Kembrew Mcleod's Analysis

Kembrew Mcleod's Analysis

Kembrew McLeod (1999) proposes that an increased emphasis on blackness as a major point of hip hop authenticity – along with other characteristics like being "underground," "from the street," and "staying true to yourself" (1999, 139) – occurred in an effort to preserve hip–hop's identity in the face of mainstream absorption (see also Decker 1994). Two significant aspects of McLeod's contributions are (1) his acknowledgement of the broad nature of all authenticity claims – as opposed to arguing for an authoritative Truth about what hip–hop is, McLeod bases his research on how the genre is discussed by artists, fans, and the press; and (2) his binary framework which pits "Black realness" against "White fakeness." Others have since used this ... Show more content on Helpwriting.net ...This discourse revolves around discussions of what is pure and polluted culture or, respectively, authentic and inauthentic hip–hop culture (p. 144). The first level, old school is defined as pure hip–hop that is reminiscent of the early days of hip–hop music before the culture became widespread, and open to mainstream influences. Older individuals who in their youth participated as break–dancers, DJs, MCs, and graffiti artists shape the old school dimension; those individuals who helped grow hip–hop as a culture, without the goal of making a profit from their participation. The second level of this C dimension, mainstream, is characterized as hip–hop music that is made for the intent of radio and/or television, making it inauthentic hip–hop. Members of the hip–hop community who treat hip–hop like a product, rather than the culture that it is, would be seen as "sell–outs" or members of the mainstream popular

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