G. Ruger Donoho: A Painter's Path

The Garden District of New Orleans

Gardening Southern Style

Garlic Capital of the World: Gilroy, Garlic, and the Making of a Festive Foodscape

Garrison Keillor: A Voice of America

Garry Trudeau: Doonesbury and the Aesthetics of Satire

Gender and the Poetics of Excess: Moments of Brocade

Gender and the Southern Body Politic

General Stephen D. Lee

George A. Romero: Interviews

George Cukor: Interviews

George Lucas: Interviews

George Stevens: Interviews

German Boy: A Refugee's Story

Germans and African Americans: Two Centuries of Exchange

Gertrude Stein and Richard Wright: The Poetics and Politics of Modernism

Gettysburg: Sentinels of Stone

Ghost Dancing on the Cracker Circuit: The Culture of Festivals in the American South

Ghost Hunters of the South

Ghosts along the Mississippi River

The Glenbuchat Ballads

Global Faulkner

Global Neorealism: The Transnational History of a Film Style

Global Pop, Local Language

Glorious Days and Nights: A Jazz Memoir

God of Comics: Osamu Tezuka and the Creation of Post-World War II Manga

Golden Days: Reminiscences of Alumnae, Mississippi State College for Women

The Gorilla Man and the Empress of Steak: A New Orleans Family Memoir

Grady Baby: A Year in the Life of Atlanta's Grady Hospital

Grant Morrison: Combining the Worlds of Contemporary Comics

Great Houses of Mississippi

Great Smoky Mountains Folklife

Great Spirits: Portraits of Life-Changing World Music Artists

Green Seduction: Money, Business, and the Environment

Grotowski's Objective Drama Research

Growing Up in Mississippi

Guadalcanal Marine

A Guide to Moist-Soil Wetland Plants of the Mississippi Alluvial Valley

Guiltless Pleasures: A David Sterritt Film Reader

The Guitar in America: Victorian Era to Jazz Age

Guy Maddin: Interviews

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On the Horizon: Scotty and Elvis

When Elvis Presley first showed up at Sam Phillips’s Memphis-based Sun Records studio, he was a shy teenager in search of a sound. Phillips invited a local guitarist named Scotty Moore to stand in. Scotty listened carefully to the young singer and immediately realized that Elvis had something special.  Along with bass player Bill Black, the trio recorded an old blues number called “That’s All

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