Right Hand Man

British Naval Officer Richard Howe, 1st Earl of Howe. Howe was a Whig and known to be sympathetic to the colonists at the start of the War of Independence. He eventually came under suspicion from the British parliament for not “vigorously prosecuting the war effort.” However, at this point where we meet him, he’s pretty vigorously prosecuting the entire New York City coastline in the Invasion of Long Island.

The reference to “In The Heights” and “96,000” was totally subconscious.

One of the interns on the show, was like,“Did you mean to put in 32,000 three times?” I’m like, “What?” And she pointed it out to me and it’s a total coincidence.

Actually there use to be more of them — more echo’s of it. It just whittled down to three instances where we said “thirty-two thousand,” which adds up to 96,000.

Musically, the call and answer round utilized in this section—repeating and gradually speeding up until the voices begin overlapping indistinctly—creates the feeling of being surrounded and having those surrounding forces close in on you.

The lyrical composition is also a rather indirect reference to In The Heights’s “96,000”.

32,000 x 3 = 96,000

Actually, this reference is so indirect it wasn’t even made on purpose:

The reference to “In The Heights” and “96,000” was totally subconscious.

One of the interns on the show, was like,“Did you mean to put in 32,000 three times?” I’m like, “What?” And she pointed it out to me and it’s a total coincidence.

Actually there use to be more of them — more echo’s of it. It just whittled down to three instances where we said “thirty-two thousand,” which adds up to 96,000.

Musically, the call and answer round utilized in this section—repeating and gradually speeding up until the voices begin overlapping indistinctly—creates the feeling of being surrounded and having those surrounding forces close in on you.

The lyrical composition is also a rather indirect reference to In The Heights’s “96,000”.

32,000 x 3 = 96,000

Actually, this reference is so indirect it wasn’t even made on purpose:

Possibly a play on words: “When they’s around our troops, they surround our troops.” That is, due to their overwhelming numbers, they can surround our troops merely by being in close proximity to them.

The younger and greener Hamilton of “Aaron Burr, Sir” also uses this phrase and echoes this sentiment. It is probaby a reference to this letter from Hamilton to a childhood friend, written in 1769:

Im confident, Ned that my Youth excludes me from any hopes of immediate Preferment nor do I desire it, but I mean to prepare the way for futurity. … I shall Conclude saying I wish there was a War.

In the 1700s, one’s social status, financial bracket, and political authority were all nearly entirely hereditary. For men of humble birth such as Hamilton, one of the only (and at the time, most common) opportunities to become upwardly mobile was to distinguish themselves during times of war, revolution, and upheaval, when the gaps between social classes blurred in favor of military and intellectual meritocracy. Thus, Hamilton’s wish for a war.

The younger and greener Hamilton of “Aaron Burr, Sir” also uses this phrase and echoes this sentiment. It is probaby a reference to this letter from Hamilton to a childhood friend, written in 1769:

Im confident, Ned that my Youth excludes me from any hopes of immediate Preferment nor do I desire it, but I mean to prepare the way for futurity. … I shall Conclude saying I wish there was a War.

In the 1700s, one’s social status, financial bracket, and political authority were all nearly entirely hereditary. For men of humble birth such as Hamilton, one of the only (and at the time, most common) opportunities to become upwardly mobile was to distinguish themselves during times of war, revolution, and upheaval, when the gaps between social classes blurred in favor of military and intellectual meritocracy. Thus, Hamilton’s wish for a war.

Continues the theme from the first few songs—Hamilton is willing to die for glory. Hamilton was always fixed on his legacy; that fixation, and how it affects those around Hamilton, is a central theme of the musical.

This is one of the first times the phrase “tell my(/your) story” appears, a recurring motif throughout the show. The concept of “story” in Hamilton isn’t just about Hamilton’s personal legacy, but about the larger issue of historical narrative and who controls it. Hamilton predicts that a nebulous “they” will tell his story, but only “if” they deem it worthy. He already knows on some level that the narrative around his legacy is out of his control.

Hamilton, like most immigrants, adopted his new country. He tried to leave his past on Nevis, and not bring it to America.

Am I then more of an American than those who drew their first breath on American ground?

Alexander Hamilton to Rufus King, February 21, 1795

Hamilton so fully adopted his new country that he fought in the war, and fully invested in the “democracy experiment.”

This line plays on the fact that not only is Washington the only person who can give the army a command to rise up against the British, but he’s also the only person who can give Hamilton and other aspiring men the command of a group of troops, which would help them rise up in society.

The placement of “Rise up!” right before Washington’s introduction could also refer to standing up to show respect (such as when court attendees are instructed to “all rise for the judge”).

The reason Hamilton lowers his volume while saying this line (or even whispers it) is because he is awaiting the famous and important General. At this time, Hamilton had a lot more respect for General Washington, which seems to fade away in “Meet Me Inside.”

The repetition of “Here comes the…” and the reverberating “Boom!” echoes the refrain of “Here Comes the (BOOM!)” by Nelly.

Washington is being introduced in the fashion of a prize fighter or pro wrestler. This isn’t far removed from Washington’s reputation at the time. He had made a big name for himself in the French and Indian war, and was a bit of a superstar general. He was the most famous person in America for a good 25 years and could have been the king.

Chris Jackson was also one of the more well known cast members and fans of LMM know him from In The Heights – some audience members would have literally been waiting for his appearance.

Washington is being introduced in the fashion of a prize fighter or pro wrestler. This isn’t far removed from Washington’s reputation at the time. He had made a big name for himself in the French and Indian war, and was a bit of a superstar general. He was the most famous person in America for a good 25 years and could have been the king.

Chris Jackson was also one of the more well known cast members and fans of LMM know him from In The Heights – some audience members would have literally been waiting for his appearance.

The NYC setting allows Lin-Manuel Miranda to refer to places that are extremely familiar to the audience. In this line, he mentions George Washington’s Virginia estate. The rap audience, however, may be thinking about “Money-earnin' Mount Vernon,” a city on the border with the Bronx. Notable people from Mt. Vernon include DMX, P. Diddy, Denzel Washington, and, of course, Heavy D.

George Washington is just this moral authority. He’s the one that everyone could agree was above reproach. Like regardless of how you felt about America, this was the dude.

So in my head he was like this mix of Common and John Legend and that’s pretty much Chris Jackson — who plays him on Broadway. Just sort of this kind of unimpeachable moral authority.

Original Washington and Jackson as Washington

The original casting call for Washington:

GEORGE WASHINGTON: tenor/baritone, sings and raps in equal measure. Authoritative, regal, aloof, aware of his place in history at all times. John Legend meets Mufasa.

In the original Broadway cast, Washington was played by Chris Jackson.

When Washington enters, the bass becomes super-reminiscent of Eminem’s “Lose Yourself,” which is especially interesting because of the lyrical “you only get one shot” tie-in:

This is also the beginning of a lyrical theme for Washington throughout the show. The repetition and usage of “out____” words will appear again in “Stay Alive” twice and once briefly in “One Last Time”.

