Lin-Manuel Miranda’s America: Life, Liberty, and the Pursuit of Happiness—Unless We Kill You First


Erin Mersino

The Broadway mega-success “Hamilton: An American Musical” tells the amazing reality of how one man, Alexander Hamilton, shaped our nation and changed the world through his genius and passion.  The musical has earned every compliment conceivable, including the characterization of “human excellence.”  The musical’s latest connection, however, inspires only disappointment—a pawn to glean donations for Planned Parenthood.  Donate $10 to Planned Parenthood and win tickets to attend Hamilton with its creator, Mr. Lin-Manuel Miranda.  The winner of the contest will be announced on Monday, January 23rd, but the last day to enter the contest was January 11th: the very birthday of Alexander Hamilton.

The irony seepith over, as abortion is the thief of birthdays.  And Planned Parenthood ensures that approximately 330,000 Americans each year never see their birthdays.  Perhaps even more disturbing, at times Miranda’s Facebook account advertised the contest with a photograph of a smiling Mr. Miranda wearing a t-shirt stating “How lucky we are to be alive right now,” a quote from his musical.  Indeed, how lucky. After January 22, 1973, the Supreme Court’s immaculate jurisprudential conception allows American mothers to legally kill their sons and daughters in the womb by abortion.  These bizarre coincidences lead one to believe that Mr. Miranda either does not realize that supporting Planned Parenthood funds abortion, does not realize abortion ends human life, or does not care that abortion ends human life.  Each conclusion beset by lavish ignorance.

Mr. Miranda boasts of Hamilton’s rise from humble beginnings: As a “bastard orphan, son of a whore” Hamilton grew up “impoverished, in squalor…” It is perplexing how Miranda misses the irony that Planned Parenthood targets minorities, single mothers, and immigrants. Indeed, if Planned Parenthood existed during revolutionary times, Alexander Hamilton would have been its prime target.  If aborted, Hamilton’s genius would not have defeated the British at Yorktown, helped frame the nation’s Constitution, or created the country’s financial system.

Mr. Miranda’s characters declare “we’ll never be free until we end slavery.”  How can we as a people express any moral authority on human rights when we disavow the human dignity of a class of people, when we allow abortion to end human life?  In the words of St. Teresa of Calcutta, “Any country that accepts abortion is not teaching its people to love, but to use violence to get what they want.”  And to paraphrase Mr. Miranda, history has its eyes on us—has denying the humanity of a class of people ever fallen on the right side of history?  Does anyone have the right to decide who lives, who dies, and who will have a story? It is disappointing that an artist who understands so much about the human condition does not understand our most basic tenet—all human beings have inherent dignity and should be treated with love.

Maybe one day a mother will realize that an unexpected positive pregnancy test or an expected difficult circumstance just means one thing—love is coming after you through the love of adoption or deciding to mother the child.

Before Mr. Miranda helps to fund America’s largest abortion provider, he ought to first consider that abortion ends human life. Perhaps if people fought to support pregnant women and fought against the treatment of pregnancy as some type of defect, and stopped reinforcing this stigma by supporting anti-pregnancy organization’s like Planned Parenthood, the real people in need of prize money and support—unemployed and low income single mothers—would be the recipients of Hamilton prize money.

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Erin Mersino

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