The King himself puts in a cameo appearance at a rural Quebec Gas-Bar de la Nuit where the glowing ends of several dozen cigarettes counterpoint an urgent bass line to the syncopated doo-wap of several tens of thousands of fireflies.

In order to find an authentic understanding of the Christian faith, Bell frees readers to consider God beyond the picture someone else painted.

Jesus, matadors, panthers, bandits, Native Americans, movie stars, waifs, and, of course, Elvis are recognized icons of the oft-despised, uber-kitsch art form of black velvet painting. In Black Velvet Art author Eric A. Eliason and photographer Scott Squire present a comprehensive overview of this covertly loved and overtly reviled tradition. In cooperation with a network of artists, collectors, importers, and gallery owners in Tijuana, Los Angeles, Seattle, and Calgary, this book draws from the largest survey of velvet painting ever undertaken. The book traces velvet's historical development as a folk art shaped by both Indigenous traditions as well as Western consumer expectations in such markets as the South Pacific, Southeast Asia, and particularly the US-Mexico border and the black velvet capital of Tijuana. In black velvet, class and taste challenge art as a consumer phenomenon, democratic spirit faces down elitism, reproduction questions originality, and sexuality seduces and provokes religiosity. What is most significant about black velvet art to many Americans is its signaling of the nadir of bad taste. Black velvet is the “anti-art” in many ways. Eliason seeks to explore how and why black velvet serves this function and to examine ways it deserves a glowing redemption.

This book contains 275 reproductions of black velvet paintings. It traces the roots of the art form from ancient China and Japan through to Victorian England, the Pacific, Southeast Asia and the Americas.

The Washington Post hails Greil Marcus as our greatest cultural critic. Writing in the London Review of Books, D. D. Guttenplan calls him probably the most astute critic of American popular culture since Edmund Wilson. For nearly thirty years, he has written a remarkable column that has migrated from the Village Voice to Artforum, Salon, City Pages, Interview, and The Believer and currently appears in the Barnes & Noble Review. It has been a laboratory where Marcus has fearlessly explored and wittily dissected an enormous variety of cultural artifacts, from songs to books to movies to advertisements, teasing out from the welter of everyday objects what amounts to a de facto theory of cultural transmission. Published to complement the paperback edition of The History of Rock & Roll in Ten Songs, Real Life Rock reveals the critic in full: direct, erudite, funny, fierce, vivid, astute, uninhibited, and possessing an unerring instinct for art and fraud. The result is an indispensable volume packed with startling arguments and casual brilliance.

The touching story of thirty years of friendship between George Klein and the King that “offers an insider’s view of Presley the man as opposed to Presley the singer, actor, and icon” (Associated Press). “You capture the essence of Elvis not only in dialogue, but also in giving the reader a sense of his personality, humor, and his spirit of play.”—Priscilla Presley When George Klein was an eighth grader at Humes High, he couldn’t have known how important the new kid with the guitar—the boy named Elvis—would later become in his life. But from the first time GK (as he was nicknamed by Elvis) heard this kid sing, he knew that Elvis Presley was someone extraordinary. During Elvis’s rise to fame and throughout the wild swirl of his remarkable life, Klein was a steady presence and one of Elvis’s closest and most loyal friends until his untimely death in 1977. In Elvis: My Best Man, a heartfelt, entertaining, and long-awaited contribution to our understanding of Elvis Presley and the early days of rock ’n’ roll, George Klein writes with great affection for the friend he knew about who the King of Rock ’n’ Roll really was and how he acted when the stage lights were off. This fascinating chronicle of boundary-breaking and music-making through one of the most intriguing and dynamic stretches of American history overflows with insights and anecdotes from someone who was in the middle of it all. From the good times at Graceland to hanging out with Hollywood stars to butting heads with Elvis’s iron-handed manager, Colonel Tom Parker, to making sure that Elvis’s legacy is fittingly honored, GK was a true friend of the King and a trailblazer in the music industry in his own right.