There is a double use to these “what” chants. In AAVE and hip hop culture, “what” with a question mark denotes astonishment, while “what” with an exclamation point signifies excitement. All in all, the style here is very DMX.

When Washington enters, the bass becomes super-reminiscent of Eminem’s “Lose Yourself,” which is especially interesting because of the lyrical “you only get one shot” tie-in:

This is also the beginning of a lyrical theme for Washington throughout the show. The repetition and usage of “out____” words will appear again in “Stay Alive” twice and once briefly in “One Last Time”.

There is a double use to these “what” chants. In AAVE and hip hop culture, “what” with a question mark denotes astonishment, while “what” with an exclamation point signifies excitement. All in all, the style here is very DMX.

When Washington enters, the bass becomes super-reminiscent of Eminem’s “Lose Yourself,” which is especially interesting because of the lyrical “you only get one shot” tie-in:

This is also the beginning of a lyrical theme for Washington throughout the show. The repetition and usage of “out____” words will appear again in “Stay Alive” twice and once briefly in “One Last Time”.

These are obviously sound effects of the ensemble making Street-Fighter-type noises, and yet this is how it’s written in the official liner notes.

“Buck” was frequently used in 90’s rap as a synonym for “shoot,” as well as onomatopoeia for gunfire. See also Pharaohe Monch’s “Simon Says”—it also uses this sound as an accent in the chorus.

However, it could also possibly be a reference to the one dollar bill, on which George Washington appears, or the presidential phrase “the buck stops here.” After all, “buck” just happens to be written ten times…

The reason Hamilton is perfect for this job as Washington’s aid was because of his skill with the quill (which is undeniable). When Washington is calling out for a “Right-hand man” he is asking for someone who can write persuasively for him and the cause. A “Write-hand man” if you will. Eventually all word-play devolves into puns.

These are obviously sound effects of the ensemble making Street-Fighter-type noises, and yet this is how it’s written in the official liner notes.

“Buck” was frequently used in 90’s rap as a synonym for “shoot,” as well as onomatopoeia for gunfire. See also Pharaohe Monch’s “Simon Says”—it also uses this sound as an accent in the chorus.

However, it could also possibly be a reference to the one dollar bill, on which George Washington appears, or the presidential phrase “the buck stops here.” After all, “buck” just happens to be written ten times…

The beat that comes in here sounds like a heartbeat, mirroring the fragile state of the Revolution. This device is also used in “Stay Alive (Reprise),” though with very different results.

According to Lin-Manuel Miranda in an interview with The New York Times‘ Popcast, the character of George Washington only raps when he is frustrated. At other times, he is more aware of his place in history and remains stately.

Washington’s code-switching is a move we see in today’s politics as well. The fact that he avoids the “less stately” manner of speaking except in moments of tension could be seen as an endorsement of (or concession to) respectability politics.

Miranda has been accused of having Shakespearean tendencies. One of Shakespeare’s favorite tricks was to have characters who normally speak in verse switch to prose when they’re impaired (often, drunk). Here, Washington speaks with relatively simple end rhyme when he’s in public and trying to put on a stately manner, but he switches to a much more complicated rap style full of multiple internal rhymes when frustrated.

Another casual anachronism—the word “millisecond” was first used around 1905.

Also possibly another Busta Rhymes reference, as Busta used the term in “The Next Shit” with Pharoahe Monch. This alone is a weak fairly weak connection, but the earlier portion of the song describes a battle, with lines like

Didn’t figure the ridiculous flow will hit vigorously
Triggerin' a rigorous amount of energy
That’ll be definitely needed defeat a foe who retreated

According to Lin-Manuel Miranda in an interview with The New York Times‘ Popcast, the character of George Washington only raps when he is frustrated. At other times, he is more aware of his place in history and remains stately.

Washington’s code-switching is a move we see in today’s politics as well. The fact that he avoids the “less stately” manner of speaking except in moments of tension could be seen as an endorsement of (or concession to) respectability politics.

Miranda has been accused of having Shakespearean tendencies. One of Shakespeare’s favorite tricks was to have characters who normally speak in verse switch to prose when they’re impaired (often, drunk). Here, Washington speaks with relatively simple end rhyme when he’s in public and trying to put on a stately manner, but he switches to a much more complicated rap style full of multiple internal rhymes when frustrated.

Lyrically, this is a reference to the famous “Modern Major-General’s Song” of Pirates of Penzance. Miranda, like Gilbert & Sullivan, makes liberal use of alliteration throughout Washington’s lines in this song.

Lin-Manuel Miranda reportedly went for the homage because it was an opportunity to improve on the original Gilbert and Sullivan line, saying:

I always felt like ‘mineral’ wasn’t the best possible rhyme.

Musically, there is is a string of tones behind this part that are reminiscent of those behind the verses of Jay Z’s “On to the Next One.” This song seems to align specifically with Hov’s lyrics, “I move forward / The only direction.” So basically, even the undertones utilized in “Right Hand Man” further represent Washington’s leadership in contrast to his men who “keep retreating.” Miranda layered this NASTY.

Washington’s rank during the American Revolution was General, which is two levels above Major General. He is sometimes referred to as a Lieutenant General because he only wore three stars, but it seems clear that he was meant to be a full (i.e. four-star) general. However he was recommissioned as a Lieutenant General in 1798 during the “Quasi-War” with France.)

George Washington was the subject of many missives of praise for his “elegance and eloquence.” Revolutionary spy Nathan Hale wrote this profile to his Yale classmates:

When coming here from Watertown,
Soon after ent'ring Cambridge ground,
You spy the grand & pleasant seat,
Possess’d by Washin[g]ton the great.

The idiomatic expression “elephant in the room” means that there’s something going on that everyone knows but no one wants to talk about because it’s too upsetting, embarrassing, or otherwise uncomfortable. The elephant/“truth in ya face” is that they are outgunned, outmanned, outnumbered, outplanned. Washington may be deified and put on a pedestal in letters to friends and relatives, but the situation looks bleak and he can’t do it alone.

There’s also the phrase “to see the elephant,” which refers to gaining experience of the world at a demoralizing cost, or alternatively to having experienced military combat. It was a popular idiom in the 19th century, particularly around the Civil War, referring to the difference between hearing about war from other people and thinking you understand what it’s like, and actually experiencing it for yourself.

The elephant later became the symbol of the Republican party. Washington himself opposed the formation of political parties, and for good reason. At the time of the Revolution, the elephant in the room was the threatening power of Washington’s combatants, today it might be the powers within Washington.

Sung in the same cadence Busta Rhymes sings the line in “I Got Bass.” LMM and Jon Rua created a youtube video lip-synching and choreographing that song in 2011:

The British cannons that Alexander Hamilton later steals.

Hamilton will later come to Washington’s notice because instead of running away from the cannons, he runs towards them to snatch ‘em. While most people see the cannons as a terrifying deterrent, Hamilton sees an opportunity.

