The semi-ghost town of Valentine, 39 miles west of Marfa, is gonna be wide open for bidness Saturday February 14 for the big Big Bend Brewing Company Valentine’s Day Party and Dance at Valentine Merchantile. The music lineup includes Tessy Lou and the Shotgun Stars, Mike and the Moonpies, the Crooks, and the Joe Ely Band. The Texas Music Hour of Power will be broadcasting live from the event and taking listener dedications and shoutouts online (firstname.lastname@example.org), and the Image Wranglers will be doing Picture Radio in a show of force.
Tuesday July 15, 2014 @7pm
Remember The Armadillo with our Views and Brews at the Cactus Cafe this Tuesday July 15 @ 7:00pm, as Jody Denberg of KUTX hosts Eddie Wilson, Jim Franklin, Micael Priest, Danny Garrett and Joe Nick Patoski to dispel the myth, “If you remember the Armadillo, you weren’t there”.
See posters that helped style a generation of Austin music and hear stories about the days at the Dillo that made music history world wide.
Views and Brews is free and open to the public, we hope you can join us as we add another chapter to the Armadillo Oral History Project this Tuesday at 7.
Eddie Wilson, a legend, co-founder, owner of the Armadillo (1970 until left in 1976 yet Dillo lasted until end of 1980), owner of Threadgill’s North and South. Was a rep for the brewing association in town when assumed the role of manager of Shiva’s Headband. Spencer Perskins of Shiva’s asked Eddie to find a place for the band to perform….now, that’s a funny story…taking a leak out back of a bar and saw the warehouse that came to be the Armadillo with other investors. Gary Cartwright, in his Texas Monthly article, called him Austin’s pluperfect hustler.
Jim Franklin, a legend, poster artist and first master of ceremonies (you should see his giant armadillo hat he would wear…did performance art on stage to introduce bands)…he is considered the father and mother of all poster artists (says Micael Priest) who established the armadillo mammal as the symbol for the underground in Austin at the time. He also owned/operated the psychedelic club Vulcan Gas Company until its demise right before the birth of the Armadillo. Resident artist at the Dillo.
Micael Priest, poster artist most known for his Willie Nelson poster, became mc after Franklin took off to other parts. Micael is the heart and soul of the Oral History Project. Never has there been a more entertaining raconteur who weaves long stories with detail and context…13 minute tale about the Russians who came to the Capitol and the Dillo edited down for David’s doc…pure magical storytelling!!! Micael is why I pitched this idea at the Cactus.
Danny Garrett, poster artist for Dillo, Antone’s, Castle Creek, etc. Good friend of Micael’s.
Joe Nick Patoski, former senior editor of TX Mo., music reporter at the AA Statesman, book on Willie and Stevie, etc….in pre or production of Doug Sahm doc.
Every Saturday nite, yours truly hosts the Texas Music Hour of Power, showcasing all kinds of Texas sounds created over the past century of recorded music. The show runs two hours because Texas spans two time zones and frankly, the music is too dang big to limit it to one hour.
You can dial it in online at www.marfapublicradio.org or use the Tune-In app, I Tunes, or the Public Radio Player app for KRTS-FM in Marfa.
If you’re in Far West Texas, you can hear the show on these fine frequencies – KRTS 93.5 FM in Marfa, KRTP 91.7 FM in Alpine, KDKY 91.5 FM in Marathon, and KXWT 91.3 in Odessa/Midland/Notrees
And do join in on our on-air discussion by subscribing to my newsfeed Joe Nick Patoski on Facebook (where my trusty assistant Dick Thompson leads the Image Wranglers posting images and providing the back stories to the music that’s playing in real time, transforming listening to radio into a visual, multimedia experience. We call it Picture Radio
Here is the Facebook link: https://www.facebook.com/joenickp
and come over the Texas Music Hour of Power page on Facebook and give us a Like while digging the Texas music we dig up to share during the rest of the week: https:www.facebook.com/TexasMusicHourofPower
Each week, the show is posted here when it airs, for your listening pleasure.
