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[driver speaks indistinctly]

Yeah, this says, go...

Cesar Chavez
all the way to Lavaca.

[driver speaks]

Oh, okay, that helps.

39-13, program intro, take one.

Recorded live
from the Moody Theater,
it's "Austin City Limits."

I'm a little bit nervous.

[chuckles]

That's where we park,
right there.

There's the Willie statue.

So it begins.

-[country band playing,
crowd cheering]
-[man] Yeah!

"Austin City Limits" presents,
straight ahead country music

with Austin's own
Dale Watson.

-[cheering]
-Love you, dancers.
Thank you for that.

We're gonna exit outta here.

Take 109.

*

What you doing
drinking iced coffee?

-I...
-What are you, crazy?

I didn't know it was iced.
I got it, and they were like...

-What's your name?
-Uh, Brent.

-Brent, I'm Dale.
-Nice to meet you, Bill.

-Dale.
-David.

-Dale.
-Dale.

It doesn't matter,
you can call me David, Bill.
Doesn't matter.

That's why I tell 'em, when
I'm at a restaurant, they ask me
my name, I always say "Joe."

* Well, I'm thumbin' along
the open road *

* When a voice come
over my radio *

* It said, "Baby
breaker one-nine" *

* She sounded sweet
as apple pie *

-[Watson] Where we at?
-* She invited me to drop
on by, said, "Baby..." *

Smells like Willie
in here. [chuckles]

* 109, 109

* Park it where
the sun don't shine *

* Baby, exit 109

* 109, 109, easy to please
and easy to find *

* Baby, gotta exit 109

Well, Dale, to start things off,

I know you talked a little bit
about it out on the stage,

but I just want to ask you
in front of our camera now,

how did it feel?

* Mmmm

* Mm-hmm-hmm

* Well, I slowly drove...

It's really so hard
to explain Austin, Texas.

It's the best music town
in the world.

I almost wanna cry right now
'cause tonight

people can see
what Austin, Texas, is.

It's, uh... it was special.

[sputtering]

[Terry Lickona, announcing]
...here and now begins tonight.

Let's give a big welcome
for Austin's own Dale Watson!

[cheering and applause]

I'm a lucky guy, man. I'm lucky
just to be able to do what I do
for a living and love what I do.

And that's a good note
to end on,

because we share that
same feeling here,
loving what we do.

-Thank you for having me.
-Thank you, Dale.

* Exit 109

[cheering and applause]

[Lickona] Good time,
Austin, Texas.

Mr. Dale Watson.

[cheers and applause]

[indistinct conversation]

Austin is the greatest place
on the planet

to come hear music.

[woman] There's just so many
people that come out
and support music.

Maybe there's something
in the water here.

It's oil wells and barbecue
and "Austin City Limits."

I can't imagine Texas
without it.

I don't care about being
inducted into the Rock and Roll
Hall of Fame anymore.

I got invited to play
"Austin City Limits."

When I was a kid,
I would stay up late
and watch it on TV.

It's the last smart music show
on American television.

*

"Austin City Limits," it's just
a special, intimate place.

I've watched it my whole life.

[man] That show would not work
in every place.

It kind of has to be Austin.

People believe that Austin
is the best place in the world,

and I think they're right.

-Good night, thank you!
-[cheering and applause]

*

[Lickona, announcing] Welcome
to "Austin City Limits."

How are you feeling tonight?

During the past 30 years,
Terry Lickona has become

something of a household name
in Austin and beyond,

producer
of "Austin City Limits,"

the longest-running
music series in the country,

showcasing
popular music legends,

innovators from all genres.

You're coming up on
a very, very special season ACL.

As hard as it is
to believe, Kathleen,

this is the 40th anniversary
of "Austin City Limits,"

as you said, the longest-running
music program
on American television.

-Wow!
-That's a mouthful, but we're
proud to say that over and over.

[Kathleen] What do you have
in store for the audience,

because, you know,
that's 40 years, right?

That's a pretty big anniversary.

-You want me
to tell our secrets.
-[Kathleen] Yeah, why not?

First of all, nothing is
official or set in stone.

It's early in
the booking process.

The new season won't begin
airing on PBS until October.

But we are inaugurating

an Austin City Limits
Hall of Fame,

so that's going to be exciting
when we announce that
in a few weeks.

Does everybody here
know the dates?

It's pending
talent confirmations

and availabilities, but May 7

would be a rehearsal day,

and then May 8th would be
the actual day
of the event/taping.

I am waiting to hear back
from Willie Nelson's manager.

I've already
reached out to Lyle.

I texted him last week
to wish him happy birthday,

as I have on November 1st
for like the last 25 years.

I used to call him,
but now I just text him.

[woman] I was gonna say,
you've been texting
for 25 years?

[man] Very early on texting.

-I was one of the first.
-[woman] Such a trendsetter.

So, but he texted right back.

And he said pretty much,
"Count on me."

And, you know,
the idea of having

Willie, Lyle, and Emmylou
actually do something,

you know, performing together,
would be pretty cool, I think.

It would serve a lot of purposes
and be great for the program.

[man] Yeah, absolutely.

So, we'll see if that becomes
a reality, but...

You know, Lyle
and possibly Emmylou

are apparently available,

and we're waiting
to hear on Willie.

Willie, happy to have you
here at Austin.

There seems to be a big increase

in the popularity
of country-western music.

Can you explain that for us?

Well, it's really not
hard to explain.

I think everyone is just finally
catching up to country music.

