Austin City Limits
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Since its premiere on the Public Broadcasting Service in January 1976, Austin City Limits has showcased artists ranging from Willie Nelson to Phish, championing performers who display exceptional musical and songwriting talent. The only program on television devoted to American roots music, Austin City Limits presents the best homegrown musicians in country, blues, bluegrass, folk, rock'n'roll, soul, swing, tejano, and zydeco. Thanks to Bill Arhos, the innovative creator of Austin City Limits, in collaboration with Terry Lickona (producer) and Gary Menotti (director), the show has become a beloved fixture of PBS programming. Every week, millions of viewers around the country tune in for the intimate jam sessions, watching their favorite artists perform against the signature lights of the Austin skyline. The program's title was inspired by a road sign on the outskirts of the city. Encouraged by Austin's burgeoning live music scene in the early 1970s, Bill Arhos, an instructor in The University of Texas's Radio/TV/Film department from 1965-1970, wrote the proposal to PBS to fund the pilot of the popular TV series. Arhos, a former semi-pro baseball player and schoolteacher, began his career at KLRN-TV, now KLRU, in 1962. His devotion to public television in Central Texas spans four decades, during which he has produced dozens of music specials, series, and educational and entertainment programs. He has also served as program director, general manager, and president of KLRU. From 1989 to 1996, he was a member of the PBS Board of Directors and completed two terms on the Country Music Association Board of Directors. Arhos's love of music, and in particular his love of Austin's lively, adventurous, and unconventional music scene, is what makes Austin City Limits the success it is today. With producer Terry Lickona and director Gary Menotti (BS Communication, '77), Arhos has brought more than 500 artists to the television screen. Each new season presents original music in an impressive mix of styles that makes the program a standout among television music venues. 
In 1974, to spotlight the growing music scene in Austin, Arhos and friends taped Willie Nelson for the pilot performance of Austin City Limits. To capture on camera the energy of live music and the involvement of audience and performer, the program was taped in the round. The audience filled the television studio leased by the public television station at The University of Texas. Studio 6A, in UT's Communications Building, has become the permanent home for the music series. (Only two programs have been recorded outside its doors.) Although Willie Nelson was relatively unknown at the time, compared to his current international stature, his program set fund-raising records for PBS stations across the South. As a result, PBS ordered 10 more programs for 1976. The following year, Austin City Limits played Gary P. Nunn's Texas ballad London Homesick Blues (Home with the Armadillo) at the beginning of the program, and the popular theme song quickly became synonymous with the program and is considered by many to be the unofficial "Texas National Anthem." 
Arhos and Lickona are known to have an eye for up-and-coming talent, and more than a handful of performers have appeared on the series before they were mega-stars, among them Vince Gill, Mary Chapin Carpenter, George Strait, k.d. lang, Jimmy Buffett, Lyle Lovett, and Alison Krauss. Austin City Limits avoids narrow music labels, preferring to showcase unpretentious and engaging performances by musicians who appreciate the intimate concert setting and straightforward style of production. The program often creates opportunities for musical serendipity, featuring familiar performers paired with lesser-known, but equally talented, artists. Many artists, such as Canadian singer-songwriter and poet Leonard Cohen, credit the show with a revival of their success in the United States. Year after year, Austin City Limits remains a place where music lovers can see and hear critically acclaimed musicians who rarely earn the radio airplay or television exposure they deserve. Excerpt from Austin City Limits (UT Press, 1987) by Clifford Endres:"To sell the series to PBS, Arhos needed a name. Maybe something like 'Hill Country Rain,' he thought, after Jerry Jeff Walker's song. Bruce Scafe's daughter suggested 'Austin Space,' because it sounded like 'Lost in Space.' 