October 4’s first hour is here
and la hora numero dos – esta aqui
Here’s the first hour of the September 27 show
and the second hour
Here’s the first hour of the September 20 show
Here’s the second hour of the September 20 show
First hour of Sept 13 show
Here’s the second hour of the September 13 show
First hour of Sept 6
and here’s the second hour
Here’s the first hour of the August 30 show for your listening and dancing pleasure
la hora numero dos esta aqui
Here’s the first hour of August 23 show
and the second hour
Accordionistas! The 25th Accordion Kings and Queens is at Miller Outdoor Amphitheater in Houston this Sat nite – 6 pm, gratis! gratis! gratis! CJ Chenier and the Red Hot Louisiana Band, Rio Jordan, and tributes to Valerio Longoria, Mark Halata and Texavia, Ginny Mac, and Conteno con Los Halcones, along with winners of the Big Squeeze talent contest.
deets are at TexasFolklife.org http://www.texasfolklife.org/event/25th-annual-accordion-kings-queens-0
Yours truly will be spinning the vinyl Friday Nite, June 6 9-12 @ Leon’s Lounge, 1006 McGowan in mid-town H-Town
by Raul A. Reyes
or Abraham Quintanilla of Corpus Christi, Texas, Monday marks an emotional anniversary. It has been nineteen years since the death of his daughter, singer Selena Quintanilla Perez, known to the world simply as “Selena.” She died March 31, 1995, after being shot by the president of her fan club. Selena was 23.
Now 75 years old and the grandfather of 8, Quintanilla said it is bittersweet to meet fans of Selena, many of whom were too young to really remember the pop star who has sold over 60 million albums worldwide.
“It makes me feel good that after so many years people still remember my daughter,” he reflected. “But at the same time I would rather that she be here.”
Image: Selena Paul Howell / Houston Chronicle via AP file
Selena works on one of her songs in a Corpus Christi studio in March 1995.
Selena’s death struck a collective nerve, and the emotions have reverberated for years. When former President George W. Bush was Governor of Texas he named April 12th “Selena Day” in honor of her birthday, and there are still celebrations every year. There was a postage stamp issued in her name, and there is a Selena Museum in Corpus Christi, Texas,
Here are 6 reasons for Selena’s enduring legacy:
1. Millions of Latinos related to her bicultural life. Selena was an international singing sensation who sold out stadiums, but lived in a modest home next door to her parents. She dressed provocatively and was called “The Mexican Madonna,” yet she married her first and only boyfriend. And like so many Latinos, she navigated two cultures and managed to be comfortable in both. In fact, despite her renown as “The Queen of Tejano Music,” Selena was not a native Spanish speaker. Her Latin music career was already taking off when she decided to study Spanish, so that she could feel more confident expressing herself.
Selena’s death was a revelation to corporate America about the power of the Latino consumer market. In the aftermath of her passing, “Selena-mania” became a real phenomenon.
2. Her shocking death touched off an unprecedented outpouring of grief. Texas historian Joe Nick Patoski, author of Selena: Como la flor, recalled the day when Selena passed away. “I’m old enough to remember Dallas and JFK,” he said, “and it seemed like the same thing all over again. For Mexican-Americans in Texas, the reaction was intense and deeply personal. To this day, an entire generation remembers where they were when they heard the news.” In cities like San Antonio and Corpus Christi, Patoski said, impromptu shrines, memorials and vigils for Selena sprang up. He describes the public reaction to her passing as “amazing, heartfelt, and profound.” The Associated Press reported that after her death, there was a rise in newborns in Texas being named Selena; pop singer Selena Gomez, born in 1992, was also named for Selena.
Image: Selena Jeff Haynes / AFP-Getty Images file
Estella Leak wipes away tears during a memorial tribute for the slain Grammy-winning pop star Selena on April 2, 1995 at the Los Angeles Sports Arena.
3. Selena’s death was a revelation to corporate America about the power of the Latino consumer market. In the aftermath of her passing, “Selena-mania” became a real phenomenon. A special edition of People Magazine devoted to Selena sold out immediately (its success led to the creation of People en Español). According to Deborah Paredez, author of “Selenidad: Selena, Latinos, and the Performance of Memory,” Selena changed the way marketers looked at Latinos. “Her death served as a cue to the larger culture that Latinos were becoming more visible, more important,” she said. “Selena spurred the growth of the Hispanic market. Our culture became a hot commodity.”