“The elephant is in the room…the British cannons go // Boom!” plays off Will Smith and DJ Jazzy Jeff’s “Boom! Shake the Room”:

Yo back up now and give a brother room
The fuse is lit and I’m about to go boom
[Boom! Shake the Room]

The revolution was in deep shit when Washington took command. After a couple of early small victories around Boston, the British made a major assault on New York, which was one of the largest battles in the war.

Washington lost, but managed to get the continental army out over the Hudson by the skin of their teeth.

It is also possible that this is a pun on the word “fleet” or “fleeing,” since they’re fleeing now, and ultimately need a fleet, supplied by Lafayette, to win the war.

Desertion and retreats were extremely common in the Continental Army, especially during the early years of the war. It wasn’t until Baron Von Steuben came along (after Washington had already retreated from NY) to offer his help and expertise in training the army that discipline rose to such a standard that such problems stopped being the norm.

George Washington withdrew to Brooklyn (Heights) as British forces closed in. The Continental Army was able to retreat across the East River to Manhattan. British Commander-in-Chief William Howe laid siege to Brooklyn Heights, but did not pursue the Army. Historians believe that Howe made a critical mistake here since pursuit would have crushed the Continental Army and ended the war.

The first of a number of chess metaphors. The knight stands a symbol of armed force and military strength like the British army. Also, British nobles are Knighted. The rook, which in a traditional chess set is a castle tower, here represents Brooklyn. Additionally, in chess rooks are widely regarded to be more valuable pieces than knights—a move where a knight takes a rook can easily become the most decisive in a game. On this level, we can see the British as playing the knight to take the rook and the advantage.

“Rook” can be a nod to rookies meaning newcomers who are still learning. This highlights the Americans' status in terms of both their independence as a country and new military.

Washington’s addition of “but look” to the end of the line is an attempt to hold onto the hope of his men. He is admitting that Brooklyn was a significant loss, but also trying to tell the Continental forces that they still have a chance.

George Washington is just this moral authority. He’s the one that everyone could agree was above reproach. Like regardless of how you felt about America, this was the dude.

So in my head he was like this mix of Common and John Legend and that’s pretty much Chris Jackson — who plays him on Broadway. Just sort of this kind of unimpeachable moral authority.

Original Washington and Jackson as Washington

The original casting call for Washington:

GEORGE WASHINGTON: tenor/baritone, sings and raps in equal measure. Authoritative, regal, aloof, aware of his place in history at all times. John Legend meets Mufasa.

In the original Broadway cast, Washington was played by Chris Jackson.

When Washington enters, the bass becomes super-reminiscent of Eminem’s “Lose Yourself,” which is especially interesting because of the lyrical “you only get one shot” tie-in:

This is also the beginning of a lyrical theme for Washington throughout the show. The repetition and usage of “out____” words will appear again in “Stay Alive” twice and once briefly in “One Last Time”.

There is a double use to these “what” chants. In AAVE and hip hop culture, “what” with a question mark denotes astonishment, while “what” with an exclamation point signifies excitement. All in all, the style here is very DMX.

When Washington enters, the bass becomes super-reminiscent of Eminem’s “Lose Yourself,” which is especially interesting because of the lyrical “you only get one shot” tie-in:

This is also the beginning of a lyrical theme for Washington throughout the show. The repetition and usage of “out____” words will appear again in “Stay Alive” twice and once briefly in “One Last Time”.

There is a double use to these “what” chants. In AAVE and hip hop culture, “what” with a question mark denotes astonishment, while “what” with an exclamation point signifies excitement. All in all, the style here is very DMX.

When Washington enters, the bass becomes super-reminiscent of Eminem’s “Lose Yourself,” which is especially interesting because of the lyrical “you only get one shot” tie-in:

This is also the beginning of a lyrical theme for Washington throughout the show. The repetition and usage of “out____” words will appear again in “Stay Alive” twice and once briefly in “One Last Time”.

These are obviously sound effects of the ensemble making Street-Fighter-type noises, and yet this is how it’s written in the official liner notes.

“Buck” was frequently used in 90’s rap as a synonym for “shoot,” as well as onomatopoeia for gunfire. See also Pharaohe Monch’s “Simon Says”—it also uses this sound as an accent in the chorus.

However, it could also possibly be a reference to the one dollar bill, on which George Washington appears, or the presidential phrase “the buck stops here.” After all, “buck” just happens to be written ten times…

The reason Hamilton is perfect for this job as Washington’s aid was because of his skill with the quill (which is undeniable). When Washington is calling out for a “Right-hand man” he is asking for someone who can write persuasively for him and the cause. A “Write-hand man” if you will. Eventually all word-play devolves into puns.

These are obviously sound effects of the ensemble making Street-Fighter-type noises, and yet this is how it’s written in the official liner notes.

“Buck” was frequently used in 90’s rap as a synonym for “shoot,” as well as onomatopoeia for gunfire. See also Pharaohe Monch’s “Simon Says”—it also uses this sound as an accent in the chorus.

However, it could also possibly be a reference to the one dollar bill, on which George Washington appears, or the presidential phrase “the buck stops here.” After all, “buck” just happens to be written ten times…

Washington hollers out “Incoming!” to warn his crew that some artillery is about to drop. But since this is the line that immediately precedes Hamilton’s entrance to the song, it’s also Washington inadvertently announcing that the person who will become his right hand man is “incoming.” Hamilton’s appearance happens right after we hear the sound of a bomb dropping, suggesting that his arrival into Washington’s world is itself a kind of bombshell.

Some historical doubling here as the Battery/Battery Park—the southernmost neighborhood in Manhattan, popular for its views of the financial district and its access to the Staten Island Ferry which hauls commuters and tourists alike past the Statue of Liberty all day every day for free—is actually named for a battery (a strategically placed unit of cannons) that existed there at the time of the American Revolution to defend Fort Amsterdam and Manhattan. Near the start of the defense of New York, Hamilton and his artillery unit were stationed at this battery. This was one of Hamilton’s earliest experiences in combat.

The British took the fort in September 1776 after the Landing at Kips Bay, detailed in this song, forced an American retreat. The British occupied Manhattan for most of the war (1776-1783).

Wordplay: he could be telling us to inspect the damage, or to stop the damage, both of which Hamilton does.

Perhaps also a subtle callback to all the chess metaphor going on.

The sound Mulligan makes here seems to reference a blood call mimicking the sound of a rapid firing gun. A similar trill is used by Ying Yang Twins in their song Shake.

Hamilton channels a bit of Flavor Flav/Public Enemy here, which in keeping with the old-school feel of the song.

Though Alexander Hamilton had been quite religious as an adolescent, his religious beliefs began to shrink as he began serving as Washington’s right-hand man. He apparently associated religion with superstition and idealism. During this period, he once wrote, “There never was any mischief but had a woman or a priest at the bottom.” Nevertheless, when asking John Laurens to find him a wife, he wrote “As to religion, a moderate streak will satisfy me. She must believe in God and hate a Saint”. Chernow attests that “[Eliza] never would have married someone who did not share her faith to some degree.”