'River City Country' was another candidate. In Washington, D.C., for a PBS meeting, Arhos went out for some air and noticed a movie marquee featuring 'Macon County Line.' How about 'Travis County Line'? he wondered. No, too close. Paul Bosner, meanwhile, on every trip he made from Dallas to Austin encountered the Texas Highway Department's 'Austin City Limits' sign at the north edge of town. The image gradually merged in his mind with the music he heard during his nights in the clubs. He liked the ring of it, too. 'I've got the perfect title,' he told Scafe. When he filmed the show's 'lead-in,' he started with shots of the countryside, worked toward the city -- lingering on the city limits sign -- then focused on the names of various local nightclubs, suggesting in this way the theme of country coming to the city. For each program, a sound track of the band's rehearsal would accompany the sequence. The closing shot would then frame the empty stage, from which the camera would dissolve to the live set as the band swung into its first number. Arhos loved the concept and he loved the title. 'Austin City Limits' -- yes, perfect." Behind the Scenes at a Taping of Austin City LimitsBy Erica Hoffmann As Patsy Cline's "Crazy" echoes through the studio, the final adjustments are made on the set of Austin City Limits. It's five minutes before taping begins. The camera crew adjusts to get just the right angles; the lighting team slowly brings up the lights on the stage as a few late stragglers take their seats among a capacity crowd of 450 people. Volunteers rush to fill the empty seats as the murmur among audience members grows louder. Tonight the crowd is a mix between young and old, and all anticipate a great show. As the clock reaches 8 p.m., associate producer Jeff Peterson takes the stage to welcome everyone to a taping of Austin City Limits, the nationally broadcast music program celebrating its 25th anniversary season. 
With their instruments already on stage, musicians enter the studio to the sound of applause. Within minutes, their guitars are tuned and they sit ready to start. But for the crew of Austin City Limits, the day began nearly nine hours ago. A typical taping day of Austin City Limits starts at 11 a.m. with the load-in. This is the time when all the equipment is hauled in, and the stage is filled with the band's instruments. In another two hours the musicians will arrive. Rehearsal begins at 1:30 p.m. as Buddy Miller, Emmylou Harris, and Dave Matthews walk on stage. The three look like average joes, wearing flannel shirts, blue jean jackets, and black t-shirts. About 20 others, including crew and agents, crowd into the studio for rehearsal. As the first camera is rolled in at 1:45 p.m., Matthews starts strumming his guitar and belts out one of his well-known tunes. Harris and Matthews joke, bringing a light atmosphere to rehearsal, until they get their duet just right. When musician Julie Miller approaches, Matthews quietly moves to the back of the stage so she can sit down. As Miller starts to play, she becomes completely immersed in her music and oblivious to the constant chatter around her. At 2:02 p.m., the second camera is rolled in and put into place. On television, Austin City Limits appears to be taped outdoors. The indoor set shows the skyline of Austin cut out of cardboard, various plants, and three tables placed in front of the stage where executive and associate producers of the program are hastily writing and answering urgent calls on their cell phones. At 2:10 p.m., Patty Griffin, the final artist to arrive, takes the stage. Griffin appears flustered and cannot decide which songs she wants to perform. All artists performing on Austin City Limits have the creative freedom to perform whichever songs they choose. Griffin decides she will open with "Top of the World." "Austin City Limits is all about the music. It's a musician's show," says Glenda Facemare, a makeup artist for the show. Finally, at 2:30 p.m., the third and final camera is set into place. Fifteen minutes later a song list begins to take form, starting with "Easy from Now On," to be sung by Emmylou Harris. As the play list is finalized and the final touches are made with the lighting scheme, Julie Miller sinks into her chair and Dave Matthews tries out Buddy Miller's electric guitar. Before a break, it's decided that everyone should return by 6:45 p.m. for the taping. Quickly, Harris dashes out--she is late for a haircut appointment. Slowly everyone departs, and by 3:20 p.m. rehearsal is over and the stage is empty. Meanwhile, the line outside has been forming since 1:30 p.m. Broke Yates and Ramiro Hernandez have made sure they were first in