4. Selena had broad appeal among Latinos and non-Latinos. Her fusion of musical genres won her a wide and enduring fan base. “A range of Latinos really connected with her,” Paredez said. “She drew from pop, Tejano, calypso, Afro-Caribbean, and cumbia music, so she signaled across a lot of cultural identities.” What’s more, Selena posthumously achieved her dream of mainstream success. Her album, Dreaming of You (1995), became the fastest-selling album by a female artist in pop history. The Hollywood film about her life (1997), gave Jennifer Lopez the breakout role that made her a star. In addition, there have been books, a record-breaking tribute concert, two stage musicals, a national search for “Selena’s Double,” and innumerable TV profiles. Selena’s husband, 44-year-old Chris Perez, said that even he was surprised by the success of his 2012 book, To Selena, With Love. “Our signings have been super-packed, and the fans have been great,” said Perez.
5. Selena’s loved ones have kept her memory alive. Her father is running Q-Productions, a management company and recording studio. Brother “A.B.” Quintanilla is a music producer. Selena’s husband Chris Perez, who won a 1999 Grammy Award for his album Resurrection, is working on songwriting and an upcoming solo project, and staying in touch with fans through his Facebook page.
“There haven’t been enough people like her in the Latino community,” said author Paredez,” so people continue to turn to her, to commemorate her.”
6. Selena the performer became Selena the “icon.” Like other celebrities who passed away too soon, from Marilyn Monroe to John Lennon, Selena has become larger than life, almost legendary. Historian Patoski notes, “In our memory, she will always be young, she will always be full of promise.” Meanwhile, public fascination with Selena continues because Hispanics, even the younger generations, still claim her as their own. “There haven’t been enough people like her in the Latino community,” said author Paredez,” so people continue to turn to her, to commemorate her.”
Selena’s husband Chris Perez said it is easy to understand why he – as well as so many fans – miss her. “I haven’t met anybody like her,” he said. “She was definitely one of a kind.”
First published March 31st 2014, 5:08 am
Raul A. Reyes is an attorney and member of the USA Today Board of Contributors.
A pioneer of the Austin music community, Doug Sahm was the master of so many authentically “Texas” sounds — western, Tex-Mex, rock ‘n’ roll — that live on in the music of the Texas Tornados and the Sir Douglas Quintet.
Though he passed away in 1999, Sahm’s influence is weaved into Austin music culture. Next week, KUT (along with a few choice friends) hopes to preserve that influence for generations to come.
“His story is the story of Texas music — no individual could play Texas’s indigenous sounds so skillfully and authentically,” says Joe Nick Patoski
On Monday, November 18, the Cactus Cafe will host a special edition of Views and Brews titled “Doug Sahm: All About the Groove.” Hosted by Jody Denberg, the celebration of Sahm will include local music royalty Marcia Ball, Speedy Sparks (Sahm’s guitar player) and Ernie Durawa (drummer for the Texas Tornados), as well as noted Texas writer and historian Joe Nick Patoski.
The event takes place on the 14th anniversary of Sahm’s death and will explore Austin music in the early 1970s, as well as Sahm’s influence on the local scene’s becoming nationally — and internationally — recognized. Panelists hope to celebrate a true Austin stalwart, opening the eyes — and ears — of younger generations to a soulful sound that still plays an important part in our modern culture.
(If you want proof, just wander down the block to Hole in the Wall, where Sir Doug’s music is immortalized in the jukebox.)
“For me, Doug is one of the touchstones of Texas music and one of the early founders of Austin’s vibrant music community. He’s a major reason I moved here in the early ’70s,” says Joe Nick Patoski.
“It’s time to let folks who have no idea who this Sahm character was/is appreciate one of the most beautiful cats to have graced a stage in Austin.”
“His story is the story of Texas music — no individual could play Texas’ indigenous sounds (country-western, western swing, rhythm and blues, jump blues, conjunto and rock ‘n’ roll) so skillfully and authentically. At the same time, he represented my generation of Texans, who thought differently and outside the box [and] who had to come to Austin to find our place.”
During the event, Patoski will premiere the sizzle reel of a proposed documentary about Sahm. “Jan Reid wrote a fine biography of Doug. The world doesn’t need another Doug book,” he says. “Printed words are great, but for those of us who knew Doug, there’s really no better way to tell his story than with his music, his voice and the voices of others who worked and played with him. In other words, on film.”