Hamilton, Mulligan, and about 100 of their friends stole 21 of the 24 cannons of the battery on Manhattan’s southern tip and dragged them up to City Hall Park, a distance of just under a mile. British troops on boats just offshore fired on them the whole time.

Miranda simplifies the historical chronology here. Hamilton and Mulligan stole the British cannons in August 1775, not during the Battle of Brooklyn in 1776. Hamilton and his artillery company saw battle at the tail-end of the British conquest of New York City, in the Battle of White Plains.

Many years later Mulligan would recall:

I was engaged in hauling off one of the cannons, when Mister Hamilton came up and gave me his musket to hold and he took hold of the rope… . Hamilton [got] away with the cannon. I left his musket in the Battery and retreated. As he was returning, I met him and he asked for his piece. I told him where I had left it and he went for it, notwithstanding the firing continued, with as much concern as if the [Asia] had not been there.

Reference to Busta Rhymes' contribution to “Scenario.”

Reference to Busta Rhymes' contribution to “Scenario.”

In addition to the carnage caused by cannon fire from the British ships, one of the cannons in Hamilton’s company exploded while they attempted to return fire, killing two men. The song puts us there earlier with the mention of Hamilton stealing cannons.

From Chernow:

On July 12, the British decided to throw the fear of God into the rebels and test their defenses by sending the Phoenix, a fourty-four-gun battleship, and the Rose, a twenty-eight-gun frigate, past southern Manhattan with guns blazing… Mulligan recalled, “Capt. Hamilton went on the Battery with his company and his piece of artillery and commenced a brisk fire upon the Phoenix and the Rose then sailing up the river, when his cannon burst and killed two of his men who… were buried in the Bowling Green.” Actually, Hamilton’s exploding cannon may have killed as many as six of his men and wounded four or five others. Some critics blamed inadequate training for the mishap, but the general dissipation of troops addicted to whoring and drinking was more likely to blame…That Hamilton was never reprimanded and that his military reputation only improved suggests that he was never faulted for the fatal mishap. However, crushed by the incident, he quickly learned war was a filthy business.

Reference to Busta Rhymes' contribution to “Scenario.”

In the early morning September 15, 1776, British warships took positions on Kips Bay, New York, to provide protection for a flotilla of boats that brought 4,000 British soldiers to Manhattan. American forces put up very little resistance before retreating. Washington observed everything from a hilltop, then rushed on horseback into the fray in an attempt to reform the Patriot lines; at one point, he’s said to have swatted fleeing soldiers with the flat side of his sword.

The following day, Washington reported bitterly to Congress:

I used every means in my power to rally and get them into some order but my attempts were fruitless and ineffectual, and on the appearance of a small party of the Enemy, not more than Sixty or Seventy, their disorder increased and they ran away in the greatest confusion without firing a Single Shot … We are now encamped with the Main body of the Army on the Heights of Harlem where I should hope the Enemy would meet with a defeat in case of an Attack, If the Generality of our Troops would behave with tolerable bravery, but experience to my extreme affliction has convinced me that this is rather to be wished for than expected. – 9/16/1776, more here.

While the British occupied Manhattan they drew a detailed topographical map known as the “British Headquarters Map,” which is useful not only as a record of their defensive works but as the earliest topographical map of Manhattan.

Some historical doubling here as the Battery/Battery Park—the southernmost neighborhood in Manhattan, popular for its views of the financial district and its access to the Staten Island Ferry which hauls commuters and tourists alike past the Statue of Liberty all day every day for free—is actually named for a battery (a strategically placed unit of cannons) that existed there at the time of the American Revolution to defend Fort Amsterdam and Manhattan. Near the start of the defense of New York, Hamilton and his artillery unit were stationed at this battery. This was one of Hamilton’s earliest experiences in combat.

The British took the fort in September 1776 after the Landing at Kips Bay, detailed in this song, forced an American retreat. The British occupied Manhattan for most of the war (1776-1783).

On September 15, 1776, British General William Howe landed 12,000 men on the lower tip of Manhattan, quickly taking control of New York City. Washington and the Continental Army withdrew north up the island to Harlem Heights. During the retreat, Aaron Burr saved an entire brigade—including Alexander Hamilton—from capture.

The word “slip” seems to suggest both a primary meaning – setback or defeat – and a secondary meaning: the place where a ship, such as those arriving in New York harbor, would have docked.

During this line, there is a DJ scratching effect that is made to sound like a horse neighing.

However, it also sounds like an engine being cranked (that sound when you turn the key, but your car won’t start), making the connection of horse to our more modern forms of conveyance.

To keep his options open against a growing British presence, Washington left 5,000 troops in New York City (essentially Lower Manhattan at that time), while the rest fought uptown at the Battle of Harlem Heights.

The Continental Army’s disastrous performance during the Landing at Kip’s Bay, while not a full-on mutiny, was certainly not conduct becoming of a regiment:

When the [British barrage of the New York coast] at last ceased, the first wave of flatboats emerged from the drifting smoke into the sunlight and made for the shore. By then the Americans had fled as fast as their legs would carry them.

Colonel Douglas had told his men to save themselves and run, but the order was hardly necessary. The fire from the enemy ships, he wrote, was as “hot” as ever could be imagined, “but they mostly overshot us. The brigade was in such a scattered [position] that I could not collect them and I found the whole army on a retreat.”

George Washington was infuriated by this turn of events:

From his new command post on the crest of Harlem Heights, four miles to the north, Washington had heard the roar of cannon at Kips bay and seen smoke rising in the distance. In an instant he was on his horse and racing south at a gallop, down the post road. Reining up at a cornfield about a mile inland from Kips Bay, he found his men “flying in every direction.” It was everything he had feared and worse, his army in pell-mell panic, Americans turned cowards before the enemy.

In a fury, he plunged his horse among them, trying to stop them. Cursing violently, he lost control of himself. By some accounts, he brandished a cocked pistol. In other accounts, he drew his sword, threatening to run men through.

Unfortunately for poor George, he would have to quash several dissensions throughout his military service: the Conway Conspiracy, Pennsylvania Line Muntiny, Newburgh Conspiracy, and most prominently, the mutiny of the New Jersey line in 1781.

This refers to the Battle of Brooklyn, where Washington led the Americans as a general.

Washington was largely scrutinized as a result of many tactical errors ending in a decisive British victory which left American soldiers scrambling.

One key error was the defence of the Heights of Guan, where Washington failed to defend open passways, allowing the British to sneak up undetected and open fire on the American soldiers.

The Continental Army’s disastrous performance during the Landing at Kip’s Bay, while not a full-on mutiny, was certainly not conduct becoming of a regiment:

When the [British barrage of the New York coast] at last ceased, the first wave of flatboats emerged from the drifting smoke into the sunlight and made for the shore. By then the Americans had fled as fast as their legs would carry them.

