*Spoilers ahead, proceed with caution!*
After the release of its critically acclaimed series Stranger Things, it was clear that the next Netflix original series to premiere would have a tough act to follow.
But that didn’t stop Baz Luhrmann and Stephen Guirgis from creating the bold 70s drama that dominated social media this past week. The show’s premiere was perfectly timed to pique the interest of those who had just been impressed by how good a “Netflix original series” can truly be, especially after watching Stranger Things, so there would be no reason to doubt the quality of The Get Down (and there really isn’t). The series charmingly follows the events surrounding a group of young people in 1970s New York City (The Bronx), aiming to make a name for themselves in a dangerous and impoverished community. The show captures vivacious 70s culture juxtaposed with The Bronx’s depleting way of life due to political and societal misfortunes that financially plague the city. Luhrmann and Guirgis do not play it safe here, showcasing a grim New York filled with drugs, violence, racism, and even sexual harassment. The statements made here are incredibly powerful, with an evident mission to avoid watchers from glamorizing the 70s in this dramatized portrayal.
While the series has stirred controversy in its candid approach to relevant social issues, it’s most successful in detailing two ends of the 70s music spectrum: disco and hip-hop. The shows exploration of the beginnings of hip-hop in a disco-driven world is phenomenally detailed and accurate. The world of disco and hip-hop, especially in a place like The Bronx, act as a form of refuge and solace for the young people in the show but are also musical cultures funded and run by the drug lords and criminals who have brought violence to the streets of The Bronx, to begin with. It’s a complicated dynamic, one the main character Ezekiel or “Books” finds himself intertwined in. Books, named for his incredible talent of poetry, and his friends meet a mysterious DJ named Shaolin who introduces them to the underground “get down” scene. They find a place for themselves, referring to themselves as “The Get Down Brothers,” finally a place where they fit into society. But Books is torn, should he use his talent for poetry as a master MC in the “get down” or should he follow the advice of the adults in his life who encourage him to strive to be a writer and take on an internship in New York politics? His internal battle shows us the origins of hip-hop’s connotations and reversely, the way music has empowered Books to become more than he thought he was capable of. Music to people who have little to look to is inspiring and necessary, and The Get Down embodies that idea perfectly.
Conversely, The Get Down shines a light on the disco scene of the 1970s, a genre that came with a bang. Mylene, Book’s love interest in the series, aspires to become a disco star like Donna Summer. Her fatal flaw, though, is the disapproval of her minister father who blatantly calls it “the devil’s music.” We later learn that most disco hits become big through the DJs at popular clubs who largely cater to the LGBT community. This bit of information is enlightened to the audience early on and then solidified by a magical scene in the final episode available on Netflix that shows a curiously enthralled Dizzee (Jaden Smith‘s character) stumble upon a very gay party (drag queens included) and makes a few realizations about himself and a very close friend of his. This scene promotes a side of disco that was probably extremely taboo to discuss at the time (not just by religious ministers, but by anyone). It is a great example to have, though, of a free space for LGBT individuals who were fighting a very different battle than those on the turntables of the “get down” in the 70s. And it serves to speak volumes on what was accepted and what wasn’t socially in the 1970s.
The Get Down also successfully highlights the mainstream following of disco, a genre that is highly underappreciated today. Their efforts of bringing disco to the forefront through Mylene’s driven storyline and the overarching soundtrack of the show that features disco household favorites is entirely refreshing and necessary. It seems this year is the year of reinventing the period piece. Before, a period film or tv show was made to chronicle the emotional baggage of a war or historical/political event, but now it seems that lens has shifted to one of celebrating culture. As mentioned before, we have seen a great amount of success with Stranger Things which celebrated 80s cinema, a major element of 80s culture. The Get Down seems to follow a similar path in highlighting hip-hop, disco and briefly film (many references to kung-fu movies are strategically intertwined in the plot) of the 70s in order to regain a mainstream appreciation for the era and remember it in all its glory. If this is what the next generation of television holds, then I am all for it.
There is something magical about the cultures that shaped the eras before us because they continue to shape our present day culture every second of every hour of every day. With only six episodes available on Netflix so far, I hope The Get Down continues to dig deep into more social issues while letting 70s art, music, and film shine. I foresee a bright future for this show and an even brighter future for its young cast members who are all incredibly talented musically and theatrically.
Let us know in the comments what you think of The Get Down so far!
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