While blacks are almost entirely uninterested in the clipped, rigid urgency of the New Wave, it’s doubtful that more than a small percentage of Rolling Stone’s predominantly white readership knows anything at all about the summer’s only piece of culture-defining music, Kurtis Blow’s huge hit, “The Breaks.” Such a situation is both sad and ironic, because rarely have the radical edges of black and white music come closer to overlapping.
Seldom in pop-music history has there been a larger gap between what black and white audiences are listening to than there is right now.
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