And that resisted, alien, exhilarating cutting edge has always been black, and always an augury of pop’s every near-future, since everything we now recognize and salivate on cue over in the white teen and yuppie mass-market rock and dance world was invented by, then bought or bit from, an insular or regional, highly time-and-place-dependent black music scene, from swaying spirituals and front-porch minor fifths off baling wire3 to Dix, jazz, Blues, soul, James Brown, Motown, Jimi Hendrix, and the ’70s’ funk innovations of Clinton’s Parliament & Hayes & their votaries, to (umm) disco, then
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