“The Warriors,” originally a novel and later a film from the late 1970s, has now transformed into a concept album by the talented Lin-Manuel Miranda and Eisa Davis, both of whom have impressive resumes. Eisa Davis, recognized as a Pulitzer Prize finalist for her play Bulrusher, has also created the play Angela’s Mixtape, which delves into her bond with her aunt, the political activist Angela Davis. Lin-Manuel Miranda is well-known for his revolutionary contributions to theater, particularly his musical Hamilton, which continues to influence culture. They both join us on The Excerpt to share insights about their latest project, Warriors, which launched on October 18, 2024.

Dana Taylor:

Welcome to The Excerpt. I’m Dana Taylor. It’s Wednesday, October 23rd, 2024, and we have a unique episode today.

The Warriors, which has existed as a novel and a film in the late ’70s, has now been reimagined as a concept album by the brilliant Lin-Manuel Miranda and Eisa Davis. Eisa Davis, a Pulitzer Prize finalist for her play Bulrusher, is also acclaimed for her work Angela’s Mixtape, which examines her connection to her aunt, the activist Angela Davis.

Lin-Manuel Miranda, celebrated for his innovative works in theater, particularly his hit musical, Hamilton, is also here to discuss their new project, Warriors. Thank you both for being here.

Eisa Davis:

It’s a pleasure to be here, Dana.

Lin-Manuel Miranda:

Thank you for having us.

Dana Taylor:

For those familiar with the novel or the film—especially the iconic line, “Warriors, come out and play”—it’s clear that this narrative is entrenched in themes of gang culture, tribalism, violence, and loyalty. Lin, what drew you to this story?

Lin-Manuel Miranda:

As an ’80s kid who unwittingly watched this movie too early on my friend’s older brother’s VHS, I have a few thoughts. First, it remains a cultural landmark because it’s beautifully made—New York has never appeared so stunning at night as it does in The Warriors.

Secondly, it doesn’t pass judgment on its characters. Instead, it places us directly into the “Warriors'” predicament. They arrive in the South Bronx expecting peace, only for it to be snatched away, forcing them to navigate survival amidst chaos.

Additionally, as a child, it encapsulates a primal fear—like the anxiety of wandering into an unsafe neighborhood, or encountering the wrong cop, or being too near subway tracks. It resonates universally and shaped my understanding of the city’s five boroughs, leaving a lasting impact on me.

Dana Taylor:

Eisa, you both have experience in various media, including stage, film, and music. How did you arrive at the decision to reinterpret this story as a concept album?

Eisa Davis:

Creating it as a concept album was thrilling for both of us. Although Lin had initially hoped to do something similar with Hamilton, that didn’t materialize.

As artists, we had never experienced the chance to craft a complete musical narrative with talents we might not get to feature eight times a week on stage. Collaborating with our fantastic producer, Mike Elizondo, and the incredible band he assembled in Nashville provided so much freedom in making it an album instead of a live show.

Dana Taylor:

Now that the album is finished, Lin, I’m sure you’ve answered this a thousand times, but are there plans to adapt Warriors for the stage using your concept album?

Lin-Manuel Miranda:

Steve Sondheim always said that the audience is your final collaborator. We’re thrilled for our audience to be engaging with our work now.

I remember the moment our cast album launched—we watched people’s real-time reactions. It’s rare for listeners to enjoy an album in sequence nowadays; most prefer picking their favorite songs for playlists. However, we’re inviting listeners to immerse themselves in a full story. I hope we can continue to develop this in another format, but I’m excited that what people hear is the product of our hard work to create an engaging storytelling experience.

Dana Taylor:

Eisa, what was your approach to collaborating on this project, both with Lin and the various artists involved?

Eisa Davis:

First and foremost, I was extremely grateful to Lin for bringing me on board to spearhead this project with him. He’s a long-time friend, and collaborating together was a thrilling experience from day one. We had a blast the entire time.

Similarly, we collaborated with amazing artists in the studio—many I never imagined I would meet, such as Marc Anthony, Kim Dracula, and Shenseea, alongside our friends from the theater scene in New York.

Dana Taylor:

Let’s focus on the artists featured in the album. While it’s clear that we can’t cover everything they contributed due to the sheer volume, I do want to discuss a couple of them. First up is Busta Rhymes, who I understand was a supporter of the musical Hamilton from early on. Was it an easy decision to include him? And how was your experience collaborating with him?

Lin-Manuel Miranda:

It was indeed an early yes. There’s a phrase that gets tossed around online about someone “understanding the assignment,” and for many in hip hop, the film “Warriors” holds a revered status.

Nas was the first to join in because the moment I mentioned “Warriors” to him, his eyes lit up, and he exclaimed, “That’s my favorite movie.” Busta was present at one of our early listening parties, where we shared our demos with friends for the first time, so he was involved from the very beginning.

What’s interesting is that there are specific voices I gravitate towards as an artist. Busta is the one I turn to when I’m feeling audacious or intellectually ambitious, whether that’s channeling Hercules Mulligan in Hamilton or the voice of Brooklyn in this album. So, I was overjoyed that he took part in this project.

However, with each artist, it underscores a key reason for approaching this project as an album first—because, as you mentioned, it’s a large ensemble. Throughout their journey from the Bronx to Coney Island, they encounter various gangs, giving us a chance to explore many musical styles and collaborate with artists who might not usually work together.

