This masterful explorationof American roots music--country, rockabilly, and the blues--spotlights the artists who created a distinctly American sound, including Ernest Tubb, Bobby "Blue" Bland, Elvis Presley, Merle Haggard, and Sleepy LaBeef. In incisive portraits based on searching interviews with these legendary performers, Peter Guralnick captures the boundless passion that drove these men to music-making and that kept them determinedly, and sometimes almost desperately, on the road.

Through a series of detailed, illustrated essays,on key flms within the genre, Lost Highways,explores the history of the road movei.Bringin in,other, until now neglected, genres such as the,western, film noir, horror, and even science,fiction, this is the definitive guide to a diverse,body of film that incorporates some fo the most,dominant themes and most popular films of this,century.

EDetours and Lost HighwaysE begins with the Orson Welles film ETouch of EvilE (1958) which featured Welles both behind and in front of the camera. That movie is often cited as the end of the line noir's rococo tombstone...the film after which noir cou

As her mother always said, nothing happens by coincidence… Meet Rainey Valentine: thirty-five, twice divorced, a woman with broken dreams but irrepressible hope.When her mother dies, she inherits a truck, an old barrel-racing mare named Lulu and a lifetime supply of Mary Kay cosmetics. So taking a page from her mother's life, Rainey packs it all up and heads off, leaving Valentine, Oklahoma, in her rearview mirror. Then, somewhere outside Abilene, she finds him. Dazed and wandering after a car accident, Harry Furneaux is a man as lost as she is.With nowhere else to go, he joins Rainey on her travels. But when their journey leads them back to Valentine, Harry and Rainey find an unexpected new direction…. Straight out of the heartland of the South, Lost Highways is a novel to gently rock the heart and soul…the story of a woman traveling too long on an endless stretch of lonesome road who finds her way home at last.

What is the relationship between the road movie, American experimental filmmaking and the body?

"Where lies the boundary between meaning and sentiment? Between memory and nostalgia? America and Americana? What is and what was? Does it move?"--Donovon Hohn, A Romance of Rust Part travelogue, part cultural criticism, part music appreciation, It Still Moves does for today’s avant folk scene what Greil Marcus did for Dylan and The Basement Tapes. Amanda Petrusich outlines the sounds of the new, weird America—honoring the rich tradition of gospel, bluegrass, country, folk, and rock that feeds it, while simultaneously exploring the American character as personified in all of these genres historically. Through interviews, road stories, geographical and sociological interpretations, and detailed music criticism, Petrusich traces the rise of Americana music from its gospel origins through its new and compelling incarnations (as evidenced in bands and artists from Elvis to Iron and Wine, the Carter Family to Animal Collective, Johnny Cash to Will Oldham) and explores how the genre is adapting to the twenty-first century. Ultimately the book is an examination of all things American: guitars, cars, kids, motion, passion, enterprise, and change, in a fervent attempt to reconcile the American past with the American present, using only dusty records and highway maps as guides.

True crime meets cultural history in this story of how America’s interstate highway system opened a world of mobility and opportunity . . . for serial killers. Starting in the 1950s, Americans eagerly built the planet’s largest public work: the 42,795-mile National System of Interstate and Defense Highways. Before the concrete was dry on the new roads, however, a specter began haunting them: the highway killer. He went by many names: the “Hitcher,” the “Freeway Killer,” the “Killer on the Road,” the “I-5 Strangler,” and the “Beltway Sniper.” Some of these criminals were imagined, but many were real. The nation’s murder rate shot up as its expressways were built. America became more violent and more mobile at the same time. Killer on the Road tells the entwined stories of America’s highways and its highway killers. There’s the hot-rodding juvenile delinquent who led the National Guard on a multistate manhunt; the wannabe highway patrolman who murdered hitchhiking coeds; the record promoter who preyed on “ghetto kids” in a city reshaped by freeways; the nondescript married man who stalked the interstates seeking women with car trouble; and the trucker who delivered death with his cargo. Thudding away behind these grisly crime sprees is the story of the interstates—how they were sold, how they were built, how they reshaped the nation—and how we came to equate them with violence. Through the stories of highway killers, we see how the “killer on the road,” like the train robber, the gangster, and the mobster, entered the cast of American outlaws, and how the freeway—conceived as a road to utopia—came to be feared as a highway to hell. “Strand . . . Explores the connection between America’s sprawling highway system and the pathology of the murderers who have made them a killing ground. . . . The grim stories of murder on the highway may do for road trips what Jaws did for surfing. An interesting detour into a true-crime niche.” ―Kirkus Reviews “Strand’s cross-threaded tales of drifters, stranded motorists, and madmen got its hooks into me. Reading Ms. Strand’s thoughtful book is like driving a Nash Rambler after midnight on a highway to hell.” —Dwight Garner, The New York Times “A titillating, clever volume that mixes the sweeping sociological assertions of an urban-studies textbook with the chilling gore of true-crime stories.” —Bookforum “Ginger Strand is in possession of a sharp eye, a biting wit, a beguiling sense of fun—and a magnificent obsession.” —Bloomberg