In 2016, Hamilton mania swept over the country; the historical hip hop musical based on Alexander Hamilton and the founding fathers became so popular that it was practically impossible to escape the recitations of its lyrics. The harmony between theater, history, and rap unexpectedly paired harmoniously to create a pop culture phenomenon that is destined to be talked about for years to come. One of the most well known songs of the show, titled “Aaron Burr, Sir” begins with the chorus singing “1776, New York City.” As a sixth grader during this craze I can attest that a majority of my peers would know these specific lyrics after hearing the opening beat of the song. We are the generation that got to experience an unconventional education of history, one that was exciting. Prior to Hamilton who would’ve thought that young children’s first idea of George Washington would be as a Black man rapping. While the progressive approach to the retelling of our history should certainly be celebrated, it falls short to fully be representative of the Black experience during those fundamental years. Hamilton aimed to highlight the creation of our country, one that starts in 1776, a year that so many of us have become accustomed to. 

   Hannah Nikole Jones and the entirety of the 1619 project rattled this narrative and put forward a new idea of our founding fathers. This collection of essays was published by The New York Times in 2019 and is centered around the notion that America “began” not in 1776, but rather in 1619, the year the first slave ships from Africa arrived at the 13 colonies. 400 years after this arrival, the project was released and subsequently sent shockwaves throughout the country. While regarded highly by many, several figures in politics were vocal about their criticisms. Their misinterpretation of the work acted as a means to distract from the group's initial message and create a new narrative that still benefited them. Despite their incessant belief that Nikole Hannah Jones was spearheading a mass infiltration of American values, her writing reflects quite the opposite. The 1619 project and its contributors aimed to illuminate the commodification of Black people that enabled our country's success while simultaneously shifting the narrative to praise their labor rather than hide it. This retelling of our history depicts Black accomplishments as inherently American, thus threatening white america and its long running ability to profit off of Blackness without any consequences. 

   The opening statement of Nikole Hannah Jones' introductory essay attributes the fruition of our founding liberties to the struggle of Black Americans. She writes, “Our founding ideals of liberty and equality were false when they were written. Black Americans fought to make them true.” A project that many have interpreted as the antithesis of patriotism, instead works to illuminate the Black contributions to the ethos of the American Dream. Her work, and that of other New York Times writers contradicts the misconception and long held belief that whiteness has been at the forefront of American success. What would the perception of our country be without the high regard for our sense of liberty, equality, economic power and pop culture? Through the education of the 1619 project our country can address the more pressing question, of what would our country be without the labor of Black Americans? While this collection of writing creates a narrative in which black people are empowered through their contributions to our country, it is imperative to recognize the continued exploitation of their community. 

   Beginning in 1619, the United States has treated Black individuals and Blackness itself as a commodity. Through ignorant justifications that the color of your skin equated to worth, the first Americans viewed enslaved Africans as merely a resource and treated them as such. While it’s comforting to believe this perception changed after slavery was outlawed, it has seeped into the foundation of our country and continues to fuel the success of a white America. While slaves were stripped of their worth, and pushed to their physical limits, far away the people in power reaped the benefits. The Black community continues to deal with the repercussions of this treatment, however white Americans are able to blissfully enjoy the positive effects of their exploitment. But who cares about exploitation if it’s quicker and cheaper, right? 

   This way of thinking led the United States to view slaves as an economic venture. They saw slaves as a means to an end, a means to power, a means to making America. Jones described this as the “relentless buying, selling, insuring, and financing of their bodies.”The many factors that contributed to the success of the young and unstable country that America was, all lead back to this non consensual and non compensated labor of slaves. The White House, Capitol, Plantations, and Wall Street are all aspects that contributed to the initial stature of America, a prosperity that was made possible by the commoditization of black people. Now in 2021, many citizens of the United States believe it’s time to move on, that everyone’s equal now, that when Black people were granted the ability to vote, racism magically vanished. If this were in fact the case, there would have not been such an outlash to the 1619 project as there is. 

   Wesley Morris, another contributor at the New York Times, delves into one way the profitization of Black struggle still exists within the country. In recent years the media has begun to call out instances of cultural appropriation. While to some, this seems like a frivolous problem in comparison to the era of slavery, it in fact highlights the lingering perception of blackness as a commodity within the context of our more modern society. Morris specifically focuses on the theft of music created by, and for the Black community. 