Dana Taylor:

Eisa, Lauryn Hill performed a track called “If You Can Count.” Did you present her with a completed song for the album? Were there songs specifically written with certain artists in mind, which you pursued later?

Eisa Davis:

We approached Ms. Lauryn Hill with this song already written. We recognize her as an extraordinary artist; she’s not someone who will just take any old verse or song. Her considering our work meant a great deal to us.

The fact that she took the time to review it, believed in it, and then returned files with her incredible vocals and harmonies was truly overwhelming—we were brought to tears. It became clear that she was perfect to portray Cyrus, calling for peace and unity.

Dana Taylor:

In your work with Lauryn and some of the other main characters, you swapped genders. Lin, what motivated that decision?

Lin-Manuel Miranda:

There were several reasons. Firstly, we wanted to avoid a direct following of the movie’s storyline. Since the film exists and remains sacred to me personally, we aimed to create our own path, making sure audiences weren’t just waiting for familiar moments.

Moreover, my inspiration partly stemmed from the online controversy known as Gamergate, which highlighted the harassment of women in gaming. Upon learning about it, I connected it back to “Warriors,” recognizing the villain Luther’s extreme actions, where he points the blame at the “Warriors,” allowing chaos to ensue. This malignant disorder led me to imagine: what if the “Warriors” were an all-female group making their way to Coney Island?

Examining the movie’s events from this perspective offers fresh and engaging plot points that wouldn’t unfold in the same way. As Eisa and I worked through it together, we were committed to ensuring that it wasn’t merely a gender swap of the same story but a unique narrative focused on a female gang protecting their home and returning safely.

Eisa Davis:

Exactly. As Lin mentioned, the gender swap was influenced by a specific understanding of how women face challenges in a society marked by sexism and misogyny. This led us to consider what obstacles this female group would confront while traveling home.

They face different gangs that underestimate them, make catcalls, and even attempt to lure them into dangerous situations, similar to what happens in the original story. It was vital that these are not just women performing male roles, but women navigating their own challenges. This aspect enriches the narrative, showcasing women in tough situations, overcoming struggles, and aspiring toward peace, which truly excited me about this adaptation.

Dana Taylor:

Both of you explore a variety of narratives in your art. Lin, regarding this and your other projects, do you hope it will spark a wider cultural discussion or create more awareness?

Lin-Manuel Miranda:

Absolutely. Every time I write, I aim to elevate our voices and representation. This has been at the core of my journey as a writer. I cherish musical theater, but I often felt that Latino representation was sorely lacking. The legacy of “West Side Story” has lasted over fifty years, and I was motivated by the fear that there weren’t roles available that would allow Latinos to thrive in this art form.

Whether it’s through this project or others, I am constantly striving to ensure that we occupy more space on stage and behind the scenes. So, yes, that intention is essential for me whenever I sit down to create.

Another exciting aspect of this project was the chance to dive deep into diverse musical genres. Set against the backdrop of New York in 1979, we took this moment to explore various musical styles and subcultures emerging at that time.

We delved into Latin music, particularly because Fania was reshaping it out of the South Bronx during the ’70s. We also explored the rich sounds coming from the queer community and nightlife that inspired the film “Paris Is Burning” and the vibrant ballroom scenes.

We delve into various music genres like rock, new wave, and ska.

Along with the diversity you’re mentioning, I aim to incorporate as many different musical styles as possible, as I find it enjoyable to experiment with genres to express character.

Eisa Davis:

Absolutely. It’s crucial to create a platform not just for your own identity but for all those identities that often go unheard. As Lin mentioned, we achieved this by working with The Hurricanes, a queer and trans team, and also included an incredible Korean rap segment in one of the songs, which was essential.

In many ways, I became a writer because I didn’t see enough representation of myself. Thus, my journey as a writer parallels Lin’s; we share a similar backstory.

Dana Taylor:

Eisa, both of you have created projects where you’ve been both creators and performers. Why did you choose not to perform in this piece?

Lin-Manuel Miranda:

Look at my sweater—I’m now the ‘Warriors’ dad. Every time we do these photo shoots, I joke that I just want to avoid looking like the ‘Warriors’ dad.

Eisa Davis:

Exactly.

Lin-Manuel Miranda:

Right, and there simply wasn’t a role for me. I was genuinely thrilled to write various parts for numerous people. It never even crossed my mind to step into the narrative myself.

Eisa Davis:

That’s amusing! I would have gladly participated, even as the ‘Warriors’ mom. I could have created a role just hanging out with them at Coney Island.

Lin-Manuel Miranda:

You mentioned they’d be home by now.

Eisa Davis:

Right? It’s like, “Where are those ‘Warriors’? I made them dinner!” I’d be all in for jumping into a role, but I get why Lin felt he wanted to take a backseat, having ample experience in his own projects.

Lin-Manuel Miranda:

Fast forward five years, and Eisa might just be the guest performer, Cyrus. Let’s not get ahead of ourselves!

Dana Taylor:

Eisa and Lin, thank you for joining us on The Excerpt.

Lin-Manuel Miranda:

Thanks for having us.

Eisa Davis:

Thank you!

Dana Taylor:

A big thanks to our senior producers, Shannon Rae Green and Kaely Monahan, for their support. Our executive producer is Laura Beatty.