A less professional example of authenticity is the kid on the street

A less professional example of authenticity is the kid on the street

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A less professional example of authenticity is the kid on the street. He is "swell" because he goes his  own way. The parents are on the sidewalk, but the kid marches along the street, next to the curb,  singing, "If a body catch a body coming through the rye." He has a pretty voice and is just singing  "for the hell of it." Cars zoom by, some apparently having to screech their brakes to miss the boy, but  he is not perturbed. For Holden, this is pure, innocent, and real, a living example of art for art's sake  although he does not state it that way. The performance is the better because neither the kid nor  Holden, his only audience, takes it very seriously. The event brightens Holden's day. The scene is  even more significant because it foreshadows Salinger's revelation of the central metaphor of the  novel, the source of the novel's title, in Chapter 22. The first example of Holden's aesthetics in Chapter 16 is the recording that he wants to buy for  Phoebe, an old song about a shy kid who won't go out of her house because she is missing two front  teeth. It is called "Little Shirley Beans" and is sung by the black jazz singer Estelle Fletcher. What 
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A less professional example of authenticity is the kid on the street

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