After weeks of cryptic images posted on justin's and bon iver's social media, and murals all over the world:
we finally have a release date (september 30), an album title (22, a million), and cover:
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An undertaking like this, with the white Aussie Hollywood power player Luhrmann stylizing a history and culture far from his own, is an obvious minefield, and no doubt there are ways in which he has not navigated it fully. But the contributions of the journalist Nelson George in the writer’s room and Grandmaster Flash and Nas as producers may have helped prevent there from being too many cringeworthy moments of insensitivity (though viewers may cringe for other reasons during Luhrmann’s hammier scenes).
On the press tour before the show’s premiere, Grandmaster Flash has helped give insight into the reality that The Get Down so eagerly bedazzles. Talking to The Guardian about one of his Bronx block parties, the kind of Zeke and friends attend, he recalled, “The police officers loved us. You could see them parked across the street. They don’t have to chase no thugs because the thugs are in the park with us jamming. So we made their job easy.” And when walking in hostile gang territory back then, “It was like, ‘Oh that’s Grandmaster Flash, let him go. … They respected what I did.” So it’s really not just TV-show mythologizing when The Get Down presents music as a way to try and survive danger—exactly the opposite of how some people, even today, think of one of our era’s most vibrant art forms.
Thomas Gibson: The Prior Incidents That Led to His ‘Criminal Minds’ Firing https://t.co/ZaKBhDMfY0— Variety (@Variety) 13. August 2016