 In understanding the motivations behind pronouncing authenticity, Gilroy identifies the financial and market-based benefits to this pronouncement by saying, “the discourse of authenticity has been a notable presence in the mass marketing of successive Black folks cultural forms to white audiences,” demonstrating the reason for desiring being denoted as authentic.However, he also acknowledges that even seemingly authentic art forms like hip-hop, an American art form, are diasporic in nature incorporating global influences into their origin questioning how definitive apparent authenticity can be.Gilroy describes Hip-Hop as having “formal borrowings from the linguistic innovations of Jamaica's distinct modes of 'kinetic orality,' " this flips his earlier description of authenticity on its head by presenting a seemingly culturally regional and authentic Black art form as a truly global manifestation, depicting how ambiguous authenticity can be.