If the reel does its part, Patoski plans to secure funding and have a full documentary finished in time for SXSW 2015. “[Fourteen] years after his passing,” says Patoski, “it’s time to let folks who have no idea who this Sahm character was/is appreciate one of the most beautiful cats to have graced a stage in Austin.”
Views and Brews takes place at the Cactus Cafe on Monday, November 18. Doors open at 6:30 pm, and the event runs 7 pm – 8:30 pm. Entry is free, but donations are accepted.
The full, rich life of Chet Flippo, who passed away at the age of seventy in late June, was celebrated October 14 at the Country Music Hall of Fame in Nashville, where he had spent his last years as editorial director of CMT.com and writing the Nashville Skyline column.
Chet was something of a mentor and role model. He was eight years older, having grown up on the eastside of Fort Worth. He showed up on my radar as the Texas correspondent for Rolling Stone magazine, the music-oriented publication based in San Francisco that fostered a new kind of cultural journalism and launched the careers of many writers including Ed Ward, John Morthland, John Swenson, Cameron Crowe, Joe Klein, Jon Landau, Greil Marcus, Lester Bangs, Hunter S. Thompson, and Joe Ezterhas.
His first byline in Rolling Stone was a story on a Fort Worth band called Bloodrock, semi-famous for their teen car crash saga, “DOA.” Chet also took the photos accompanying the article.
Chet was a key figure in putting Austin and its music scene on the map. If producer Jerry Wexler hadn’t enlisted Chet to find Doug Sahm, Willie Nelson might not have happened. Chet was living in Austin with new wife, Martha Hume, attending graduate school at the University of Texas (his dissertation at UT was about the rise of rock journalism) while filing stories for Rolling Stone about people and sounds that the good people in San Francisco weren’t aware of. His byline was attached to the first national story about the Armadillo World Headquarters, his first feature on Doug Sahm returning to San Antonio from San Francisco made the cover. Without Chet there would have been no coverage of Willie Nelson, Waylon Jennings or Fourth of July Picnics, where rock and country sensibilities converged.
I was running the record department at the Electric Fetus in Minneapolis in the snowy spring of 1973 when I read a story Chet had written about Doug Sahm at the Soap Creek Saloon that made me so homesick, my girlfriend and I moved back to Texas that summer. Only we didn’t go to Fort Worth; we went to Austin. The first night we went out, we went to hear Sir Doug at Soap Creek. The whole scene at the old roadhouse out in the cedar brakes west of Austin was everything Chet had written about: a cool hippie scene with a distinct cosmic cowboy flavor with the one musician who could play every indigenous musical style found in Texas holding forth on stage.
Within a year or so, Chet left Austin to open up the New York bureau of Rolling Stone. The magazine’s entire operations would eventually follow him there. We’d only met a few times, but I guess he’d seen my writing because when there was a shooting incident at a nightclub where a stray bullet almost nicked Asleep at the Wheel’s Ray Benson, who was in a video truck outside the club, Chet suggested to an editor that they contact me. I got my first Rolling Stone byline thanks to Chet, and thanks to Tim O’Connor, the shooter, who was working with Willie Nelson and later became Austin’s biggest concert promoter . (Tim later told me he had to leave the state for a year because he’d had a prior arrest).
I continued to file stories as a stringer for Rolling Stone, which prompted me to drop out of college, in spite of Rolling Stone’s meager pay. That led to lots of freelance, a pop music column in Texas Monthly, and ultimately a writer’s life. Martha Hume, Chet’s wife, assigned me several stories for Country Music magazine, where she worked, including a piece on Jimmie Rodgers’ home in Kerrville, where the Blue Yodeler and the first country music star spent his last years. I even got to share a byline with Chet on a story about a benefit-gone-wrong for imprisoned boxer Ruben “Hurricane” Carter featuring Bob Dylan and his Rolling Thunder Review. (Through that story and some unusual circumstances, I sold Bob Dylan two used record albums while minding the counter of a friend’s record shop).
I quit writing for a few years to manage a band called Joe “King” Carrasco and the Crowns, which included my then-girlfriend and now wife, Kris Cummings. The band’s first gigs at the Lone Star Café in New York were informed by Chet’s presence and by Martha Hume’s guidance how to work the New York media.
The passing of Martha last winter and my missing a remembrance of Martha hosted by Chet in June prompted a trip to Nashville for Chet’s remembrance.
