
It was authentic.
It was great storytelling.
It was great wordplay.
Like, the bars are barring. The, you know
You could tell that he cared about
the lines and the words and the metaphors.
There's no way somebody could create that
and not have been a true fan of hip-hop.
[Dessa]
I remember particularly Daveed Diggs
and watching him roll on stage with, like,
a hundred-thousand watts of swag,
and seeing him forward the story in a way
that looked totally native to hip-hop.
That was the
One of the first times that,
for me, I thought,
"I think I understand
this outlandishly ambitious vision."
The battlin' between the MCs
and the skill set that went into the bars
Which wasn't Broadway shit.
It was real hip-hop shit.
"Life, liberty
And the pursuit of happiness"
We fought for these ideals
We shouldn't settle for less
These are wise words
Enterprising men quote 'em
Don't act surprised, you guys
'Cause I wrote 'em
[Residente] The way he did it
was with total freedom.
And when you have that,
I think that's when you can go anywhere.
And that's what he did. He didn't
If he thought about rules,
probably he wouldn't do what he did.
[Nas] I was like, "This is so good
that I need to step my game up
if I wanna rap after I leave this play."
[Busta Rhymes] I was sitting there
with my jaw to the floor
in disbelief, because as I'm looking
at Hercules Mulligan for the first time,
I'm seeing me in Hercules Mulligan.
Hercules Mulligan
I need no introduction
When you knock me down
I get the back up again!
The moment
I read the words Hercules Mulligan,
I pictured his voice saying it.
Hercules Mulligan
And so I was fully prepared to be like,
if Busta Rhymes doesn't like it,
close the show.
Like, if he doesn't get it, like, we're
we fucked up.
And we'll go home and we'll regroup.
We knew it was the greatest thing that
ever happened in the whole wide world
to us and to theater.
We didn't know that other worlds of music
would embrace it in that way.
- Amazing.
- How long did it take you to write it?
- [Miranda] Six years.
- That makes me feel a little bit better.
- Oh, good. I'm glad. I'm glad.
- I feel a little bit better.
- I'm glad.
- No. He sat down and wrote this shit.
It was very exciting. It was very exciting
because it felt like
what I wanted to happen,
which was for hip-hop and theater
to be in conversation,
was happening with this piece.
[Odom] Even though we started
At the very same time
Alexander Hamilton began to climb
How to account
For his rise to the top?
Man, the man is nonstop
[Miranda] It happens maybe once
every 20 years in the theater
where everyone who sees the show,
for better or worse,
goes and tells everyone they know
about the show.
We were exponentially expanding
our audience.
And so that gave us
a whole lot of excitement.
It changed the force of the momentum.
It went from being a speeding car
to a speeding locomotive to a rocketship.
Alexander Hamilton, Hamilton
Just you wait
I am not throwing away my shot
[Ganbarg] Lin had always had the concept
of doing The Hamilton Mixtape.
Once the show became, you know,
capital H, all bold Hamilton,
now was the time
that this was a viable idea. Let's go.
[Black Thought]
What we all knew at that time was
that Lin was vibrating super high.
And when you're vibrating, like,
when you're just at an energetic level,
people are drawn to you.
When Lin hit me
about being on the mixtape,
I mean, anything to do with Hamilton,
I was super in, super with it.
So I got the track.
I wrote "My Way Out."
That's the type of song I wanna be on
'cause that's my life too.
[Miranda] What happened was,
I was still doing the show
while we were getting busy on the mixtape.
And what was so exciting was
these artists I admired so much
were taking the ball and running with it.
I picked up the pen like Hamilton
Street analyst, now I write words
That try to channel 'em
No political power
Just lyrical power
For him to write to the hook,
"Wrote My Way Out,"
was just a dream come true.
I was not planning to be on this mixtape.
But then I heard that beat and was like,
I have to get on that.
Runnin' out of time
Like I'm Jonathan Larson's rent check
My mind is where the wild things are
Maurice Sendak
In withdrawal, I want it all
Please give me that pen back
You know, his verse was incredible.
He was vulnerable. He was, uh, lyrical.
He was a kid that was reading
and he winds up bleeding.
Y'all, I caught my first beatin'
From the other kids
When I was caught readin'
"Oh, you think you smart?"
Blaow! Start bleedin'
[Nas] A lot of people are intimidated
by the dude
who's focused and he's more concerned with
teaching himself, educating himself.
And I like people who can tell you
the human side about their experience
and not just the tough exterior.
Ayo, mugshot, gun shot
Dope shot, jump shot
Take your pick
But you only get one shot
Advice from a schoolteacher
To a young tot
Applyin' a sticker
To his Spider-man lunchbox
[Busta Rhymes]
I got the call about being on this record.
And obviously Black Thought is probably
the most incredible MC to me
that ever touched the mic
since the inception of hip-hop.
That's why I hustle hella hard
Never celebrate a holiday
That'll be the day
I coulda finally hit the lottery
[Black Thought] We all like wrote
and rewrote and recorded and demoed,
then, you know, tried and reattempted
those verses many times
just to sort of, to get it down.
See, I've been patiently waitin'
For this moment
To rise up again
That's the way I was molded
And as the last one standin'
As the rest of them foldin'
Give me my one chance to grab the torch
And properly hold it
I said I'm just like my country
I'm young, scrappy and hungry
And I'm not throwin' away my shot
[Residente] Lin-Manuel, with his project,
told me the idea and I loved it.
And I started to write
and he sent me the beat.
And it was nice to collaborate that way.
Con un pico, una pala
Y un rastrillo
Te construimos un castillo
Como es que dice el coro cabrn?
Immigrants, we get the job done
You know, the immigration song,
it's forever
because we're always gonna have
a lot of immigrants,
now and in the future.
It was important at that time
and it's important today.
That's why I wanted to be part of it.
Look how far I come
Look how far I come
Immigrants, we get the job done
[Dessa] For someone
who's come up in indie rap,
usually you're writing about
your own life.
And so one of the biggest joys
of participating in the mixtape
has been to try to get into the mind
of someone who lived generations ago,
who has a different story. That's a really
different task than the usual indie song.
So "Congratulations" for me was probably
one of the most kind of theatrical
studio performances I'd given
in a form that's otherwise very much
a first-person true story.
Congratulations
For the rest of your life
Every sacrifice you make
Is for my sister
Give her the best life
Congratulations
[Black Thought] What Hamilton
and The Hamilton Mixtape sessions
did for hip-hop,
did for music, did for pop culture
was it raised the bar and set a precedent.
[Common] It opens hip-hop up
to a whole nother chapter
in a way that's so revolutionary,
so groundbreaking.
Hip-hop and Broadway didn't have
any meaningful sliver of overlap.
And it really was Hamilton
that had like a gravitational pull
that was sufficient to drag
those two universes together.
This is the growing up
that hip-hop needed.
The penultimate flag planting on the moon
for hip-hop culture.
Nobody else
is making Broadway shows going,
"You know what we gotta do?
We gotta drop a mixtape."
Like, you really have to be
a child of hip-hop to want to do that.
So what an accomplishment
to be able to create something
that can stand alone like that.
It's in a class by itself.
And what an important part of the legacy.
[Miranda] In my wildest dreams,
I never would've thought
hip-hop and musical theater
would become such good friends
in the wake of the show.
But because of Hamilton,
there's now this conversation.
[Nas] Lin is a part of us,
he's a part of hip-hop.
He joined in the army.
And because of the mixtape,
we're all gonna be pieces
of this positive change
that Hamilton brought to the world.
[instrumental music playing]