Dr. James iredell robertson junior associate professor of Civil War History at Virginia Tech. He is the author or editor of various books, including shifting grounds, nationalism and the american south, which won the British Association for american studies but prize, the book prize the jefferson , davis award for the museum of the confederacy, and the albert lee sturm award. His work has appeared in journals such as the journal of southern history and the journal of the civil war era. Among his Research Research project are the South Carolina cosman who achieved notoriety by caning senator Charles Sumner on the floor of the senate in 1856. And mapping the fourth of july and the civil war era, a project with colleagues in education, Computer Science and the libraries at Virginia Tech. He serves on the board of the society of civil war historians, the Editorial Board of the journal of Civil War History, the board of the smithfield press foundation and the historians Advisory Board of th
So nice be with you today to talk about this Exciting Book whose and why a hidden chapter from the 18th century invention race. This came out with harvard in 2022 and i love to get started by asking you about the genesis of this project. How how did this project come about. Well thanks its kind of a long story and a story involves the most important kind of person in the project. And thats Henry Louis Gates jr. Apparently, he reading an earlier book that i wrote called the anatomy of blackness that mentioned this debate or this contest which took place at the Bordeaux Academy of sciences. And ill get back to that second and at the same time, he was already thinking about doing a project this, and he just gave me a phone call out of the blue is an amazing day where he said, listen, im going to do a book and im going to call whos black and why about this contest . That took place at the Bordeaux Academy of sciences in 1741, and we worked on it very closely for two years, and it just came
Talk about this Exciting Book whose and why a hien chapter from the 18th century invention race. This came out with harvard in 2022 and i love to get started by asking you about the genesis of this project. How how did this project come about. Well thanks its kind of a long story and a story involves the most important kind of person in the project. And thats Henry Louis Gates jr. Apparently, he reading an earlier book that i wrote called the anatomy of blackness that mentioned this debate or this contest which took place at the Bordeaux Academy of sciences. And ill get back to that second and at the same time, he was already thinking about doing a project this, and he just gave me a phone call out of the blue is an amazing day where he said, listen, im going to do a book and im going to call whos black and why about this contest . That took place at the Bordeaux Academy of sciences in 1741, and we worked on it very closely for two years, and it just came out in paperback, by the way.
Forth between the terms. One of the things we see from peterson is that Country Music is music of modernity. It responds to it, grapples with it. I want to frame our discussion around couple of quotations. The first is from a anthropologist aaron fox. They write, Country Music is widely disparaged in racialized terms and assertions of its badness are quickly flamed in specifically racial terms. For cosmopolitan americans especially, country is bad music because it is widely understood to signify an explicit claim to whiteness, not as an unmarked, neutral condition lacking or trying to shed race, but as a foregrounded claim of cultural identity of bad whiteness unredeemed by ethnicity, folkloric authenticity, progressive politics, or elite musical culture. I want us to think about that. Country music as articulating and conveying this type of marked white particularity. The second quote is from roxanne dunbarortiz, a writer and historian, in the book red dirt, a memoir of growing up in
Forth between the terms. One of the things we see from peterson is that Country Music is music of modernity. It responds to it, grapples with it. I want to frame our discussion around couple of quotations. The first is from a anthropologist aaron fox. They write, Country Music is widely disparaged in racialized terms and assertions of its badness are quickly flamed in specifically racial terms. For cosmopolitan americans especially, country is bad music because it is widely understood to signify an explicit claim to whiteness, not as an unmarked, neutral condition lacking or trying to shed race, but as a foregrounded claim of cultural identity of bad whiteness unredeemed by ethnicity, folkloric authenticity, progressive politics, or elite musical culture. I want us to think about that. Country music as articulating and conveying this type of marked white particularity. The second quote is from roxanne dunbarortiz, a writer and historian, in the book red dirt, a memoir of growing up in