Colonel Douglas had told his men to save themselves and run, but the order was hardly necessary. The fire from the enemy ships, he wrote, was as “hot” as ever could be imagined, “but they mostly overshot us. The brigade was in such a scattered [position] that I could not collect them and I found the whole army on a retreat.”

George Washington was infuriated by this turn of events:

From his new command post on the crest of Harlem Heights, four miles to the north, Washington had heard the roar of cannon at Kips bay and seen smoke rising in the distance. In an instant he was on his horse and racing south at a gallop, down the post road. Reining up at a cornfield about a mile inland from Kips Bay, he found his men “flying in every direction.” It was everything he had feared and worse, his army in pell-mell panic, Americans turned cowards before the enemy.

In a fury, he plunged his horse among them, trying to stop them. Cursing violently, he lost control of himself. By some accounts, he brandished a cocked pistol. In other accounts, he drew his sword, threatening to run men through.

Unfortunately for poor George, he would have to quash several dissensions throughout his military service: the Conway Conspiracy, Pennsylvania Line Muntiny, Newburgh Conspiracy, and most prominently, the mutiny of the New Jersey line in 1781.

George Washington was actually quoted as shouting this in frustration during the Landing of Kips Bay when his troops refused to attack the encroaching British forces.

From Chernow:

Though Washington was famous for his composure, his infrequent wrath was something to behold, and he curse the panic-stricken troops and flailed at incompetent officers with his riding crop. Finally, he flung his hat on the ground in disgust and fumed, “Are these the men with whom I am to defend America?”

Starting with this line until “I cannot be everywhere at once, people” are the chords for “History Has Its Eyes On You” in the keyboard. The music reminds us that this line is a quotation.

This is more than likely a reference to the retreat after the Battle of Fort Washington in November of 1776. Seeing that Manhattan was lost, Washington took most of his forces under the cover of night in boats across the river into New Jersey. In the eyes of history, this early surrender is regarded as having saved the army, allowing the war to go on.

And as frustrating as this sneaky retreat by night was for Washington, he was able to get his own back a little more than a month later. Washington’s famous Christmas Crossing of the Delaware is considered one of Washington’s boldest moves in the war, later leading to the Continental Army’s decisive victory at the battle of Trenton.

Washington, along with commanders John Sullivan, Nathaneal Green, John Glover and Henry Knox crossed the Delaware River with 2,400 troops, 18 cannons, baggage, and about 50-75 horses.

It’s also important to note that this song sums up nearly the entire New York and New Jersey campaign, which took place in late 1776 to early 1777. Miranda is able to tell the story of the beginnings of the war within one song, greatly truncating the events as if they were happening immediately following one another.

On July 25, 1776, while the British fleet was gathering in New York Harbor, Washington wrote to Congress explaining that he desperately needed more staff members:

Disagreeable as it is to me, and unpleasing as it may be to Congress to multiply Officers, I find myself under the unavoidable necessity of asking an Increase of my Aid de Camps—The augmentation of my Command—the Increase of my Correspondance—the Orders to give—the Instructions to draw, cut out more business than I am able to execute in time, with propriety. The business of so many different departments centering with me, & by me to be handed on to Congress for their information, added to the Intercourse I am obliged to keep up with the adjacent States and incidental occurrences, all of which requiring confidential (& not hack) writers to execute, renders it impossible in the present state of things for my family to discharge the several duties expected of me with that precission and dispatch that I could wish—what will it be then when we come into a more active Scene, and I am called upon from twenty different places perhaps at the same Instant?

Congress will do me the justice to believe, I hope, that it is not my Inclination or wish to run the Continent to any unnecessary expence. and those who better know me, will not suspect that shew, and parade can have any Influence on my Mind in this Instance. A Conviction of the necessity of it, for the regular discharge of the trust reposed in me is the Governing motive for the application, and as such is Submitted to Congress by, Sir Yr Most Obedt & Most Hble Servt Go: Washington

(annotated text here)

(Washington in 1776, painted by Charles Wilson Peale)

George Washington was the general and leader of the young United States. Prior to the United States adopting Mr. President, they called him Your Excellency, the same title the British called their King. After gaining independence the US wanted to differentiate itself from Britain and thus adopted the current moniker.

From here until Hamilton’s entrance we hear the strings play “History Has Its Eyes on You,” arguably one of Washington’s most important musical motifs. It helps illustrate the importance of Washington’s decision: who will be his right hand man?

This line exists in contrast to George Washington summoning Hamilton to his tent because “[his] reputation precedes [him].” It highlights the relative progression of Hamilton and Burr. In “Aaron Burr, Sir,” Hamilton was the complete unknown (with Laurens, Mulligan, and Lafayette greeting him with “Who are you”), whereas Burr’s reputation (as “the prodigy of Princeton College”) proceeded him. Just a few songs later, Hamilton has already overtaken Burr as the one with the reputation, leaving Burr as the unknown.

Particularly considering Aaron Burr’s heroics during the war (including saving Hamilton from British capture during the retreat from Long Island), Hamilton effectively taking his spot as the sought-after prodigy serves as the first of many instances where Burr will blame Alexander for keeping him down. For the rest of their lives, for every success Hamilton has, Burr will look back to this moment and think to himself, “that should have been me.”

The line can also be read as a little meta, considering we were just introduced to Burr in the song titled this.

Who are you?
Uh, “Aaron Burr, Sir?”

But to be fair, George Washington was a little busy at the time.

This whole exchange highlights the difference between the ways Hamilton and Burr interact with people, and this line shows that difference the best; it is hard to imagine Hamilton ever asking someone for permission to speak.

As a military order, “as you were” can mean either “at ease” or “get back in line”. Burr takes it to mean the former. It becomes apparent Washington means the latter.

Christopher Jackson’s delivery of Washington’s short responses to the measured and sure-footed Burr provides an interesting subtext. Jackson’s delivery of this line, “Huh,” and “Yes?” are terse and disinterested. It’s as if Washington is already thinking, “Oh, brother! Here comes another guy who is gonna tell me how to do my job better than I’m doing now.”

At the beginning of the Revolutionary War, particularly after the loss of New York, there were several high-placed people in the Continental Army who were vying for Washington’s job, including, as we find out in a later song, General Charles Lee. Indeed, at the end of 1776, people would assume that Washington was on his way out.

Washington can clearly see through Burr’s carefully measured flattery and “suggestions.” The subtext is completed by the enthusiasm with which he welcomes Hamilton.

In September 1775, Colonel Benedict Arnold (yes, that Benedict Arnold) led a force of 1,100 Continental Army troops as part of a two-pronged invasion of the British Province of Quebec. When their forces reached the city of Quebec, Burr was sent up the Saint Lawrence River to contact General Richard Montgomery, who had taken Montreal, and escorted him to Quebec. During the Battle of Quebec, Montgomery inadvertently led an advance troop towards a house occupied by British soldiers. The soldiers opened fire and Montgomery was struck in the head and thighs.