It's been around a long time,

and the young people
have discovered it,

and when all that enthusiasm
gets behind anything,

it's got to go.

*

Austin was
the epitome of liberalism

in the south at that time.

There was just
no other place like it.

It was good.
It was a small town
with a big college.

You got kids who will
support the music scene.

Back in the '70s,
the social thing to do

was to go out and hear bands.

Rent was 150 bucks a month
and pot was $10 an ounce.

[chuckles] Good reason to move
there if you're a musician.

* I'm goin' down
to Austin, Texas... *

Everyone was groovin'
and doin' their thing.

There was a million
beautiful girls.

There was lots of smoke,
lots of gigs.

Any time after
any gig in Austin,

legendary party after the show.

[man] The very first night
we got here, we crashed
at a friend's house,

and they said, "This new club
is just opening called
the Armadillo, wanna go?"

Of course we wanted to go.

We walked in and it was just
all these people just like us,

and coming from Dallas,
you couldn't have the hair
touch the top of your ears

without somebody wanting
to beat you up.

We just had fun playing,
and they let us get
away with it.

I got a good dose of Austin
in the '70s.

I wish I'd moved here
in the '70s, frankly.

And then, right in the middle
of all that, Willie came.

* Whiskey river, take my mind

* Don't let her memory
talk to me *

About that time, Bill Arhos

was talking about doing

a pilot for this music show.

*

[Arhos] PBS needed more ideas
and more programming

from around the country.

*

[man] Bill Arhos talked
with me about,

what could we do
with this studio space?

Once I saw that studio
and the size of it,

I thought, "This would
be perfect to do
something in music."

Paul Bosner came to me,
'cause he knew I was a musician.

He had been visiting
the local venues,

Armadillo World Headquarters.

He read a book called
"The Improbable Rise
of Redneck Rock."

And it chronicled
the combination

of country music, rock,
long-haired hippies,

rednecks, Lone Star beer,
and dope.

Took it to Bill Arhos to see
what he thought of the idea.

[Willie Nelson] I've been
associated with
"Austin City Limits"

since the beginning.

I did the first show.

And I'm not sure how many
I've done since then,

but 20 or 25, I think,
through the years.

* Well, it's
a Bloody Mary morning *

* Baby left me without warning
sometime in the night *

* So I'm flyin'
down to Houston *

* With forgettin' her
the nature of my flight *

[Arhos]

We had audiences
in back of the stage.

People were sitting on the floor
on little carpets.

There were no bad seats
in the studio.

It was very intimate.

We had to borrow
microphones and such

from the radio station
downstairs.

We had our scene shop
build up speakers in-house,

with Radio Shack parts that
I didn't think were gonna
last very long,

and sure enough,
Bobbie Nelson on piano,

in the middle of rehearsal,
her speaker catches on fire.

[chuckles] Oh, not good.

We were basically
the guinea pig.

We didn't know
what we were doing.

We were just doing
our regular show

and reacting to the audience.

*

[Arhos speaks]

I said, "Hey."

["Bloody Mary Morning" ends]

[woman] It's always cool
when we can do stuff
that my mom's heard of.

She owned a laundromat
when I was growing up,

and I grew up working there,
and that PBS channel

was one of the only things
that we got in the laundromat.

So my mom always has that on,
and she would always be watching

different episodes
of "Austin City Limits."

And she would ask me,
"Have you heard of this band?"

or "When are you gonna be
on this thing?"

Welcome to "Austin City Limits."

And we are streaming live,
wherever you're watching.

[all] ACL! ACL! ACL!

It's always a thrill to welcome
somebody to the stage
for the first time.

How many of you have
seen Thao before?

-[cheering]
-All right.

You know what to expect.
It's gonna be great.

The rest of you are in
for a real treat.

The one and only Thao
& the Get Down Stay Down!

[cheering]

[Thao] I was very excited.

But it was sort of like
this internal excitement.

You know, 'cause when
childhood dreams come true,

you wanna stay
pretty cool about it,

so I just...

I was like, yeah,
it's pretty cool.

[Thao & the Get Down
Stay Down playing]

[Thao] That is awesome.

Look at that.

Probably, maybe
we could get a T-shirt?

That would be nice.

It's really great font.
I wonder what it's called.

* If I bend my youth
would it come to me? *

* Oh, love, won't you
bite my eye? *

* I miss the sweet
garden man *

* Baffle a skeleton dry

* All they wanted
was a villain, a villain *

* And all they had was me

* All they wanted
was a villain, a villain *

* So then they just took me

* Hold my county line

* Get down on my city floor

* I won't suffer no humans *

* They've been my habit before *

* Oh, how the Earth...

I've seen that person.

Wow!

This is so cool.

[speaks indistinctly]

That's the dude.
That's pretty cool.

* 'Cause oh, how we *

* The common, do cry

* Oh oho oho oh...

This is amazing.

* Oh oho oho oh...

* Oh oho oho oh,
Oh oho oho oh... *

I hear Alex or somebody.

Guys, hi.

Guys, this is so cool.

Guys, hey.
Guys, this is so cool.

-Yes.
-Hey, good job.

-How are ya?
-Hey, this is cool!
It's so cool.

I actually wanted to exclaim
when I came through the door,

but I thought I would try
to be more professional.

[man] Everyone,
this is Jeff Peterson,
producer of the show.

-How you doing?
Great to meet you.
-Welcome.

Thank you so much
for having us.

We've been watching you
for a while now.

-I've seen you three times.
-Oh, thank you so much.

And your album
just blew me away,

which was
the first exposure, so...

