Introduction, or Plan Of The Work |
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10 | (4) |
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Chapter I On the Origins of Revolution, Both National & Musical, with Reference to Opening Numbers & White House Raps |
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14 | |
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16 | |
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Chapter II In Which Tommy Kail Is Introduced, and His Adventures with Lin Surveyed |
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10 | (22) |
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23 | |
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16 | (16) |
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Chapter III Giving the History of Ron Chernow, Along with Remarks on Who May Play a Founding Father |
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32 | (6) |
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34 | (4) |
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Chapter IV In Which the Character of New York City Is Considered in Its Musical and Scenic Aspects, by Reference to David Korins and a Curious Episode of Historical Vertigo |
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38 | (8) |
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42 | (4) |
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Chapter V Stakes Is High; Or, What Happened at Lincoln Center and What Came After, Including Lunch with Jeffrey Seller |
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46 | (6) |
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49 | (3) |
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Chapter VI On the Orchestrating Techniques of Alex Lacamoire, with Lively Appearances by Van Halen, Elmo, and an Actual Beatle |
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52 | (6) |
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57 | (1) |
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Chapter VII On the Character of George Washington and the Character of Chris Jackson |
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58 | (10) |
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60 | (8) |
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Chapter VIII Concerning The Lady and the Tramp, in Olden Days and Our Own, with Reference to "Helpless" and Many Songs That Feature Ja Rule |
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68 | (10) |
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70 | (1) |
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71 | (7) |
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Chapter IX On the Perfect Union of Actor and Role, with Allusion to Renee Elise Goldsberry |
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78 | (10) |
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80 | (6) |
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"The Story Of Tonight" [Reprise] |
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86 | (2) |
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Chapter X The Same Subject Continued, with Allusion to Leslie Odom, Jr., Plus Remarks on the Virtues and Merits of Union |
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88 | (6) |
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91 | (3) |
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Chapter XI Wherein Mobb Deep Is Sampled, and the Immortal Biggie Smalls Is Revived |
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94 | (8) |
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96 | (3) |
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99 | (3) |
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Chapter XII Of Oskar Eustis, His Politics, His Eventful Career, His Thoughts on Verse Drama, and His Stewardship of The Public Theater, with a Word About The Pharcyde |
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102 | (5) |
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104 | (3) |
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Chapter XIII On Phillipa Soo and the Trouble with Goodness |
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107 | (5) |
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110 | (2) |
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Chapter XIV On Paul Tazewell and the Fashion of Revolution |
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112 | (12) |
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118 | (2) |
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"History Has Its Eyes On You" |
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120 | (1) |
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121 | (3) |
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Chapter XV By Which It Will Appear That Good History Makes Good Drama, and in Which Sebastian Miranda Makes His Debut |
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124 | (8) |
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127 | (1) |
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128 | (2) |
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"Tomorrow There'll Be More Of Us" |
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130 | (2) |
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Chapter XVI On "Non-Stop," Both the Song and the Way of Life, as Manifest by Andy Blankenbuehler and The Public Theater's Props Department |
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132 | (16) |
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137 | (11) |
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Chapter XVII In New York You Can Be a New Man, Or, The Story of Oak and Daveed |
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148 | (8) |
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152 | (4) |
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Chapter XVIII An Account of Rapping for the Children, Who Will One Day Rap for Themselves |
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156 | (8) |
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161 | (3) |
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Chapter XIX Did They or Didn't They? Or, Some Discourse on Affairs |
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164 | (8) |
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168 | (4) |
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Chapter XX In Which Advantages Are Derived from Listening to the Broadway Old Masters and Jasmine Cephas Jones |
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172 | (8) |
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176 | (4) |
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Chapter XXI On Being in "The Room Where It Happens" with the Cast of A Chorus Line---Plus a Brief Account of Nevin Steinberg Bringing Boom-Bap to Broadway with Speakers the Size of Refrigerators |
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180 | (16) |
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"The Room Where It Haptens" |
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186 | (5) |
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191 | (1) |
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192 | (4) |
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Chapter XXII A Picture of the Recording Studio, Featuring Learned Comments by Questlove and a Thrown Shoe |
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196 | (9) |
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"Washington On Your Side" |
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199 | (6) |
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Chapter XXIII On the Origin and Persistence of Our National Shame |
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205 | (9) |
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209 | (5) |
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Chapter XXIV Of Jonathan Groff, His Royal Character, His Notable Career, His Dressing Room Decor &C. |
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214 | (8) |
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218 | (4) |
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Chapter XXV On Killing Your Darlings, with Reference to "The Adams Administration," the Seductions of Ben Franklin, and Songs on the Cutting-Room Floor |
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222 | (3) |
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"The Adams Administration" [Full Lyrics] |
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224 | (1) |
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Chapter XXVI In Which the Hero Blows Up His Spot, with the Assistance of Howell Binkley's Lights and Other Forms of Ingenious Stagecraft |
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225 | (15) |
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229 | (11) |
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232 | (2) |
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234 | (4) |
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238 | (2) |
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Chapter XXVII Giving an Account of a Hurricane, with a Notable Appearance by President Obama, and the Remarkable Rise of Anthony Ramos |
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240 | (10) |
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245 | (3) |
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248 | (2) |
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Chapter XXVIII A Grieving Chapter: On Losses Beyond Words |
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250 | (6) |
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253 | (3) |
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Chapter XXIX Containing a Dialogue on Ambition, and Some Topical Comments, from David Brooks and Christopher Hayes |
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256 | |
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258 | |
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Chapter XXX Further Thoughts on Ambition, as It Pertains to the Playwright and the Enigmatic Burr |
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163 | (107) |
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166 | (103) |
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"Best Of Wives And Best Of Women" |
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269 | (1) |
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Chapter XXXI How the Duel Was Fought, and Rewritten, and Fought Again, as the Clock Ran Out |
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270 | (6) |
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"The World Was Wide Enough" |
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272 | (4) |
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Chapter XXXII What Is a Legacy? Or, a Sketch of Opening Night, and What Came After, and What Might Come Next |
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276 | |
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"Who Lives, Who Dies, Who Tells Your Story" |
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180 | (4) |
Epilogue |
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184 | (102) |
Credits & Acknowledgments |
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286 | |