Montgomery’s wounds were actually from grapeshot from a cannon, not a bullet as the song states.

Burr reportedly attempted to carry Montgomery’s body from the field, but couldn’t due to the snowstorm (part of Montgomery’s strategy was waiting for the cover of bad weather), enemy fire, and the fact that Montgomery was taller than him.

Burr doesn’t come up with new rhymes here; “assistance / distance” were Washington’s words from just a verse ago, literally parroted back to him. This reiterates Burr’s fatal flaw of adjusting his beliefs to meet the situation at hand, rather than holding fast to his own values.

As for “firing […] from a distance"—this is again typical of Burr, who never met a position he couldn’t abandon. Still, this is where Burr loses his shot at Washington’s support. Washington may have found himself forced to engage in a "distance” strategy, but it definitely wasn’t what he wanted. And regardless, Washington has no interest in “yes men"—in his own words, he’s all about the “talk less” without the “smile more.”

Meanwhile, read another way, the line can be structured as, “I, from a distance, admire how you keep firing on the British.” Thus, not only is he complimenting Washington on this particular military strategy, but he is doing so while himself staying out of the fray. Miranda is reminding us that Burr stays out of all fights, metaphorical and literal.

Historically, it’s true that in the short run, Washington rarely directly engaged the British, especially early in the war. However, in the longer run, America won the war because of the guerilla strategy that Hamilton offers later in the song—of fighting dirty and getting up in their faces, basically making the lives of the British troops hell. Good thing George went with Hamilton, eh?

An echo of Hamilton’s own monosyllabic responses to Burr giving him similarly unsolicited “free advice” during “Aaron Burr, Sir.”

Washington’s “huh” serves much the same purpose as Hamilton’s half-offended, half-nervous “ha”—Washington doesn’t want to antagonize Burr but he, like Hamilton before him, wants no part of his advice.

Once again, dead wrong. As said in another annotation above, one of the reasons the Patriots survived to win the war was that they did retreat throughout the New York Campaign, and Howe didn’t bother to follow them. If they had stayed to fight, they almost certainly would have been crushed like little bugs and Americans would still be speaking the Queen’s English.

Washington’s real-life dismissal of Burr is discussed below.

Read: Can we hurry this along, kid?

Now who’s the one that needs to talk less?

Hamilton interrupting Burr here is a pretty good representation of their relationship; Burr has a very measured and careful way of speaking, while Hamilton will jump in and interrupt people if he thinks he has something important to say.

A moment very similar to this takes place in Act II when Hamilton interrupts Jefferson’s introduction to Washington to introduce himself instead!

Hamilton just doesn’t seem to learn that you cockblock a dude’s access to the Commander-In-Chief at your own peril….

Hamilton always addressed Washington as “Your Excellency.”

The strings also change from Washington’s theme, “History Has Its Eyes On You,” to Hamilton’s theme: “Alexander Hamilton.”

These are the same chords in the beginning of “A Winter’s Ball,” “Guns and Ships,” “What’d I Miss,” “The Adams Administration,” and “Your Obedient Servant.”

Burr wasn’t asked to visit Washington, he went there on his own accord. Hamilton’s arrival by invitation becomes just one more thing that makes Burr jealous of Hamilton.

It is very apparent that Washington did not like Burr that much. When Burr enters he rushes Burr to get to his advice, but when Hamilton came in he greeted him and even made time for small talk.

Their incredulity at this awkward it’s-a-small-world moment is made clear in this one line.

Furthermore, the music drops out here to signal the importance of this line to the underlying narrative. The audience likely already knows, but is still important to enunciate that Burr and Hamilton will meet again and again throughout their lives. The word “meeting” was also used in the period to refer to duels, so this foreshadows all the ideological sparring which will occur between these two, as well as their destined final meeting.

The entire exchange between Washington and Burr in “Right-Hand Man” is a fantastic contrast to Hamilton’s almost immediate rapport with Washington.

Right off the bat, Burr’s interaction with Washington is strained – Washington doesn’t know who he is at first, his responses are clipped, Burr name drops General Montgomery and overall spends much of his sales pitch flattering Washington and taking forever to actually get to his point (which we never hear).

Meanwhile, Hamilton and Washington’s first meeting is honest and direct, on both their parts.

This is Washington’s nice way of saying, “Don’t let the door hit you on the way out.” Having a literal door shut in his face could possibly be the narrative catalyst for Burr’s burning desire to be “in the room when it happens.” His repeated questions of “How does the…?” at various points of the play also become increasingly embittered and jealous after this moment.

In reality, Burr actually did serve on Washington’s staff, but only for 10 days before being dismissed. Washington was one of the most naturally diplomatic people that ever lived, and even so, you can tell he really didn’t like Burr:

George Washington, the most un-Burr-like man in America, seems to have understood and disliked him immediately. Burr served only ten days on Washington’s staff in 1776, yet for two decades the older man went out of his way to show his aversion. When Burr wanted to write a history of the war, President Washington told the secretary of state that he should not be allowed to read diplomatic correspondence. When Burr was proposed as minister to France, Washington refused to appoint “any person … in whose integrity he had not confidence.” When President Adams wanted to make Burr a brigadier general in 1798, Washington admitted that he was “brave and able … the question is, whether or not he has equal talents for intrigue.”

On a musical note, right after this line is spoken, the quick arrangement effectively signals to the audience: “pay attention/this is a key moment/we know this isn’t going to end well.”

Hamilton had already gained connections with high profile leaders in New York while a student still at King’s College. He created the New York Provincial Company of Artillery and was immediately named captain.

Washington jokingly questions Hamilton’s sense of duty to get his dander up (and succeeds, considering Hamilton immediately breaks in with an impassioned, “Sir!”).

There’s a lot going on with Washington here. He hits directly on Hamilton’s thought process in his wording. Being in a “staff” position is a supporting role, rather than a command position in the field. Hamilton wants to fight in that kind of active role, hoping to secure success and status in the process. Washington sees this (“you’ve got a hunger”), so he pivots his pitch by pitting Hamilton’s inherent patriotism against his personal ambition. He inflames Hamilton’s desire to serve by “doubting” it, making Hamilton more receptive to his pitch for Hamilton to become his secretary.

Hamilton’s tendency to go ahead with his ideas instead of sitting and waiting for approval pays off here—Washington is clearly impressed with Hamilton, and like he said above, Hamilton’s reputation precedes him because Hamilton takes chances with his actions.

Nathanael Greene was one of Washington’s most valued generals, and like Washington says, Greene likely offered Hamilton the position of aide-de-camp. Hamilton refused.

Chernow suggests that Greene was probably also the man who recommended Hamilton to Washington.

Henry Knox was a bookseller from Boston. He fled that city for Cambridge, MA right after the Battles of Lexington and Concord so he could join the militia. He and Greene were selected by Washington to help lead.

