Tahjay Louis
Profesora Pabon
Blog #4
25 October 2019
In episodes four and five of The Get Down, we got to witness several of our favorite characters work together like never before. Despite facing many hardships that were all too common for underprivileged youth of color to experience both historically and in contemporary, our protagonists were able to push themselves and each other outside of their comfort zones and create something beautiful through that process. Showcasing how the importance of the collaborative and creative roots of hip hop culture and how it facilitates the exploration and expression of identity in order to escape the suffocating environment these youth were trapped in..
Episode four opens with cuts to mayoral candidate Koch delivering a speech, describing how the city has fallen into disarray calling it a “dangerous, dirty and lawless place”. He then goes on to use what he refers to as “teenage graffiti artists” as a scapegoat, turning their persecution into a cornerstone of his platform. Blatantly throwing his constituents that happened to be youth of color under the bus in order to more easily appeal to his potential white voters. This perfectly exemplifies a quote from the introduction of “(Re)Building the Cypher “On one side, there are people who dismiss the art form entirely, blaming it for the destruction of American Values while using it as evidence of the deficits of black youth culture’ Koch’s exploitation of this rhetoric was an all too common tactic of politicians at the time, with Hilarly Cinton’s “Super Predators” statement comes to mind most immediately.
The bleak reality of growing up black in the Bronx in the 1970s is made all too real with moments such as Koch’s speech as well as others like Marlene’s situation at home. But this reality is subsequently subverted when we witness Shaolin’s collaboration with Ezekial, Boo-Boo, Flash and eventually Marlene. As an individual keen to the power of networking and synthesis, it is undeniably beautiful watching him and the crew bring it all together to make something utterly unique to them and their experience. This moment in particular reminded me of the chapter in Graffiti Grrlz “Cultivating Affective Digital Networks and the Transphemeral Performative”. Considering how the work of a graffiti artist and to a lesser degree a street artist relies on discretion, and often acting as a lone wolf, it was flooring to witness the effort these individuals took together to ensure that their artform would never truly fade.
In summary, although this is my second time having the pleasure of watching the Get Down, the knowledge I have gained from this class has given me a newfound understanding and appreciation of the show. I look forward to being able to reflect on this more in later writings.