It was a fine time.
Before the proceedings, I had a chance to visit with Chet’s niece and with his younger brother Ernie, while Mickey Raphael, who was representing Willie Nelson and Family, pointed out all the folks who had showed up.
The memorial opened with a series of photographs laying out the life of the son of a fundamentalist preacher father and a tough, rifle-toting mother. Chet was an aspiring photographer and writer as a young boy who knew how to focus, how to operate a mimeograph machine, and how to publish an underground newspaper before he was thirteen. Until the image popped up on the screen, I did not know he, like me, was a high school cheerleader – high schools in Texas cities had boy and girl cheerleaders both. Photographs of Chet with Willie and President Jimmy Carter, with Dolly Parton, with his beloved Martha, and with a parade of other notables rolled out, one after another.
Then, the Sir Douglas Quintet’s “At the Crossroads” played on the sound system. Most of the gathering did not know the song, its composer, Douglas Wayne Sahm, or its significance. But they couldn’t missed the chorus: “You can teach me a lot of lessons, you can bring me a lot of gold, but you just can’t live in Texas, if you don’t have a lot of soul.”
The voice of Johnny Cash sang “I Shall Not Be Moved” before Cash’s daughter Rosanne Cash stepped to the podium. Noting that since the Armadillo World Headquarters no longer exists and that the Lone Star Café in New York is just a memory, she said there wasn’t a more appropriate place to celebrate Chet’s life than Nashville, in the building where the kind of country music greats that Chet respected most were honored upstairs in the Hall of Fame.
She was followed by Bill Carter, who ran security for the Rolling Stones in the mid seventies when Chet was covering them extensively for Rolling Stone. Carter opened by relating how the Stones feared Flippo and his investigative talent for unearthing details that lesser journalists never got. Carter went on to relate how Chet and him became and remained good friends over the years despite their initial adversarial relationship. No wonder. Mickey Raphael whispered that Carter was working for the Secret Service when John F. Kennedy was assassinated in Dallas. Chet had been a cryptographer in the Navy with top-secret clearance. No wonder these one-time adversaries were friends for life. They were both former spooks.
“Chet set an high standard for journalism,” Carter said. “He led a big, bold life.” He also captured the craziness of the Rolling Stones on the road at their peak, Carter related, epitomized by the run-in the band experienced with San Antonio authorities, egged on by media czar Rupert Murdoch, who first planted his flag in the United States buying the San Antonio News, which was making a big deal about the inflatable twenty foot phallus that Jagger used as a stage prop. That prompted a line by Flippo about “no big dicks allowed in San Antonio.”
Flippo’s relentless pursuit of the story while covering the Stones tormented Mick Jagger, who complained, “He’s everywhere” to Carter. “In every city, he knew exactly where we were and what we were doing.”
Carter introduced the Nitty Gritty Dirt Band, whose John McEuen told the story of how Chet wrote about their Will The Circle Unbroken project in which a band of hippies, as McEuen described the Dirt Band, collaborated with a bunch of country music old-timers including Mother Maybelle Carter and Doc Watson to make an album. Turns out, Chet even joined the chorus of recording. The three players, joined by songwriter Matraca Berg, then launched into a spirited rendition of “Keep On The Sunny Side.”
Peter Cooper, the music journalist for the Nashville Tennessean, read excerpts from the “Fishing With Bobby Bare” chapter of Chet’s book Everybody Was Kung Fu Dancing, which went a long way explaining Bare as the kind of country music iconoclast that appealed to Chet. Cooper was followed by Bobby Bare himself, who said,” I did take Chet fishing. We went bass fishing and wound up catching a lot of crappie.” Bare recalled his first meeting with Chet in New York and how he didn’t fit the Rolling Stone writer stereotype he expected, and of subsequent visits in New York and later in Nashville. He also credited Chet for making him a rich man. The photograph of Bare that accompanied the first article Chet had written about Bare showed the singer-songwriter putting a plug of Red Man chewing tobacco in his mouth, which got him a million-dollar endorsement from Red Man
Rosanne Cash returned to the stage, recalling that Bobby Bare sang harmony on her very first record, before singing “The World Unseen,” a song she wrote after her father, Johnny Cash, had passed, supported by John McEuen on mandolin.
