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had to choose one, i would choose three. the charters of freedom, the declaration, the constitution, and the bill of rights. the british burned the town, and the night before, a clerk in the state department rolled them up, stopped them into linen sex, commandeered stuff them into s, and they are here today because of that rescue. announcer: can watch the entire program monday at 8:00 p.m. and 11:00 p.m. eastern. this is american history tv, only on c-span3. dickinson college professor cotton seiler teaches a class about the emerging definitions of whiteness and blackness in colonial america and how they impacted the emergence of country music. you described how laws elevated he described how laws elevated poor whites above slaves and free blacks, which helped white frontiersman form a separate group identity. some of the traditions of this group and their folk ballads became the basis of country music. his classes about an hour and 10 minutes. prof. seiler: good morning,
New-yorkUnited-statesNorth-carolinaTexasPhiladelphiaPennsylvaniaVermontKentuckyIllinoisJamestownVirginiaNorthern-ireland 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 dunbar-ortiz, a writer and historian, in the book red dirt, a memoir of
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