-We're so excited to be here.
-[Peterson] Good to have you.

Good. Well, so, the whole idea
behind the show

is to make it as much
like your show as possible.

-Sure.
-So, whatever you normally do,

as far as introing and encore
and all of that stuff.

-All right, have fun.
-[Thao] Thank you so much.

Hey, when we have time,
we should run through
"Kindness" again?

Yeah, let's do it.

*

And then right here,
you need to start going crazy.

[laughs]

-Oh!
-[both laugh]

We have to do it
with a straight face.

That was great.

-Do you like it
to be that crazy?
-No.

Like completely action...
[laughs]

Just, you just start banging it.

Yeah, I want you to start
hitting your face with it.

*

There we go.

* Hold me hard

[cheering]

* I've been let loose *

* Set me clear

* Of all I do

* Kindness be conceived

* When we wake
in the Austin City light *

* There is a concrete
stuck between *

* How we breathe

* And why we die

* Why we breathe
and why we die *

[cheering]

[Thao] How about
that barn burner?!

Hi, Mom.

Did you watch it? [chuckles]

You watched the whole thing?

[chuckles]

Did you like it?

[chuckles]

Oh, yeah, yeah.

[speaking Vietnamese]

Did you cry?

A little? Really?

Every time I come back here,
it's like kind of surreal

because it looks exactly
like it did the last time
we did a taping in here.

The city comes to life.

You know, obviously,
I can't walk in this room

without having a flood
of memories come back

from the 36 years that I've
been a part of the show.

I moved here
from upstate New York,

where I'm from originally,

and I came to Austin,
really, on a whim.

I had heard about
the music scene down here.

I had no friends
at all in Austin, no job.

$400 or so, but I was
25 or so and naive

and willing
to take the gamble.

I came to Austin thinking
I'd work in radio,

and I did at
the NPR station here, KUT.

So I would do a Saturday
morning bluegrass show

and a late Saturday night
jazz show.

At the same time that
I was working at KUT,

KLRN had decided to start
its own local news show,

called "This Week."

And good evening,
I'm Terry Lickona.

I do remember Terry
from early on.

As a matter of fact,
when I was an intern,

he was on talking heads
and news programs.

Nostalgia is more popular
than ever these days,

especially in music,
since the music of the '70s

doesn't seem to be going
anywhere in particular.

During the first two years,

I remember being out here
in the front.

In fact, you could look
at some of the old shows

and probably see an audience
shot of me sitting out front
with my 'fro.

* Deep within my heart
lies a melody *

* A song of old San Antone

Willie Nelson did
the pilot for that series,

and we came on in September,
did the first taping.

* ...the stars all alone

We had an eight-piece band.
It was a very good band,
mostly of old-timers.

And mostly old fiddle tunes.

I guess in those days it was
more popular than it is now.

* ...by the Alamo

* And rose
my rose of San Antone *

It was originally about this
music that was going on here.

You know, Jerry Jeff Walker,
Asleep at the Wheel,

and B.W. Stevenson
and Steve Fromholz.

Just all the wonderful,
wonderful songwriters.

* Well, if I needed you

* Would you come to me?

* Would you come to me
and ease my pain? *

* If you needed me

* I would come to you

* I'd swim the seas
for to ease your pain *

I remember as
a seven-year-old watching

the "Austin City Limits"
performance in 1976

and how just awe-strucken I was
to see my father performing.

I don't think I
blinked or looked away
for the entire program.

My dad at the time
was a traveling gypsy.

So it was a rare moment
for me to catch an intimate

sort of performance by him.

* If you needed me

* I would come to you

* I'd swim the seas
for to ease your pain *

It's the greatest document
of how good Townes Van Zandt
was as a performer

is that performance
on "Austin City Limits."

[Lickona] For those first
few years, I sat out
in the audience,

and that might have been
the last time,

because I have not had
a chance to do that again,

for obvious reasons.

[Lickona, announcing] Recorded
live from Austin, Texas,

"Austin City Limits" presents
a man and his soul,

the music of Ray Charles,

in concert with the Raelettes
and the Ray Charles Orchestra.

[orchestra playing intro]

[Lickona] I became producer
in season four.

It was at that point that
management made it clear
to Bill Arhos

that if he wanted to continue
with "Austin City Limits,"

he would have to give up
his primary job

as the station's
program director.

That was a tough choice
for Bill to make,

because his heart and soul
were with "Austin City Limits."

So that's how I
became the producer.

Didn't know how
the cameras worked,

didn't know a thing
about lighting.

I only knew what I had
seen other people do.

And I knew what I liked.

*

[crowd cheering]

[singing "Busted"]

Yes, I did wanna kind of
break the mold

and shake things up
a little bit.

Having always been
a fan of Ray Charles,

along with most of the world,

I just decided
to give it a shot.

And it was initially
frustrating,

because when I finally
did connect with
Ray Charles' manager,

Joe Adams, who was
very much old-school,

his reaction was, I remember
as if it were yesterday,

he said, "Mr. Charles does not
do local access TV programs."

* The county's gonna haul
my belongings away *

* 'Cause I'm busted right now *

* Oh, yes, I am

* Well, I went to...

So I had to be a little bit
more strategic,

and when I heard that Ray
was actually coming to Austin

and playing a show
at the Erwin Center,

I basically, you know,
talked my way backstage,

and I did get to talk
to Ray Charles
in his dressing room.

It's a classic,
but when the door to
his dressing room opened

and I walked in, there was
Ray Charles standing in nothing
but his bright-red boxers.