CMT ran a brief video tribute reel that was better suited for television viewing, followed by music executive Paula Batson who spoke of her long friendship with Chet and Martha and of her understanding that no matter how tight they were, when Chet was on the job interviewing one of her clients, he was relentless in pursuit of his story. Paula spoke of the early eighties “when Texans owned New York,” specifically citing Chet, Rolling Stone publisher Joe Armstrong, and Texas Monthly/Newsweek writer Richard West, another mentor of mine, and of Chet and Martha as a couple (“You knew they were sweet enough for each other”), and their deep knowledge and understanding of high culture and low culture.
A video of Jann Wenner, the cofounder of Rolling Stone, affirmed Chet’s role in making country music and country musicians hip. Without him, the magazine would have never covered Willie, Waylon, or Dolly Parton, much less Gary Stewart, George Jones, and Charlie Daniels. But he was hardly just country. “He was the best music writer we had,” Wenner said. Period.
Dierks Bentley sang “50 Miles” (of elbow room) with the Dirts and Matracha Berg before Ernie Flippo spoke on behalf of the family, noting that “50 Miles” was a song we sang at church,” and spending a good chunk of his remembrance celebrating all the misspelling of Flippo’s name (Chet and Martha saved all the misspelled letters) and how one reader decided Chet Flippo was the best made-up name in Rolling Stone. Chet was the only Chet in the family. Chester W. Flippo, Sr., their holy roller preacher father with a prominent mane of tall hair, was Chester, or C.W., but never Chet.
Ernie represented the family well, maintaining his composure until the last line, when he said Chet departed this world too early.
The Nitty Gritty Dirt Band, joined by Bentley, Bare, Cash, and Berg, closed with “Will the Circle Be Unbroken” with a recent photograph of Chet alone on a Florida beach on the big screen behind them.
Gone too soon, perhaps, but a well-spent life.
Afterwards, I visited with Chet’s older sister Shirley. Ernie had mentioned that Shirley was being chaperoned by her nine year old little brother on a car date (“a chartreuse Mercury”) when Chet first heard Hank Williams on the car radio. That initial exposure would eventually lead to writing Williams’ biography Your Cheatin’ Heart.
Hank Williams is not well-known in Nashville today, despite being the single most-influential voice in country music. Nashville’s changed, but so has Austin, New York, Fort Worth, as have music and music journalism. But the words of the chronicler remain, telling the stories of a very special time and some special places, inhabited by a parade of good people.
A remembrance card at the memorial quoted Chet from A Style Is Born: The Rock and Roll Way of Knowledge in the tenth anniversary issue of Rolling Stone, published in December 1977. Great writing, he observed, is “like a letter from home, a transitory home, a home for the soul, a storehouse of everything meaningful to me. Music was, and still is, the starting point (proving the old analogy that was you listen to forms the soundtrack to your life) but that encompasses one hell of a lot.”
according to Kirkus Reviews
link here: www.kirkusreviews.com/lists/10-best-football-books-2
10 Best Football Books
We know what you’re thinking—why are those book nerds over at Kirkus pontificating about the best football books? Do they even watch football at Kirkus? Ahem—we’ll bypass that question to remind you that if it’s a book, we know whether it’s any good. This week, we highlight 10 gripping, insightful stories about the big egos, big money and big bruises at the heart of America’s national sport. You won’t get all 10 read before Sunday’s epic battle, but any of these titles will provide some nice perspective on why that little oval of pigskin—and the guys fighting and fumbling over it—capture our attention (even our attention).
Cover art for MUCK CITY
Released: Oct. 23, 2012
MUCK CITY: WINNING AND LOSING IN FOOTBALL’S FORGOTTEN TOWN
by Bryan Mealer
“Mealer tries a little too hard to tug at the heartstrings; nonetheless, he offers a stirring tale of sports as a means of escape from dire circumstances.”
High school football players and other residents of hardscrabble Belle Glade, Fla., fight for their pride and their lives in this chronicle from veteran reporter Mealer (All Things Must Fight to Live: Stories of War and Deliverance in Congo, 2008, etc.). Read full review >
Cover art for THE DALLAS COWBOYS
Released: Oct. 9, 2012
THE DALLAS COWBOYS: THE OUTRAGEOUS HISTORY OF THE BIGGEST, LOUDEST, MOST HATED, BEST LOVED FOOTBALL TEAM IN AMERICA
by Joe Nick Patoski
“A fittingly exhaustive history of a larger-than-life franchise.”
