In “The Popular Geopolitical Wor(l)ds of Post‐9/11 Country Music,” Andrew Boulton employs two media frames in his interpretation of post-9/11 country hits: “regions of danger and the evil other” and “the heroic ‘folk’ community under attack” (384).  After listening to the songs for today, do these frames make sense to you?  Do you agree with Boulton’s assessment of the political impact of post-9/11 country music?