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Turkish Metal: Music, Meaning, and Morality in a Muslim Society

Other essays complicate our notions of individual contributors and artists. In “Woody Guthrie at the Crossroads,” Kaufman explains how the proletarian and the bourgeois, the rural and the urban, and the commercial and the political intersect and complicate our previous understanding of the folksinger. In “Born in Chicago: The Impact of the Paul Butterfield Blues Band on the British Blues ‘Network,’ 1964–1970,” Kellett considers how Chicagoans like Butterfield and Mike Bloomfield learned to play the blues and contrasts their experiences with those of their British contemporaries. While the British relied primarily on records for their instruction, the Chicagoans watched performances and sometimes sat in with the great blues musicians in the South Side clubs, like a very generous Muddy Waters who shared advice and even invited the young men into his home. Kaufman describes a kind of transatlantic calland-response, a mutual respect, between the white Americans and the British, who “[w]hen challenged by seemingly more authentic or orthodox American acts . . . responded on their own terms—with recombination, experimentation, and innovation—and not by trying to ‘out-authentic’ them” (199). Kellett’s article is followed neatly by Robert H. Cataliotti’s essay on B. B. King and his loss of an African-American audience in the 1960s but his gain of a young white audience. King has long been appreciative of the young British musicians who helped him find this new audience, declaring Keith Richards and Mick Jagger to be “scholars of black music” (206). Despite King’s praise, critics chastised these young “scholars” and other young white blues musicians either for being too imitative or for straying too far from their sources, particularly in their rave-ups or other re-imaginings. It was a no-win situation for the young English bluesmen. The authors in this collection, all obviously fans, balance their enthusiasm and passion with well-grounded scholarship and objectivity. The result is an exciting collection of essays, one that both the scholar and serious listener will find revealing and stimulating. In short, Transatlantic Roots Music provides a valuable addition to the study of American roots music.