  From the beginning of the United States, music was a method in which slaves coped with their treatment, it was something that was theirs. Over the years lyrics and melodies have evolved, however the Black community still uses art to express their hardship and pride. Unfortunately, similar to the theft of their labor and bodies, white musicians have continuously profited off of black art not recognizing it’s personal origins. He writes, “For centuries, Black music, forged in bondage, has been the sound of complete artistic freedom. No wonder everybody is always stealing it.”

   To exhibit this repetitive cycle Morris reveals countless instances where white musicians employed some form of Black culture in their work and persona, whether it be subconscious or not. The artists he mentioned spanned from American icons of decades past, to much more current figures still on the music scene. However, it is clear that Morris is not attacking these musicians for a lack of talent or claiming that they even know the implications of their actions. While yes, adults, especially those with a platform should be taken accountable for their actions, it is far more proactive to educate the masses, something the 1619 project has done brilliantly.One aspect of this goal is reflected in Morris’s ability to celebrate the cross cultural blending that is American music and simultaneously explain the severity behind cultural appropriation. 

   Summer Okoye, a student at NYU in her essay titled “The black commodity” goes into depth on why these instances are not perceived as flattery but rather as actions of privilege, ignorance, and truly reflective of the generational oppression present in our country. These distinctions are highlighted through the discourse surrounding Australian born rapper Iggy Azalea. Okoye guides her readers through Azalea's response to being called out for putting on a Black persona and the subsequent criticisms of her statement. Several high profile black celebrities were not shy to address the overwhelming privilege that surrounded this belief that her music was an escape from all of “that stuff”, and no reason to apologize. Okoye quotes Kareem Abdul Jamal another Black figure who expressed that situations like this “feels an awful lot like slavery, to have others profit from your efforts.”

   Through the writing of Morris and Okoye it is obvious that musicians have and continue to use aspects of Black culture when it is beneficial, thus continuing the perception of “the black commodity.” It is for these reasons that pieces of work such as the 1619 project are still necessary to be made and discussed. Other than the music industry, the theft of black labor persists in film, fashion, and beyond. Jones’ essay and the entirety of the project brings awareness to these exploitations and fights to reclaim the countless accomplishments of the Black community, despite their continued oppression. Morris even expresses the strange mixture of feelings in regards to white America's obsession with blackness, “It’s the conflation of pride and chagrin I’ve always felt anytime a white persona inhabits blackness with gusto.” Jones and the countless other contributors honored both of these feelings in their work. The 1619 project captured the sense of pride that is felt by the Black community reclaiming their bountiful accomplishments, while still continuing to recognize the deep distress and very much prevalent trauma they have been subjugated to. Through this combination the New York Times created a resource that provides a scope into the many experiences felt by Black Americans since that fateful day in 1619. 

   The right wing is frightened by the 1619 project's ability to educate the masses on an “unedited” history of America and instill a sense of pride into the black community. This threatens their position in power and habits of profiting off of blackness when it is deemed beneficial. To combat this threatening “indoctrination of left wing garbage”, many politicians distorted the intentions of the New York Times as means to remain in control and prolong the white, heteronormative, male narrative. Since the origin of colonization, groups in power have manipulated the media to justify racism towards people of color and depict them as an “Other.” This cycle of “silencing the dissenter” has existed throughout United States history, and is exhibited through the criticisms of the 1619 project. 

   While it certainly received backlash upon its release in 2019, the project gained traction once again during the height of the COVID pandemic. Following the death of George Floyd in May of 2020, uncomfortable conversations about race occurred across the country and greater world. Thousands took to the streets to protest the death of Floyd, pointing all eyes to America. As a country we were vulnerable, stripped down to reveal the deep and undiscussed problems within our community. As issues surrounding racism, police brutality, et cetera were at the forefront of the media, the 1619 project seemed like something relevant to discuss. 

  In July 2020 former director of the CIA,  Mike Pompeo, addressed the rise in protests and provided a scope into his views of the project. He expressed that, “And yet today, the very core of what it means to be an American, indeed the American way of life itself, is under attack. Instead of seeking to improve America, leading voices promulgate hatred of our founding principles.” Pompeo is right in the sense that the white, oppressive, prejudiced America is under attack. The America that was founded on stolen labor… not the founding principles of liberty that black people “fought to make true.” Just three days after his statement Donald Trump, the presiding president at the time, was interviewed by Fox News. He believed that kids these days are taught to hate America, to cancel it, and the 1619 project was one culprit of these messages. What politicians such as Trump and Pompeo fail to understand is that the history of slavery and continued oppression of black people is not something Nikole Hannah Jones created out of thin air. These problems have persisted since our country’s creation, however it is just now that they are getting the attention they deserve. If the Black community has continued to prevail despite the countless obstacles, imagine their accomplishments once the United States starts to take notice. This is what White America is afraid of, they are afraid of being beaten. 