* 'Cause I'm busted myself *

Eventually, I'm sure
I spit it out,

some words to the effect
that I was the producer

of this PBS music show,
and it was all about the music.

He sort of cut me off
at that point

and told me he was
already familiar with the show.

And, yeah, he said he
would love to come and do it.

* Whoa, the hell with it

* Yeah

[cheers and applause]

The first Ray Charles show
was a big deal.

He was a legend.

And that's all I'm gonna say.
[chuckles]

[applause]

[woman] I walked in
on a Ray Charles rehearsal

that was closed,
and I climbed underneath
the bleachers over here.

I thought I was in heaven.

* Sometimes I feel

* I'm born to lose *

-[cheers, applause]
-[man] We did a rehearsal,

and after the rehearsal,

he called all the band
back there where the crane was.

As soon as he gets
everybody there,

he says, "You guys are making me
look like crap out there."

[Caldwell] He started
to tell them off.

And he was telling them,
"I want you to do this,"

and they all looked
at each other and...

you know, like this,

and they all tiptoed
off the stage

while Ray was telling them off,
and he was going at it.

And then when Ray said,
"Okay, let's hit it again.

And a-one and a-two..."

Crickets. Complete silence.

Wait-wait-wait a minute now.

And the band just laughed,
laughed so hard.

And I was over there
underneath the bleachers,

just kind of like...

* Born to lose

* And now I'm losing you *

[Lickona] That was
the big catch.

And I see that booking
of Ray Charles

in our fifth season
as a, uh...

as a definite milestone
in the evolution of the show.

* Born to lose

* Yeah, and now

* I'm losing *

* Whoa

* You

[cheers, applause]

* Yeah

* I'm losing you,
you, you *

Does everyone have
a badge and a lanyard?

Yeah?

Same times as usual for tonight.
7:00 is when these doors
will open.

And then 8:00 is for the show.

[woman] No photography tonight
of any kind, same as always.

We have really high demand
for the floor,

so we need to make sure that
we're actually checking tickets.

*

* All it'll take *

* Is just one moment

* And...

[woman] My gosh, my experience

with "Austin City Limits,"
the television show,

starts when I was
a really little kid.

Been watching the show
since the '70s.

I grew up in Chicago,
so watching PBS up there,
and it was always channel 11.

I've been watching this show
since I was a little kid.

I've probably been
to about 40 tapings.

Probably been
to about 20 of them.

We always come down here
and wait in line

'cause it's always
a super awesome show.

I've grown up watching it
my entire life.

And, uh... one of the reasons
why I moved to Austin.

* I wanna find you and more

* Where do you...

I always thought
the background was real,

until I went to
the old studio once
and saw a show there.

* Well, how can I find ya?

* Well, I wanna send you
and more *

* I wanna tempt you...

[man] There's no
fooling the audience,
there's no frills.

Here's this band,
this is what they sound like,

this is what they look like,
period.

* I am alive

* Let me prove it

* Yeah, yeah

* You and I, we're the same *

* Live and die, we're the same *

* You rejoice, I complain

* That you and I
we're the same *

* Live or die, we're the same *

* You and I, we're the same *

* Hear my voice, know my name

* You and I

* You and I

[cheering]

"Austin City Limits" started
showing me what I wanted,

because blues players
never did make it
to those shows like that.

[Lickona, announcing] From
the Barrel House to the city,

the blues roll on with
the legendary Lightnin' Hopkins.

When it comes
to Texas music,

which was primarily the focus
for ACL back in the day,

there's nobody better
than Lightnin' Hopkins.

There were two strings attached

to Lightnin' doing

any kind of a show,
not just a TV show.

One was that he liked
to be paid up front.

And the other was that he liked
to have a bottle of Jack.

* I'm goin' to Louisana *

* I'm gonna get me a mojo hand *

[man] Like a lot of performers
of his generation,

Lightnin' wanted cash up front.

And, uh, we didn't have it.

* I'm gonna get me a mojo hand *

[Lickona] Those were
two problems because

we typically pay people
by check 15 days later,

and it was a Sunday so
the liquor stores were closed

and we didn't have a stash
of Jack Daniels around.

[Toland] Terry had to go around
to everybody on staff

and take whatever money
they had.

[Lickona] I don't know where
we found that Jack Daniels,

but we did come up
with it somehow.

So, by showtime,
he was a happy man.

And it shows
in the final program.

We captured the true essence
of Lightnin' Hopkins

in a way I don't think
anyone had ever done,

certainly not in a full
performance for TV.

When I started watching
"Austin City Limits,"

I saw some things that I'm
saying, "Hey, man,

this is where I wanna be."

*

I heard that guitar, and I said,
"Who the hell is that?"

You know, and that was Stevie.

I was 12 when I first
started trying to play.

Stevie was 8.

I'd put my guitar down,
Stevie would pick it up.

That's how we got started.

Then I ran off
and went and did stuff,

and we met two or three years
later in Austin,

after playing
in all these clubs.

That's when Stevie really became
Stevie Ray Vaughan, you know.

*

[Lickona] This is where
Stevie Ray Vaughan

practically had a meltdown,
the first time he did the show.

He would admit it years later,
but he was pretty messed up.

[Lickona, announcing] Recorded
live from Austin, Texas,

an hour of rhythm
and blues, Austin style,

with the guitar magic
of Stevie Ray Vaughan
and Double Trouble.

[Lickona] He was
sweating profusely,

and he kept leaving
the stage and coming back.

