My latest book, Austin to ATX: The Hippies, Pickers, Slackers & Geeks Who Transformed The Capital of Texas, published by Texas A&M University Press
With cover art by Austin poster artist Kerry Awn, and origin stories about music, writing, food, television, independent film, technology, food trailers, incubators, women’s roller derby, and the Cathedral of Junk, Austin to ATX explains how Austin became Austin, profiling the people behind its transformation and the institutions they created.
I’ll be doing a reading and signing on Wednesday February 13 at 7 pm at the Austin Public Library’s Central Library, in conjunction with the Austin Library Foundation. Michael Barnes of the Austin American-Statesman will moderate, Jon Dee Graham will provide the music, Book People is bringing books to sell, and I’ll be signing books afterward.
This is the tenth book I have authored and maybe the most fulfilling, since it’s taken a lot longer than anticipated, thanks to a three year pause to make and promote the documentary film Sir Doug & The Genuine Texas Groove.
Books and Kindle version are available via Amazon, and Book People, Texas’s leading independent bookseller.
If you purchase a book from Amazon, please post a review once you’ve read the book, whether you liked it or not.
And for a signed copy, send me an email joenickp@yahoo.com
Listen to the conversation Kevin Connor and I had talking about the book on Sun Radio here
And here’s Andy Langer and I doing the Texas Monthly podcast
Here’s what Kirkus Reviews says: https://www.kirkusreviews.com/book-reviews/joe-nick-patoski/austin-to-atx/
A searching character study of the lively Texas capital city.
Patoski (The Dallas Cowboys: The Outrageous History of the Biggest, Loudest, Most Hated, Best Loved Football Team in America, 2012, etc.) arrived in Austin in the shiniest days of its golden era, a time when every bar hosted live music and the city was “loose, easy, and cheap.” As a former music journalist–turned–alt-Texas enthusiast, he writes about everything that makes Austin what it is, from the paradise of Barton Springs to the moon towers and Austin City Limits. His approach is celebratory without being cloying, albeit with an elegiac closing that laments the sad fact that with economic and demographic growth, “Austin had arrived at the maturation/saturation point of a Manhattan or a San Francisco. Limits had been reached.” Anyone who’s tried to drive I-35 or find an affordable home in the city will appreciate the author’s appeal to the good old days. Along the way from then until now, Patoski hits all the bases, including the city’s culinary culture, a blend of the trendy and the new with reverence for the old and hand-rolled (especially when it comes to barbecued meats); Austin’s underappreciated literary culture (Patoski ranks this magazine among the city’s lights, along with writers such as Gary Cartwright and James Michener); the movie scene, dominated by Richard Linklater and Robert Rodriguez; and, of course, the music, with legendary places like Antone’s and the Armadillo World Headquarters giving hippies and rednecks a place to party together. Patoski works with a wealth of material that sometimes overpowers the narrative; the long sections on Whole Foods could have been cut in half without harm, and there’s a touch too much repetition of the idea of Austin’s uniqueness and the tragedy that it couldn’t have been kept weird. Still, if there’s excess, it’s appropriately Texas-sized and easily forgivable.
Fans of the place where “anybody who’s a little different runs…as fast as they can” will find much to like here.