line. Yates holds tightly to a "space available" ticket. "I came out here at 1:30 because I wanted to be guaranteed a ticket," says Yates. Hernandez, an Austin City Limits veteran, patiently waits in line for his daughter and two of her friends who have flown in from Louisiana to see the show. "Austin City Limits is awesome. It should definitely go on for another 25 years," says Hernandez. He also says that over the years he has seen numerous shows in person. "Garth Brooks played for two and a half hours. It was one of the best I've seen," he adds. About halfway down the line is Gerald Blancett, a University of Texas freshman. "I'm here to see Mr. Matthews," says Blancett, an Austin City Limits first timer. Blancett had arrived at about 4 p.m. to join the line. "I heard a rumor about Dave coming in April, but found out on Thursday that it was today." Those with tickets for the show enter the KLRU building, home of Austin City Limits, and take the elevator to the sixth floor studio. As the elevator doors open, the first image they see is a photo of John Mayall from his September 13, 1993 performance. As they continue down the hallway, they can't help but notice photos of Ray Charles, Reba McEntire, Shawn Colvin, Willie Nelson, Los Lobos, and George Strait. Each photo from an Austin City Limits performance highlights the show's rich history. 
A quick peek at the set shows only a few crewmembers putting on the final touches. The musicians' chairs are positioned just right and the last few tables and chairs are set up in front of the stage. It's now 6 p.m. and volunteers are arriving and getting into place. Quickly, they usher people up to the sixth floor, seat the audience members, and hand out any extra tickets to those waiting in line. Within 30 minutes, the studio is bustling with activity: souvenirs are sold, people file in line to grab cold drinks and chatter constantly about the show. Current KLRU Chief Executive Officer Mary Beth Rogers recalls, "A lot of artists were first introduced to me on Austin City Limits, like Leonard Cohen and Lyle Lovett. Austin City Limits is a great show. It was the first music show to break into public television." Austin City Limits, a creation of Bill Arhos, filmed its pilot episode in 1974 with a performance by Willie Nelson. Since then, Nelson has appeared on the program 13 times, the most by any single artist. Back in the studio, with an hour to go until show time, Julie Miller and Patty Griffin enter makeup with Joe Cook, a member of the security team. Cook has been with Austin City Limits since 1981. He stands boldly on the fifth floor, where the musicians' dressing rooms are located. "Everybody who comes up here is a star and everyone is treated as a star," Cook says. "That's the way it is, everyone is a star. It's a beautiful thing." Makeup artist Glenda Facemare reflects on her years at Austin City Limits. "I've been head of makeup for 11 years. It's the best music ever and the musicians play whatever they want." Dave Matthews enters makeup with Joe Cook, and Facemare quickly gets to work. Attention to detail is a key element to Facemare's job as she hastily removes pizza stains from Matthews' shirt. "I'm looking forward to it. I've never been here before," he says as he crawls out of the makeup chair and heads for the fifth floor. As all five artists are introduced, they take their places on the stage. It's now time for the show everyone sees on television. The musicians play a variety of songs including "Ordinary Heart" and "Gulf Coast Highway." Perhaps the most memorable part of the show is Julie Miller's story about her first experience with alcohol, when she was a student at The University of Texas. "I went to the Hole in the Wall when they had tequila night and shots were 50 cents," she recalls. "I spent $6 that night. My mom probably doesn't know this." As the show starts to wind down, Dave Matthews decides to do one more song. This one will be from his new album to be released later in the year. Already the crowd is pleased. "Austin City Limits is a performer's best friend. We'll all be back," adds Harris as the five musicians take a bow and head offstage. By 9:45 p.m. the show has wrapped and the musicians walk back to the fifth floor dressing rooms. After each artist sits for an interview with Pat Cosgrove, publicist for Austin City Limits, the taping day ends--12 hours after it started. All that's left to do is to clear the stage and lock the building doors. Erica Hoffmann is currently a broadcast journalism major |
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