We didn't know if the show
was over or what was going on,

but he was convinced
that he was...

that he was losing it
and that the show was a wreck.

Frankly, if you look
at the show, it's amazing.

There's nobody that burned
a hole like Stevie did
in the blues.

[imitating guitar lick]

I liked that one.

[man] You can't really play
a bar in Texas without getting,

you know, that impulse.

[imitates guitar lick]

I love Stevie Ray Vaughan.

[Lickona ] Now,
Stevie Ray Vaughan's

final performance
on "Austin City Limits,"

from October 1989.

As a recovering alcoholic,
I was, uh...

really happy to see him come
back the second time, clean,

and do an amazing show.

*

He was completely clean
and sober,

off of everything,

and at the top
of his game, really.

*

Can't imagine how
it could be any better.
It was Stevie Ray Vaughan.

None of this is gonna be final.

Right? We're just trying

to come up with the criteria
for inducting someone into

the Austin City Limits
Hall of Fame.

Everybody who appears
on the show,

we've always said that
it's a bar of excellence.

I think we want to recognize
that bar of excellence

right off the bat.

Like, if you've appeared
on the show, you're good.

But to be in the
Austin City Limits
Hall of Fame,

you're exceptional,
for whatever reasons.

Who we determine, and whatever
criteria we come up with

for this first event is really
gonna have a huge impact

on my ability to go after
certain key artists and talent

for the show.

[woman] You can almost have
the angle of,

here's why we're establishing
a Hall of Fame.

Because we have 40 years
of amazing performers.

We're celebrating
our entire history.

This is our first year.
It's different.

Let's just get our names
that would lead

to the most excitement
for the event itself.

One are the people
that you're gonna put

on the top of the poster when
you're selling the tickets

for the next
Austin City Limits Hall
of Fame induction ceremonies.

Willie's a one.
Anybody...?

Townes Van Zandt?

[all] One.

-[man] Doug Sahm.
-[all] One.

[man] Marcia Ball.

One. I have to say,
for the women.

[man] Yeah, that's true.

[man 2] This is not whether
they're getting in or not.

What we're trying to do
is balance the racket...

[woman] Yeah,
now we need Elton John.

...with the names that would
lead to the most excitement

for the event itself.

-Merle.
-[all] One.

-Tom Waits.
-[all] One.

[woman] Plus.

-Ray?
-[all] One.

-Emmylou Harris?
-[all] One.

[man] I'm sorry,
but Hank Williams Jr.?

[man 2] Yeah, that's the only
one I didn't vote for.

-[woman] Who voted for him?
-[man] I didn't vote for him.

How does anybody else feel?
This could take a while.

[woman] Well, I was gonna say,
there was...

If I had one favorite show
for every year,

that would be 40 favorite shows.

So it gets tough.

* We met downtown
in a barroom *

* Both of us needing a friend

We don't have a bathroom
back here in the corner.

The nearest dressing room
is pretty far away

and down to another floor.

We're gonna take a short break
and come back and do
some more music for you,

give the boys a chance to go
to the restroom or whatever.

The hearsay goes that a...

shall we say, well-known
country music star...

had a call to nature
back here in the corner.

Are there any strangers
in the house backstage?

-[man] Whoo!
-Come on, guys.

And it's on with the show.

[cheering and applause]

Merle Haggard allegedly
urinated on the wall,

somewhere back here.

* There's a pair of blue eyes
down in Texas *

* Cryin' for me *

* Cryin' for me *

[Lickona] It's not marked.

Somebody had to clean it up,
but, you know,

what are you gonna say,
Merle, all right?

When you gotta go, you gotta go.

[applause and cheers]

It's a little tight in here,
but I have to admit,

some of my most vivid memories

are the times that I would
go up to the top of the catwalk.

My best memory of being up here
was the time that I came up here

with Willie.

And the show was Roger Miller.

[Lickona] There may
be a surprise or two tonight,

so stay with us, and I promise
you won't be disappointed.

What's that, hon?

Tell you about the surprise?

[laughter]

That would destroy the fun
and the suspense, right?

[Lickona] But Willie wanted to
come and see Roger Miller's show

without disrupting anything.

He didn't want to cause a scene
by walking into the studio.

But I brought him
up these stairs,

and we stood here,
basically, right about here.

Willie being Willie, of course,
pulled out a joint

and just proceeded
to light it up

and stood here enjoying
the view and the music.

And the weed.

* Well, I'm moanin' low
moanin' high *

* Hair is turning gray

* I don't care
if I live or die *

* I can't go on this way *

[Lickona] At some point, Willie
was ready to go back down

and Roger invited him
up on stage,

and at some point
they started dancing on stage.

I'm sure it was Roger's idea.
He was a zany guy.

Think it might be
the only time we've had

two guys dancing on stage
in the history of the show.

Wasn't very well choreographed,
but, you know,

it was spontaneous.

[cheers, applause]

And now,
Kris Kristofferson.

[cheering, whistling]

It was the year that
we were taping a show
with Kris Kristofferson.

He was pretty groundbreaking,
really, because he was
a movie star,

and he was
this great songwriter.

* Busted flat in Baton Rouge

* Headin' for the train *

* Feelin' nearly faded
as my jeans *

[Lickona] And this place
was packed.

I think we had, probably,

750, maybe 800 people
packed into the studio.

We might have had
a thousand people in here
for that show.

I was in the audience

and I was with my girlfriend.

She got up, and as soon as
she got on the floor,

all of the lights went out.

