claim Johnson sold his soul to the devil at the intersection of Highways 1 and 8 in their town, while the 1986 movie Crossroads was filmed in Beulah, Mississippi. The blues historian Steve Cheseborough wrote that it may be impossible to discover the exact location of the mythical crossroads, because "Robert Johnson was a rambling guy". Interpretations Some scholars have argued that the devil in these songs may refer not only to the Christian figure of Satan but also to the trickster god of African origin, Legba, himself associated with crossroads. Folklorist Harry M. Hyatt wrote that, during his research in the South from 1935 to 1939, when African-Americans born in the 19th or early 20th century said they or anyone else had "sold their soul to the devil at the crossroads", they had a different meaning in mind. Hyatt claimed there was evidence indicating African religious retentions surrounding Legba and the making of a "deal" (not selling the soul in the same sense as in the Faustian tradition cited by Graves) with the so-called devil at the crossroads. This view that the devil in Johnson's songs is derived from an African deity was disputed by the blues scholar David Evans in an essay published in 1999, "Demythologizing the Blues": The musicologist Alan Lomax dismissed the myth, stating, "In fact, every blues fiddler, banjo picker, harp blower, piano strummer and guitar framer was, in the opinion of both himself and his peers, a child of the Devil, a consequence of the black view of the European dance embrace as sinful in the extreme". Both Lomax's and Evans's accounts themselves have been disputed and dismissed by Black scholars and authors including Amiri Baraka and Cornel West. West defines Blues as a creation of a people "who are willing to look unflinchingly at catastrophic conditions.", as children of God responding to those conditions. Baraka's words are more directly critical of white writers who study African-American Blues artform and culture from a Western viewpoint, stating that they "They have to do that to make themselves superior in some kind of way: that everything has come from Europe, which is not true". Baraka cites that rather than being formed out of any Western context, Blues derives from an African context of its own. The call-and-response singing Lomax argues is different than Blues has been widely cited as being a central aspect of Blues music.