Bro Country Be Smart Fun And Harmless Summary

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From the context packed mellow bars of To Pimp a Butterfly and the Hip-Hop revolution, to the smooth beat of the Harlem Renaissance, music is an integral part of our society and artistic expression; and as anything important, comes under extreme scrutiny and criticism without fail. From mellow and opinionated talking points, to clinical and objective think tanks, music criticism is a polarizing, controversial, and at times utterly baffling genre. You can read about the validity of “bro country” as a serious art style, or the systemic racism and violence that black communities face every day. You can read about how it affects one on an emotional level, and how it affects one’s thinking and rational processes. Yet music criticism

In “Bro Country’ Can Be Smart, Fun, and Harmless” by Chuck Eddy, a criticism piece that talks about the validity of Bro Country as a genre, continues to use casual language such as, “...one last good thing...”, and, “Enjoy your trucks while you can boys.” (Chuck Eddy, P.g. 1). This is of course seen as unprofessional in a majority of genres, yet due to the loose guidelines and general opinionated nature of the genre it is allowed without scrutiny, if anything just shows the calm attitude the author has Which illustrates how (comparatively) extreme music criticism can deviate from the norm. Yet on the other hand, there is a more, much more serious, conventional part of the community as well. Criticism of Beyonce is Often Harmful to Black Women is a text authored by Tamara Winfrey Harris in 2016. It is many things, an interesting read, a political statement, a comprehensive analysis of the consequences of music and the criticism of it, and so much more. Tamara is known for this, and throughout the 3,230 worded text there is conversation on how, “The judgment of how Beyoncé expresses her womanhood is emblematic of the way women in the public eye are routinely picked apart.” (Tamara

It is the culmination of years of repressed opinions, of struggles for so many that we live alongside, a prime example of what evil we let fester and why it is never mentioned beyond the occasional whisper. It is so much more than the mediocre piece of uptight nit-picking ramblings that you would expect of someone spewing out their opinion on a simple piece of damn noise. It is what music criticism should be, and it is something I support with every fiber of my being. It’s the reason why, when creating my criticism of To Pimp a Butterfly, I wanted it to be more than just a clinical analysis of whether or not the beat is groovy, if the tone of Kendrick Lamar’s voice fits the tone of the instruments. To make more than a babbling opinion piece of irrelevancy. I wanted true music criticism. History and context of Kendrick Lamar, of gang violence, institutionalized racism, and the issues the Black Community faces and still faces every hour, every day, every year. Why Black History month is the shortest month, why so many things have gone wrong and why music can be such an integral part of everything we hold important and true to ourselves. It was a challenge to do my best to live up to the seriousness and core ideas of such an endeavor, and I spent hours on end,