-[voice slows, stops]
-[static crackles]

And that's when we found out

that we didn't have
any emergency lighting.

When we realized that the lights
were not going to come back on,

that's when people pulled out
their flashlights

and, uh, basically evacuated
the studio down the stairs.

They all had Bic lighters
and they sang,

* I wanna go home
with the armadillo *

[band] * I wanna go home
with the armadillo *

I think it was
a rat or something

that had chewed through some
power lines in the basement.

Nobody got hurt.

The next day, Kris Kristofferson
came back and taped his show.

I understand the reason
this place blacked out
last night

was 'cause of a rat.

One rat.
There's a moral there somewhere.

[Lickona] And that
got the attention

of the University of Texas
fire marshal.

Well, shortly after that,

they visited and did
an official fire inspection

and pulled out the fire code,

and our capacity went
from 800 to about 400.

That was one
of the motivating factors

in deciding to move
into a new home.

* Well, life in the country
is kinda laid back *

* Ain't nothin' this
country girl can't hack *

* Early to rise,
early in the sack *

* Thank God I'm a country girl *

Loretta Lynn is an example
of a Nashville act

who's the real deal.

Loretta Lynn is a bad ass.

There's just something very
real and authentic about her,

and that's timeless.

* Well, I was born
a coal miner's daughter *

[cheering, whistling]

* In a cabin

* On a hill in Butcher Holler

Loretta Lynn definitely paved
the way for women

to sing raw and honest songs
in country music.

Then you go all the way
from there to Lucinda Williams.

* I don't want you anymore
'cause you took my joy *

* I don't want you anymore
you took my joy *

* You took my joy
I want it back *

* You took my joy
I want it back *

Her songs are some of
the saddest, realest songs
I've ever heard.

* Maybe in Slidell
I'll find my joy *

* Maybe in Slidell
I'll find my joy *

She's got this angle
and handle on the good hurt,

and you feel really bad
that it's happening to her,

but really glad because
then she can bring it to you.

Public television is really
the high watermark for me,

'cause it had taste

and funk and, you know, depth.

[cheers]

No, wait. What are we
supposed to do here?

Are we just supposed to start?

We're waiting for...

When I say that, I know
you could all answer,

but I'm actually talking
to these guys.

I've got to give you
a proper introduction.

Ready?

We've got to give this lady
the proper introduction.

I do wanna say that, this has
been a long time coming.

In fact, we've been waiting
for about nine years
for this moment.

So let's give a traditional
"Austin City Limits" welcome

to the great,
wonderful Bonnie Raitt.

[loud cheering]

* You came up on me

* Like a landslide

* Once in a while
I get taken like that *

* And I like it

[Raitt] I never get
nervous when I come here.

So it captures a performance
that's much more relaxed

because I know the crew,
I know Terry and Gary.

I know everybody's still here.

And they're so open to me
creating a show around
whatever songs I pick.

They don't tell me
what to play.

And so one of my favorite,
probably, and the fans'
favorites, too,

was to be able to have
John Prine and I sing
"Angel from Montgomery."

* Just give me one thing

* I can hold on to

* To believe in this living

* Is just a

* Hard way to go

[Raitt] It was
very, very moving,

so of all the things
I've done on this show,

that would be up there
with a highlight.

* Is just a

* Hard

* Way

* To

* Go

[cheers and applause]

This is one of those shows
that's just still going,

I can still find
out about bands,

and, uh...

and I'm lucky enough
to be on the show.

* No more will I
shop around, baby *

* I know I got the finest thing
in town, baby *

* Now, I see all I want
to see, baby *

* So bring your love
and bring it to me, now, baby *

* Wrap it up

[Howard] I've been pretty lucky.

I just feel really fortunate.

I'm really glad I get to meet
people like Bonnie

and get to see like maybe
I'll get to be like that
one day and keep it going

and have a nice
long career, you know.

Feels like I hope
I can keep it going,

for at least half as long.

* I got so much I wanna do

* But I ain't got
much time so *

* Must be somebody

* Up above

* Saying, come on, baby girl

* You've gotta get back up *

* You've got to hold... *

[Raitt] She's a ferocious singer
and a great guitar player.

You know, it's got
that perfect mix

of authenticity and freshness.

A lot of people still
come up to me and say,

"I found out
about you from ACL,"

and we taped that years ago.

So it's still doing its thing,
and I still appreciate it.

* Hey, got to... wait!

This is a show about music,

and it's about creating...

a mood and a vibe
with your music.

-Or is there...
-[man] I don't know
how that works.

Should we do an encore
for you guys?

I mean, how's...
I can't remember from last time.

You can do encores, yeah.
Yeah, they'll bring you back.

It's definitely
a longer commitment than
other television shows.

And you're playing a full set.

What we're gonna do is
"She's Not Me."

You'll leave, and then you're
gonna come back for...

For "Acid Tongue,"
which is an acoustic song.

The band won't leave.

Well, this is seamless,
the transition,

so there will be no stop,

so I think it's got
to happen before.

* It just made me

* Tired

* Let's build ourselves *

* A fire

* Let's build ourselves
a fire... *

* Fire

It was a really big deal
for my band.

We were very nervous.

[Lickona, announcing]
This is not her first time
on the ACL stage.

Let's welcome her back.

The one and only Jenny Lewis!

[cheering and applause]

* It's a bad man's world *

* It's a bad man's world *

* It's a bad man's world *

I was definitely terrified

when I heard I was gonna play
"Austin City Limits."