Texas journalist and author Patoski (Willie Nelson: An Epic Life, 2008, etc.) delivers an oversized history of one of sport’s greatest franchises. Read full review >
Cover art for WAR ROOM
Released: Nov. 8, 2011
Kirkus Star WAR ROOM: THE LEGACY OF BILL BELICHICK AND THE ART OF BUILDING THE PERFECT TEAM
by Michael Holley
“A deeply reported, thoroughly engaging look at what it takes to succeed in the NFL–and a perfect complement to the NFL Network’s compelling miniseries Bill Belichick: A Football Life.”
A longtime Patriots chronicler goes inside the brain trust of the NFL’s most successful team. Read full review >
Cover art for OUR BOYS
Released: Aug. 18, 2009
OUR BOYS: A PERFECT SEASON ON THE PLAINS WITH THE SMITH CENTER REDMEN
by Joe Drape
“A feel-good story of youthful drive, great coaching and the value of unflagging communal support.”
Turning his attention from horseracing (To the Swift: Classic Triple Crown Horses and Their Race for Glory, 2008, etc.), New York Times reporter Drape follows a high-school football dynasty. Read full review >
Cover art for THE GLORY GAME
Released: Nov. 4, 2008
THE GLORY GAME: HOW THE 1958 NFL CHAMPANIONSHIP CHANGED FOOTBALL FOREVER
by Frank Gifford, Peter Richmond
NFL great Gifford (The Whole Ten Yards, with Harry Waters, 1993) reminisces about the legendary game between his New York Giants and the Baltimore Colts. Read full review >
Cover art for THE BEST GAME EVER
Released: June 3, 2008
THE BEST GAME EVER: GIANTS VS. COLTS, 1958, AND THE BIRTH OF THE MODERN NFL
by Mark Bowden
“Not quite on par with Bringing the Heat (1994), among the best football books ever, but surely a delight for anyone interested in the history of the NFL.”
Bowden (Guests of the Ayatollah: The First Battle in America’s War with Militant Islam, 2006, etc.) takes a sharp look at the 1958 National Football League championship game, which featured “the greatest concentration of football talent ever assembled for a single game.” Read full review >
Cover art for CARLISLE VS. ARMY
Released: Sept. 4, 2007
CARLISLE VS. ARMY: JIM THORPE, DWIGHT EISENHOWER, POP WARNER, AND THE FORGOTTEN STORY OF FOOTBALL’S GREATEST BATTLE
by Lars Anderson
“Gripping, inspiring coverage of three powerful forces’ unforgettable convergence: the sports version of The Perfect Storm.”
Sports Illustrated staffer Anderson (The All Americans, 2004, etc.) chronicles a 1912 game that proved a turning point not just for college football, but for the sport as a whole. Read full review >
Cover art for NAMATH
Released: Aug. 23, 2004
NAMATH: A BIOGRAPHY
by Mark Kriegel
“Namath was no angel, thank goodness, but this evocative portrait shows him at play in the fields of magic. ”
Meaty biography of Broadway Joe from sports-columnist-turned-novelist Kriegel (Bless Me, Father, 1995). Read full review >
Cover art for BACKYARD BRAWL
Released: Sept. 3, 2002
BACKYARD BRAWL: INSIDE THE BLOOD FEUD BETWEEN TEXAS AND TEXAS A&M
by W.K. Stratton
“Good-natured, intelligent, funny, and less bombastic than the title suggests.”
A savvy sportswriter uses the football rivalry between the University of Texas and Texas A&M to paint a lively, partial portrait of the Lone Star State. Read full review >
Cover art for MY GREATEST DAY IN FOOTBALL
Released: Oct. 8, 2001
Kirkus Star MY GREATEST DAY IN FOOTBALL: THE LEGENDS OF FOOTBALL RECOUNT THEIR GREATEST MOMENTS
edited by Bob McCullough
“Simply not to be missed: Meat and potatoes for the football fan.”
Fun memories from football greats, and some fascinating insights into the politics of the Hall of Fame and football’s evolution over the past 50 years, as compiled by McCullough (My Greatest Day in Golf, not reviewed). Read full review >