"Many people have never stopped to realize how many of their fond memories involve advertising signs. Although these neon spectaculars, billboards and even signs painted directly onto brick walls were created expressly to persuade customers or tourists to patronize businesses, many church signs remained in place for so long that they became landmarks in their own right. Signs like the Shoney's Big Boy towering over the area and the iconic Bilmar Motor Inn sign are now a part of history. Author Tim Hollis has scoured various archives to compile some of the best remembered, or most obscure, signs to dot the Tennessee landscape, whether for tourist attractions, restaurants, department stores, gas stations or many other roadside fixtures." --

A terrific, lavishly illustrated look at the fascinating world of American roadside signs.

Most people do not stop to realize how many of their fond memories involve advertising signs. Although these neon spectaculars, billboards, and even signs painted directly onto brick walls were created expressly to persuade customers to buy products or patronize businesses, many such signs remained in place for so long that they became beloved landmarks in their own right. For Images of America: Vintage Birmingham Signs, Tim Hollis has scoured the archives of Birmingham's former sign companies, as well as other private collections, to compile some of the best remembered or most obscure signs that dotted the urban and suburban landscape. Here readers will again see the Buffalo Rock bottle pouring its ginger ale into a glass, the Golden Flake clown smiling down at passersby, the Barber's milk clock at the Five Points South intersection, and many more. Through these vintage photographs, readers can once again visit such once-thriving destinations as Eastwood Mall, Burger in a Hurry, and the Kiddieland amusement park.

Created by the federal government in 1933 to revitalize a region twice the size of New England, the Tennessee Valley Authority began as an experiment of unprecedented proportions. Seen here through picture postcards, the dramatic achievements of the TVA take on a personal aspect, as individuals visit the hydroelectric projects and enjoy the newly created recreational opportunities. Tangible benefits are also documented, such as improved navigation, new roads and bridges, and abundant and inexpensive electricity. Influenced by such visionaries as Gifford Pinchot, Theodore Roosevelt, and George Norris, the agency also dealt with regional issues, including river commerce, soil conservation, and flood control.

W. C. Handy, Furry Lewis, Booker White, Lillie May Glover, Roosevelt Sykes, Arthur Crudup, B. B. King, Bobby Blue Bland, Muddy Waters -- these and other musicians, singers, and songwriters, including the young Elvis Presley, eventually went to Beale Street in Memphis, Tennessee, to learn, improve, and practice their art. "To Handy and untold other blacks, Beale became as much a symbol of escape from black despair as Harriet Tubman's underground railroad," says Margaret McKee and Fred Chisenhall. They present Beale as a living microcosm of determination, survival, and change -- from its early days as a raucous haven for gamblers and grafters and as a black show business center to its present-day languishing. Choosing the former newspaper columnist, disc jockey, and schoolteacher Nat. D. Williams, as their main authority for the first part of this volume -- the street's history -- the authors have selected an individual with wisdom, perspective, and a distinctive voice that speaks from a lifetime of experience on Beale. His radio show on WDIA, "Tan Town Jamboree," was heard by thirteen-year-old Elvis Presley. Nat D. said, "We had a boast that if you made it on Beale Street, you can make it anywhere. And Elvis Presley made it on Beale first." Another Beale Streeter recalls, "He got that shaking, that wiggle, from Charlie Burse -- Ukulele Ike we called him -- right there at the Gray Mule on Beale." The street's history is richly complemented by the rare, extensive interviews that constitute the second half of the volume. "We undertook our research," the authors tell us, "not as a study of the blues but of the blues musicians themselves. They were a dying breed, these wandering minstrels who had become the principal storytellers of their people." Most of the musicians interviewed grew up in the rural southern areas where the authors found them, sometimes not far from their early homes. They tell of the music that took them to Memphis' street of the living blues. All show a resilience to despair, despite life's harsh times. Arthur "Big Boy" Crudup, who never received his accumulated royalties, shrugs, "I come here with nothing and I ain't going away with nothing, and it's no need worrying my life with it." In the life of Beale Street and in the conversations of its musicians, we experience with penetrating awareness a delicate balance of humor, courage, and pain.

The band blares “Rocky Top” and the crowd roars as the University of Tennessee football team storms out of the tunnel and onto the field through the giant “T,” their beloved mascot Smokey leading the way. The iconic Bluetick Coonhound has been part of the pageantry and tradition at the University of Tennessee since 1953, delighting fans both young and old. For this entertaining and enlightening book, UT sports historian Thomas J. Mattingly has teamed up with longtime Smokey owner Earl C. Hudson to tell the stories of the nine hounds that have been top dog on campus for more than half a century. It was the Rev. Bill Brooks, Hudson’s brother-in-law, whose prize-winning dog “Brooks’ Blue Smokey,” became the first mascot by winning a student body-led contest at a home football game in 1953. The Coonhound breed was selected because it was native to the state, and several (no one remembers exactly how many) were brought onto the field at halftime to compete. But Smokey stole the show when he threw back his head and howled. The crowd cheered, and Smokey howled again. The raucous applause and barking built to a frenzy. The enthusiastic hound won the hearts of the Volunteer faithful that day, and he and the dogs that followed have remained among the University of Tennessee’s most popular symbols ever since. The authors have interviewed Smokey’s former handlers, university archivists, sports journalists, and local historians as well as legions of longtime fans. Their recollections provide not only the background of the mascot but a history of UT athletics as well. Vol fans will enjoy reading about Smokey’s adventures throughout the years, from his kidnapping in 1955 by mischievous Kentucky students to his confrontation with the Baylor Bear at the 1957 Sugar Bowl to the time he suffered heat exhaustion at the 1991 UCLA game and was listed on the Vols’ injury report until his return later in the season. Filled with photographs and memorabilia, including vintage game programs, football schedules, letters, cartoons, and more, this book brings to life the magic of UT football and the endearing canines that have become such an indispensable part of the experience. THOMAS J. MATTINGLY is the author of Tennessee Football: The Peyton Manning Years, The University of Tennessee Football Vault: The Story of the Tennessee Volunteers, 1891-2006, The University of Tennessee All-Access Football Vault and The University of Tennessee Trivia Book. He writes about Vol history on his Knoxville News Sentinel blog, “The Vol Historian.” EARL C. HUDSON’s family have cared for the Smokeys since 1994.

This book is William's symbol for the military-industrial complex and all the dehumanizing trends it represents from mindless cocktail party chatter to bribery of officials to assassination plots directed against those who won't play the game, to attempted coups by right-wing zealots.