I don't really get
nervous about shows,

but for some reason, this one,
I couldn't sleep last night.

I recall getting here and...

underestimating how nervous
I ended up being.

I've honestly been
nervous about this
for about three months.

It's one thing to get up
in one of those talk shows
and play a song.

You've got three minutes.
It's so regimented.

You can't even play
the full song.

And then here's
"Austin City Limits,"

where you're an artist,
you get up there

and you just do your thing.

It's about music.
It's not a little bit of music.

It's not four minutes
of music and then talking.

It's not news, the music,
it's just music.

You have to kind of
stand up there and go,

do these songs live up?

'Cause there's not a whole lot
of smoke and mirrors

on the ACL set.

You just have to kind of
strip yourself down

to the barest form
and sink or swim.

* It's a bad man's world *

* I'm a bad, bad girl *

* It's a bad man's world *

When you're a kid and you're
very, very excited about music,

there were very few outlets
to see live music on television.

"Austin City Limits"
was one of my giant steps

in my career.

Gave me a chance to expose
my name all over the world.

[man] I always used
to tape it on the VHS.

I remember trying to learn

some of the guitar
I would see on the show.

* Rain, rain, rain, rain

* Wanna see that girl again

* Rain, rain, rain

* I'd like to see you again *

[man] I saw Doug Sahm

on "Austin City Limits"
from some years ago.

Doug Sahm was a real crazy guy,

but a good guy. [chuckles]

[Francis] He might not even be
singing that great of a song,

but it's what he does
with the moment

that makes it so riveting.

I can picture
most of my favorites,

and I can see them on the show.

* Goodbye...

I really liked Dolly Parton.

She's got such a wonderful
spirit in her voice.

When she sings, you can tell
she's smiling.

She has my favorite voice ever.

* Bittersweet

* Memories

[woman] When Dolly Parton
was here,

I think the performance
she gave in rehearsal

was better than the one
she did that night.

We pulled our chairs up
right to the stage,

and she sang right to us.

* Please, don't you cry *

I was sobbing.

* 'Cause we both know *

* I'm not what *

* You need

* But I

* Will always

* Love you

* Ooh, I

* Will always

* Love you

She just looked at us
after she finished

and started laughing,
like, "I gotcha."

[crowd cheering]

If you just were looking
at it very casually,

you'd think, "Oh, that's just
a polite Southern lady."

But you know Dolly Parton
doesn't take any fucking shit.

I know you can't put that
in the documentary, but...

there's that.

It was really exciting
because you'd never know

what's gonna happen.

* Aah!

When the Pixies came back,
most people hadn't seen them

the first time
they were together.

So that was a revelation,
I think, for a lot of people.

* Got me a movie
I want you to know *

* Slicin' up eyeballs
I want you to know *

* Girlie so groovy
I want you to know *

* Don't know about you
but I am un chien *

So to see them come back
and see the real thing...

is striking.

* With your feet on the air
and your head on the ground *

* Try this trick
and spin it, yes *

* Well, your head'll collapse
if there's nothing in it *

* And you'll ask yourself *

* Where is my mind?

* Where is my mind?

* Where is my mind?

There's a particularly good
taping of Leonard Cohen

from about 1989 I'd say.

*

* Everybody knows
that the dice are loaded *

Whenever we'd go
to my mom's house,

we'd watch it because she's
in love with Leonard Cohen.

[Beck] He's a different class.

You know, this kind
of great voice
that's almost biblical.

* Everybody knows
that the good guys lost *

* Everybody knows
the fight was fixed *

* The poor stay poor

* The rich get rich

* That's how it goes *

* Everybody knows

Whenever I stumble upon it
when I'm watching the tube,

it's always a great joy
to see the wonderful music.

I still bump into it
now and then.

I don't know anybody's
names anymore,

but I never knew a lot
of them to begin with.

*

* Oooh...

* La la la la la...

[Toland] Radiohead was
a big get for us.

That's somebody
we'd been chasing
for a long time,

and that seems kind of obvious,
they're a huge band, you know,

but they don't make
easy-listening music.

*

They just walked
out there and said,

"We're gonna do some
of the weirdest shit
we've ever done,

and you're gonna like it."

I thought it was just
a brilliantly paced

and constructed show.

* Please, could you stop
the noise *

* I'm trying to get
some rest *

* From all the unborn
chicken voices *

* In my head

Radiohead, wow.

That was crazy.

*

I think most people who come
to see music in a pure way

know it's more than just
having a good time.

I think people are seeking
something deeper than that.

Thank you so much, Austin.

It's been a real, real
pleasure of a lifetime

to be here with you today,
thank you so much.

[James] When you're playing
"Austin City Limits," it's like

you're playing more
of a real show

because the crowd is there
and they're engaging with you.

I like it when
the crowd's right here,
in front of your face

and it's a communal thing.

I want people to feel good
when they're at the show

and I want them to leave
feeling better than they did

before they came in.

* Yeah, is this climbin' up *

* To the moon?

It's just a matter
of making a connection
with somebody out there.

It's everything.
The crowd is everything.

[Nelson] The fans show up
and like what we do.

It's what keeps us out here.

It's like a dialogue between
you and the audience.

When they're grooving,
then you feel like,

"Okay, this is working,"
then you groove even better.

They're counting on us for
something, we're counting
on them for something.

It's a 50-50 relationship.

The best show
is just like, "Waaaah!"

And you see the people
in the crowd like, "Waaaah!"

And everybody's just gone.

Anybody who is a performer
has that desire

to interact with the audience
and create that energy.

