In a rehearsal studio in the Echo Park neighborhood in Los Angeles, Kurtis Blow was limbering up and getting loose. Earlier this year, his left arm swelled up abruptly, requiring four surgeries to resolve what was eventually diagnosed as deep-vein thrombosis. Blow usually holds the mike in his right hand when he raps, but he had to get his left arm going, he said, “because it’s my ‘Throw your hands in the air’ arm.”
Lithe at age sixty-six, Blow was dressed in leather cargo pants, a track jacket, and a black baseball cap with the words “I AM HIP HOP” above its brim. He was whipping himself into shape for a “Legends of Hip-Hop” concert to be held just after Thanksgiving at the Peacock Theatre, in downtown L.A. He will be on a stage that will also feature such foundational rappers as Big Daddy Kane, Doug E. Fresh, and two members of the Furious Five, Melle Mel and Scorpio.
Our Far-Flung Correspondents: A Centenary Issue
Subscribers get full access. Read the issue »

Blow’s youngest son, Michael, the studio’s owner, manned the d.j. deck, wearing a hoodie from Stanford, his alma mater. The rapper’s eldest, Kurtis, Jr., nodded his do-ragged head to the beat and offered counsel alongside his mother, Kurtis, Sr.,’s wife of forty-two years, Shirley. (The Walkers, to use the family’s civilian surname, also have a third son, Mark.)
It has been forty-five years since the release of Blow’s song “The Breaks,” the first rap single to be certified gold. Blow had already scored a novelty hit, “Christmas Rappin’,” at the end of 1979, the watershed year in which rap transitioned from clubs in the Bronx and Harlem to singles pressed on vinyl, chief among them “Rapper’s Delight,” by the Sugarhill Gang. “I had a singles deal with escalating options,” Blow recalled. “I had to sell thirty thousand records in order to do another single. The Christmas rap sold over four hundred thousand copies. So the producers said, ‘What do you want to do for your next single?’ ”
Blow was first discovered a couple of years earlier, when he was spotted in performance by Robert (Rocky) Ford, Jr., a Billboard journalist covering the burgeoning rap scene. Ford and a colleague on the ad-sales side, J. B. Moore, were so impressed by the teen-age performer that they asked if they could produce and co-write records with him. Blow agreed, and, abetted by Ford’s and Moore’s connections, became the first rapper to sign with a major label, Mercury.
With Ford and Moore eager for a follow-up to “Christmas Rappin’,” Blow said, “I told them, ‘Well, I want to do a song for all my b-boys.’ I was a hard-core break-dancer and a d.j. as well. James Brown was my thing. The most important part of a song for a b-boy is the break, the part where the vocals drop out. So I wanted a song with a lot of breaks.”
As Blow recalls, Moore, a bespectacled white man in his late thirties, was intrigued by the connotations of the word “breaks.” It could refer to good breaks and bad breaks. It was a homonym for brakes, the things you pump to slow down your car. And it was also, as Blow articulated, a musical term. Moore and Blow fashioned a litany of breaks/brakes in all manner of categories.
Some of them betrayed the thought processes of the older writer, e.g., “And the I.R.S. says they wanna chat / (That’s the breaks, that’s the breaks) / And you can’t explain why you claimed your cat.” Other lyrics, like one in which Blow exhorted a girl in brown to stop messin’ around, bore the stamp of the rapper himself.
The end result was an infectious bop enlivened by Blow’s exuberant rapping style, which was inspired, he said, by the rhyming patter of Hank Spann, a d.j. on the New York radio station WWRL, then devoted to R. & B.
“The Breaks” was a crossover smash, and it bent the course of musical history. Chris Frantz and Tina Weymouth, the married rhythm section of Talking Heads, were so taken by the song that they name-checked the rapper in “Genius of Love,” the 1981 post-punk-funk single by their side project, Tom Tom Club: “Stepping in a rhythm to a Kurtis Blow / Who needs to think when your feet just go?”
“When that song came out, I was, like, cheesin’ so much you could’ve put a banana in my mouth sideways,” Blow said.
In a Zoom call, Frantz avowed that the influence of “The Breaks” goes even deeper. “The timbale breaks in the first Tom Tom Club single, ‘Wordy Rappinghood,’ were inspired by the timbale parts in ‘The Breaks,’ ” he said. It had an effect on Talking Heads, too. Once, when David Byrne was stuck on a lyric for the song “Crosseyed and Painless,” Frantz recalled, “I said, ‘David, there’s this new thing called rap, and if you could just rap a part it would be cool.’ ” He played him “The Breaks,” which yielded Byrne’s now famous “Facts are simple and facts are straight” bars.
Blow is proud of his squeaky-clean image, which was a conscious choice. “I made two hundred and forty-three rap songs and never used profanity,” he said. “I sacrificed my career so guys like Chuck D and KRS-One could come up and really teach and empower our youth.”
He’s Kurtis Blow, and he wants you to know that these are the breaks. ♦






