There’s no evidence that Henry Knox tried to hire Hamilton, but William Alexander and Lord Stirling did.

During the Quasi-War, Knox resigned rather than serve under Hamilton, who was now commanding the U.S. armed forces, as he felt it would be beneath him to work for someone who’d once been so junior to him.

Hamilton knew the value of being a scholar but (as seen in the play), he chafed at the idea of being just a secretary. As he wrote to George Washington after the war:

When in the year 1777 the regiments of artillery were multiplied, I had good reason to expect that the command of one of them would have fallen to me had I not changed my situation and this in all probability would have led further.

Hamilton’s use of “Secretary” also foreshadows “Non-Stop,” when Washington makes Hamilton his Treasury Secretary.

The title that Hamilton held was “Aide de Camp,” but he was used effectively as Chief of Staff to Washington.

Chief of Staff was not a highly-respected position in the 1770s and 1780s, but it would rise immensely, as a result of the Prussian (later German) General Staff, starting in 1818. Its reputation grew following a series of military victories in the 1860s and 1870s, and the prestige of the title became such that the Commanding General of the US Army would be renamed as “Chief of Staff of the Army” in 1903.

Nonetheless, the military importance of the job was the same under Washington as it would be over a century later, and Hamilton played a key role, for all that he disliked the lack of prestige it would grant him.

Here, the backing music, which teases the “whoa whoa whooooa” melody from “My Shot,” does a couple of different things for the scene. First, it’s sonically making the tie between Washington’s younger (rowdier?) days and what he sees in Hamilton.

Second, it’s the early introduction of a full reprise that will come in later in the song, symbolizing Hamilton’s inner voice that he ‘not throw away the shot’ that this meeting with Washington represents.

Hamilton is trying to act more mature than he is, while Washington is reminded of his less mature youth. The music is at a meeting place between their two points of view.

Hamilton’s “I’m not” is also said with a sulky intonation similar to when he said “He looked at me like I was stupid, I’m not stupid” in “Aaron Burr, Sir.” Hamilton really doesn’t like being under-estimated.

Washington first saw combat when he was 22 years old, during the French and Indian War.

After his first battle, he wrote a letter to his brother revealing the youthful zeal he would later see in Hamilton:

I heard the bullets whistle, and, believe me there is something charming in the sound."

The piano line in the background hearkens to the backing vocal in “History Has Its Eyes On You,” tying these present lyrics to “Let me tell you what I wish I’d known / When I was young and dreamed of glory.”

A callback to “My Shot” when Hamilton mentions that he often imagines his death, as well as his pledge in “Story of Tonight” that he may not live to see their glory, but will gladly join the fight. As we see later in Act II, martyring oneself is really the quickest and easiest way to secure one’s legacy.

Ironically, Hamilton did eventually die a martyr; his unchangeable beliefs about Burr demonstrated in Your Obedient Servant and the resultant gun duel between the two resulted in his death.

That’s a lesson that’s been hard-learned by Washington.

When I was doing my research on Washington to write his, I realized he wasn’t unlike Hamilton. He was reckless as youth. He basically triggered the French and Indian war in the 1750s. And he learned through experience not to be rash and not to be reckless.

He had the same martyrdom fantasies that anyone in war harbors. This isn’t unique to soldiers; it’s unique to anyone who grows up worshipping Brandon Lee or Kurt Cobain or John Belushi, or the 27 club like, “Oh, I’m going to go out and be glorious and die young.”

That’s Washington saying: there’s no glory there. There’s glory in living and actually doing the things that you want to do.

Hamilton welcomes the chance to fight and die for his country, viewing it as the more difficult option but one that would bring him honor and glory. Ever the father figure, Washington tries to impart to Hamilton the lessons of his own time in the army, casting the fantasy of martyrdom in another light.

Firstly, dying on the battlefield is literally easier—and more likely—than surviving the war. Moreover, dying in battle is an easier fate than living with the guilt and burden of surviving one’s comrades (a struggle with which Washington is intimately familiar, as Burr will be before the end). Finally, martyrdom can be seen as taking the easy way out—seeking the guarantee of honor through a quick death, rather than the uncertain legacy earned from a lifetime’s worth of difficult and patient work for a cause.

Washington challenges Hamilton to forgo the easy course and follow the harder path which he himself has taken—to live. In context, Washington is offering Hamilton an alternate shot at glory, if he’ll take it—not through direct battle and a chance at martyrdom, but through the responsibility and burden of decision-making from the sidelines, as his right-hand man.

Not only does Hamilton accept the offer, but he seems to agree with the principle in later life. Laughing at the prospect of dying to secure one’s legacy, he chooses instead the uncertainty of time and effort spent advocating his beliefs. His eventual death does not automatically guarantee his favorable legacy, which is instead left in the fickle hands of history.

The sentiment is a popular one, found throughout history and pop culture. Here are some choice examples:

“Dying’s easy for men like you and me; it’s living that’s hard, when everything you’ve ever cared about has been butchered or raped.” – The Outlaw Josey Wales

“The hardest thing in this world is to live in it.” – Buffy Summers, Buffy the Vampire Slayer

“The mark of the immature man is that he wants to die nobly for a cause, while the mark of the mature man is that he wants to live humbly for one.” – J.D. Salinger, The Catcher in the Rye

Perhaps a nod to Stephen Sondheim’s Sunday in the Park with George. George Seurat says to Dot, just before “We Do Not Belong Together”:

I have read about America. Why are you telling me this? First you ask for a painting that is not yours — then you tell me this.

Miranda has called Sondheim a huge influence on his work—Miranda was a high school student when he first met the composer. He shared early songs from Hamilton with Sondheim back in 2009.

Washington is well known for his honesty. At six years old he received a hatchet for a gift. Unable to control himself and wanting to test out his hatchet, he chopped down a cherry tree. This was not cool. Upon being confronted, Washington at six hollered “I cannot tell a lie – I chopped it down with my hatchet!”

This story we all learn as children in order to make us understand how great the founder of our country is and how important being truthful and honest in all things is? It’s a total fraud.

Well at least Abraham Lincoln walked a mile to return a penny… or did he?

Congress consistently underfunded the Continental Army, mostly because they had little money to work with. They raised money in various ways – borrowing, printing their own money, using states' printed money, highly risky war bonds – but the money always ran short. It led to the problems sung about in “Stay Alive,” and even the debt problems debated in “Cabinet Battle #1.”

This specific question is asked to Hamilton twice. This is the first time and the second is in “Say No To This”. In both instances the “So?” and Hamilton’s response are a turning point in Hamilton’s life and, more specifically, his political career.

In this instance, the exchange is a turning point because Hamilton is finally getting the “shot” that he’s been waiting for and the conversation is essentially the beginning of his political career.

In “Say No To This,” the “So?” posed and Hamilton’s answer is essentially the ending of his political career as he agrees to cooperate with James Reynolds.

