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“The Get Down” is more successful than “Vinyl” in that regard, becoming a sort of gnostic gospel of hip-hop by taking the parts that were true (or almost true) and polishing them decades later with quasi-religious fervor and a dramatization that approaches the liturgical. There are hip-hop messiahs here (Grandmaster Flash, who is now 58 and lends the series the same expertise that Mick Jagger provided to “Vinyl”), as well as tempting devils who brandish the rewards of crime — including Jimmy Smits in his best role in years, as Francisco “Papa Fuerte” Cruz, a kickback-motivated Bronx politician cheap ballet shoes.
“The Get Down” is undeniably interesting to watch, but I feel it’s my duty to also say: What a mess. The first episode struggles with the basic rules of viewer seduction, but a story emerges anyhow of the unlikely friendship between Ezekiel “Books” Figuero (Justice Smith), an artistically gifted but unmotivated teenager, and Shaolin Fantastic (Shameik Moore). The two desire to form a DJ crew to produce beats and rhymes that may one day rival that of their hero, Grandmaster Flash (Mamoudou Athie) cheap ballet shoes.
Meanwhile, the young Kipling brothers (Skylan Brooks, T.J. Brown Jr. and Jaden Smith) form the rest of Books and Shaolin’s would-be crew, dubbing themselves “the Fantastic Four + One.” The boys make an early, dangerous mistake, however, when they come into a bootleg cassette of one of Grandmaster Flash’s sets and (unbeknown to Shaolin) charge admission to a dance party at which they set up two turntables and pretend the music is theirs. They are caught faking it, and must work to restore their credibility in the neighborhood cheap ballet shoes.
It’s here that I began to sympathize with the monumental task “The Get Down” has set for itself cheap ballet shoes. Not only is it trying to juggle a complex series of storylines (as all good TV dramas must). It is also trying to introduce a broad audience to a new ethical code, rooted in community and poverty, where committing a felony is fine but plagiarizing a DJ is an egregious transgression. Our heroes here are similar to — yet strikingly different from — all the difficult, dishonest protagonists to which viewers are accustomed, whether mafia members, meth dealers or Madison Avenue ad execs..
“The Get Down” revels in what some might call delinquency, vandalism, hooliganism and noise cheap ballet shoes. (Gee, Officer Krupke — haven’t you learned anything in 60 years?). I applaud “The Get Down” for its ability to flip such caricatures and let life be complicated for these black and Latino kids from moment to moment — which is what clearly informs their art. Luhrmann and company’s fanciful flourishes here remind me of the portraits by painter Kehinde Wiley, in which the authenticity of the hard streets becomes a Technicolor burst of regal splendor..