   Young generations such as Gen Z are at a point in time where they can explore countless perspectives within seconds, a privilege that was not afforded to children years prior. White supremacy is losing its grasp, so expectedly something had to be done. In the same month of July 2020 a bill was released from the office of republican senator Tom Cotton. Cotton was hoping to implement a law titled “Saving American History” which would prohibit government funding to public schools who included the 1619 project in their curriculum. It is clear that this bill was created so that future generations would not be made aware of the atrocities in our country and god forbid see Black people as Whites equals. 

     Aside from their obvious fear of losing control of the narrative, the education of the 1619 project could bring to light the many ways white America continues to oppress minorities. Take the prison system for example. Our government has worked out a series of events that works out perfectly, to their benefit. Through over-policing the Black community they have higher incarceration rates, and when these people come to prison they are subjugated to uncompensated labor. While slavery was made illegal, America has consistently found loopholes to let these patterns subsist in our country.

    I also believe that people are so heavily against the 1619 project due to a sense of pride. Many people in our country have an extreme sense of patriotism towards “the founding fathers”, and our “founding liberties.” It is easy to understand why, as the heroic stories of these men have been celebrated fervently for the past 200 years. To them, it is deeply offensive that America’s success might be attributed to someone else. They don’t appreciate the feeling of someone else getting credit for work “their people” did. In essence they can’t deal with what the United States have been doing to the black community for years even to a minuscule extent. As white people it is very easy to become comfortable with our sense of privilege and ignore atrocities that do not affect us. The politicians mentioned above and a large sum of American citizens are not ready to reconcile with this fact, and prefer to continue living benefiting off of Black exploitation. In summary, the criticisms of the 1619 project work to distort the group's message in order for White America to remain in power. 

    While it is first important to uplift Black voices such as those in the 1619 project, what are the next steps in creating a more representative America? In Wesley Morris’ essay he brings up a great point about how American music is a unique blend of many different voices. The combination of countless cultures and experiences is what makes America special, it’s the idealistic appeal to America. However, as the citizens of this country we are not able to enjoy these differences and coexist without giving necessary appreciation and credit to those in other communities. Whether it be through government sanctioned reparations or the inclusion of POC in the entertainment industry, there are many ways we as Americans can create an atmosphere that allows for a collaboration of different groups. However, it is important to understand the possible apprehension of marginalized people to “work together.” For so long Black people have been cast away and silenced, so to move forward America must step back and listen to what is needed to best support their community. Through appreciating the 1619 project citizens of the United States can recognize Black injustices and celebrate their accomplishments and only then can we collaborate to create an America everyone can be proud of. 

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Bibliography 

“Cotton Bill to Defund 1619 Project Curriculum: U.S. Senator Cotton of Arkansas.” Home, July 23, 2020. cotton.senate.gov/news/press-releases/cotton-bill-to-defund-1619-project-curriculum. 

Fox News. “Transcript: 'Fox News Sunday' Interview with President Trump.” Fox News. FOX News Network, July 19, 2020. foxnews.com/politics/transcript-fox-news-sunday-interview-with-president-trump. 

Hannah-jones, Nikole. “America Wasn't a Democracy, until Black Americans Made It One.” The New York Times. The New York Times, August 14, 2019. nytimes.com/interactive/2019/08/14/magazine/black-history-american-democracy.html

Hernández, Javier C., and Benjamin Mueller. “Global Anger Grows over George Floyd Death, and Becomes an Anti-Trump Cudgel.” The New York Times. The New York Times, June 1, 2020. nytimes.com/2020/06/01/world/asia/george-floyd-protest-global.html. 

Morello, Carol. “Pompeo Says Protesters and Mainstream Media Are Attacking American Way of Life.” The Washington Post. WP Company, July 16, 2020. washingtonpost.com/national-security/pompeo-says-protesters-and-mainstream-media-are-attacking-american-way-of-life/2020/07/16/09f3aad8-c799-11ea-a9d3-74640f25b953_story.html. 

Morris, Wesley. “Why Is Everyone Always Stealing Black Music?” The New York Times. The New York Times, August 14, 2019. nytimes.com/interactive/2019/08/14/magazine/music-black-culture-appropriation.html.

Okoye, Summer. “The Black Commodity” cas.nyu.edu/content/dam/nyu-as/casEWP/documents/mercer2016/okoyeblack.pdf