Here, the company serves as Hamilton’s internal voice. They whisper this theme from “My Shot” as if it’s running through his mind. We also have the return of Washington’s pumping bass line, melding the musical themes of the two characters to show the beginning of their partnership.

In this scene Washington is holding a quill and waiting. Then Hamilton takes it and says “I am not throwing away my shot.” The quill is a symbol of his “way out.”

The imagery is so iconic that it’s featured in one of theatrical illustrator Squigs' drawing for Hamilton. Lin-Manuel Miranda has it as his Tumblr avatar:

In the script, Washington interrupts Hamilton with a single word—"son"—capturing his paternal feeling for his young lieutenant. But in Jackson’s delivery “son” also had a hip-hop resonance, implying brotherhood and parity.

It practically goes unnoticed here, but this will grow to become a loaded word that encapsulates these two men’s complicated relationship. By “Meet Me Inside,” Hamilton does not take kindly to Washington constantly calling him “son.”

Washington reprises and reiterates what he was saying before Hamilton signed on as RHM. Before, the only responses were “what?/what!” and gunshot sounds, but he’s now FINALLY going to get some solutions to his laundry list of problems. A.Ham doesn’t waste time, as we all know.

This continues the adjustments to the chronology from “Aaron Burr, Sir.” Hamilton met Laurens and Lafayette after he joined Washington’s staff, they weren’t connections he brought with him.

This shows Hamilton’s rapid thought process, moving on as soon as he has a solution. This is also shown later in Non-Stop

This foreshadows Hercules Mulligan’s role in the war effort as described in “Yorktown (The World Turned Upside Down).”

According to the CIA’s Studies in Intelligence:

It was Hamilton who […] secured for his host [Mulligan] the position of confidential correspondent of General Washington.

Mulligan used his stereotypically Irish gift for conversation—and his tolerance for alcohol—to ply his redcoat customers into revealing more than they meant.

Paralleling the earlier “Boom” that is literal to the sound of cannons going off, this now has the double, more contemporary, meaning that Urban Dictionary calls “an oral exclamation mark.”

The background changes to the theme from “My Shot” here again.

Shortly after being appointed Captain, before he was even recruited by Washington, Hamilton had already written Congress to complain that his men were being woefully underpaid:

My own pay will remain the same as it is now, but I make this application on behalf of the company, as I am fully convinced such a disadvantageous distinction will have a very pernicious effect on the minds and behavior of the men. They do the same duty with the other companies and think themselves entitled to the same pay.

Alexander, you beautiful tropical fish.

The word “guy” is originally derived from Guy Fawkes, an infamous British traitor. Fawkes and his co-conspirators were Catholics, who in England were a minority suppressed by King James; the conspirators planned to blow up Parliament during the opening of the House of Lords, hoping that James would be killed and his replacement would be more tolerant.

Fawkes’s role was to wait by the barrels of gunpowder until the appropriate time, then light the fuse and run as fast as he could until he could jump into the Thames. He was caught mere hours before the deed was done with the matches in his pocket.

In England, Fawkes is burned in effigy during Bonfire Night, a holiday on November 5 which celebrates the failure of the plot. The holiday was very popular in the colonies, and towards the Revolution it began to take on rowdy, rebellious undertones, especially in Boston. The effigies are called “Guys”, and so the word “guy” became a slang term for any man.

The use of “guy” here thus not only uses the modern slang term; it also subtly references a traitor to the Crown who was motivated by oppression and religious freedom. Washington’s men are also Guys hoping to violently rid themselves of a despotic English king and replace him with someone more friendly to liberty.

In conventional line infantry battle, each army’s approach was formal and visible. But Washington realizes this is disastrous for an army that is so “outgunned / outmanned,” and shifts to asymmetrical warfare, relying on sneak attacks: “Don’t engage, strike by night … Hit ‘em quick, get out fast”.”

The background changes to the theme from “My Shot” here again.

This plays on the already establish theme of “rise up,” adding some different senses of the same ambition. “I’ll rise above my station” concerns Hamilton’s personal ascent, whereas “rise to the occasion of our new nation” is more group-spirited.

In two songs, he’ll make another big jump in station by charming a Schuyler sister, also featuring some “ise” rhymes: “Eliza” and “eyes” and “sky’s.”

The phrase “rise above my station” may be inspired by a phrase in one of Hamilton’s own letters, in which he used the phrase “exalt my Station”. It may seem like a stretch, but a different line this letter also appears to have inspired an earlier line in the song.

The use of the phrase “rise to the occasion of our new nation” likely also refers to Lincoln’s Annual Message to Congress from 1862:

The occasion is piled high with difficulty and we must rise with the occasion. As our case is new, so we must think anew and act anew. We must first disenthrall ourselves and then we shall save the Union.

The background changes to the theme from “My Shot” here again.

This plays on the already establish theme of “rise up,” adding some different senses of the same ambition. “I’ll rise above my station” concerns Hamilton’s personal ascent, whereas “rise to the occasion of our new nation” is more group-spirited.

In two songs, he’ll make another big jump in station by charming a Schuyler sister, also featuring some “ise” rhymes: “Eliza” and “eyes” and “sky’s.”

The phrase “rise above my station” may be inspired by a phrase in one of Hamilton’s own letters, in which he used the phrase “exalt my Station”. It may seem like a stretch, but a different line this letter also appears to have inspired an earlier line in the song.

The use of the phrase “rise to the occasion of our new nation” likely also refers to Lincoln’s Annual Message to Congress from 1862:

The occasion is piled high with difficulty and we must rise with the occasion. As our case is new, so we must think anew and act anew. We must first disenthrall ourselves and then we shall save the Union.

Here, the “rise up” motif from “My Shot” recurs, but has taken on a few extra meanings. It still means that the Colonies have to rise up against the British, but it’s also picked up meaning from Hamilton’s earlier verses about upward mobility, signalling his rising star. Finally, obviously, when combined with the line “here comes the general,” we know they mean the soldiers must rise up and salute General Washington as their commanding officer.

At the beginning of the song, Burr is the one introducing Washington, but at the end, Hamilton has taken over that duty as his “right hand man.”

When “Here comes the General!” is spoken for the last time, drums are played (at least on the recording) to emphasize the line. The drums are snares, and though the rhythm is not the same, they echo the musical 1776, where when correspondence from Washington to Congress is read out loud, there is always a pause and snare drums play between “Your obedient” and “G. Washington”. The use of snares here cannot be an accident given Lin-Manuel’s love of musicals in general.

See the video from the 1:27 mark:

Hamilton’s prompting Washington to introduce him, hinting at Washington’s soft spot for Hamilton as alluded to later. From the very beginning, Hamilton is able to get away with a familiarity and disregard for rank that most could not.

Hamilton became the foremost of Washington’s aides de camp. In addition to writing Washington’s letters, Hamilton helped his boss with many tasks including destroying British flour and negotiating with the puffed up General Gates for reinforcements to send to Washington in Pennsylvania.

And, of course, the sparklers: