![]() On one hand, the Gang of Four utilize their bass guitar every bit as prominently and starkly as the curt bass figures that prod the spoken verses in “The Breaks.” On the other, Chic producers Nile Rodgers and Bernard Edwards choose to make Diana Ross sound as sullen and alienated as Deborah Harry. 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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