* Yeah!

I don't know, it's just
got this magic to it.

-[beep]
-[Lickona, announcing] Recorded
live from Austin, Texas,

it's "Austin City Limits."

Every single year, we never knew
if we were gonna be funded.

It's tough out there
in public television land.

[Lickona, announcing]
This year celebrating
our tenth anniversary

of showcasing great music.

Reach five years,

we thought, well,
maybe we can make ten.

We just hoped that,
every time we had
an anniversary,

that that would somehow
give us more status.

* When loving turns to parting

* I'm always the first
to leave *

* 'Cause when it comes
to heartaches *

* I'd rather give
than to receive *

"Austin City Limits"
started out as a showcase

for primarily Austin music.

Soon after that, it evolved into
more of a country music show.

[Peterson] We went through
a period where we really

leaned on Nashville
country acts.

I think we got
carried away there.

I think we all agree to that.

There were people sniping at us
for being Nashville City Limits.

I realized we had to turn
away from Nashville.

Not to mention Nashville music,
at some point,

really began to suck.

It was just not worth booking

most of what was coming
out of Nashville.

[show theme playing]

[Lickona, announcing]
Recorded live
from Austin, Texas,

"Austin City Limits" celebrates
25 years of American music.

So that's when we kind of
started leaning indie.

So what does "indie" mean?

Just about whatever
you want it to mean.

We've all been watching
this show since we were...

Well, before we were born.
None of us are 25 yet.

[laughter]

[Lickona] Wilco represented
this new direction,

this turning of the corner

when it came to focusing on
and showcasing indie music acts.

In my mind and others,
that also reflected

what "Austin City Limits"
was going through
at that point and time.

* When you're back
in your old neighborhood *

[cheering]

* Cigarettes taste so good

* Just so misunderstood

* We're so misunderstood *

* Something there
that you can't find *

* You look honest
when you tell a lie *

* You hurt her
but you don't know why *

* You love her
but you don't know why *

[Lickona] They just seemed
like the right band

playing the right music
at the right time

that helped us realize
who we were.

* I know you got
a God-shaped hole *

* You're bleedin' out
your heart full of soul *

* You're so misunderstood *

* You're so misunderstood *

* I'd like to thank
you all for nothing *

* I'd like to thank you
all for nothing at all *

* I'd like to thank you
all for nothing *

* Nothing, nothing, nothing

* Nothing, nothing

* Nothing, nothing, nothing

-* Nothing, nothing
-[rhythmic clapping]

* Nothing, nothing

* Nothing, nothing

* Nothing at all

[cheering and applause]

It's obviously very thrilling
to be on the show so many times

and to be welcomed back
so many times.

Been a real honor
playing at "Austin City Limits."

-Thanks a lot.
-Thank you very much.

At that point, I think it went

from Austin and Texas
and regional

to anything goes.

[Florence and The Machine]
* Happiness

* Hit her

* Like a bullet

* In the back

That decision saved the show
and led to everything

that's gone on
to give it new life.

* One, two, three, Austin!

* Run fast for your mother,
run fast for your father *

* Run for your children,
for your sisters and brothers *

* Leave all your love
and your loving behind *

* You can't carry it with you
if you wanna survive *

* The dog days are over

* The dog days are done

* Can you hear the horses

* 'Cause here they... *

-[audience] * Come!
-Come!

[man] "Austin City Limits"

has really spread farther

than, I imagine, maybe
anybody expected it to.

It's now even like a brand,

and there's this magnificent
building that they built.

In a sweet way, I guess,
it felt kind of inevitable.

The Moody Theater's just
such a special venue.

This is the new one,
so it's fun.

People are so excited
about this new location.

You got the Willie statue.

You never know if you're
gonna see somebody

who you've never heard of before
who's gonna just blow up

and become the next big thing,
or it may be someone

that you're just
super-excited about seeing.

To me, it just kind of
defines the city.

Pure Austin is what this is.

Thank you, good night!

It was necessary, it was
absolutely necessary to move.

I don't dispute that at all.

[Lickona, announcing] And now
the final performance

in ACL's original home
after 36 years.

Once we had started
down the road

on our way to a new home,

the question was,
who would that be?

What would be the last show?

* This old porch is like

* A big old red-and-white
Hereford bull *

* Standing under
a mesquite tree *

* Out in Agua Dulce
and he just keeps on... *

I started watching
"Austin City Limits" when
I was still in high school.

A few years later,
when I started coming to Austin,

I came to as many tapings
as I could.

So I got to know
everybody personally.

Lyle's certainly not
a stranger here,

but at the rate we're going,
if the band gets any larger,

we're gonna have
to build a bigger stage

or find a bigger studio.

Let's welcome him back
to "Austin City Limits."

Ladies and gentlemen,
Lyle Lovett and His Large Band.

Lyle has been such
an important part of our history

and our evolution
as we have been for his music.

* And if I had a boat

* I'd go out on the ocean *

* And if I had a pony

* I'd ride him on my boat *

* And we could all together

* Go out on the ocean

* I said me upon my pony

* On my boat

You know, it might have
taken me ten seconds

to think that it would be,
should be Lyle Lovett.

-You okay?
-Yeah.

[man] I hated
to leave this place.

I mean, it was...

You know, my whole entire life,
I mean...

Gotta understand I was,
what, 19 years old

when I started working here.

[indistinct conversation]

Just want to wish
you guys good luck.

-[man] Thanks so much.
-Have a good show.

Yeah, just get the good parts.

[Lickona, announcing]
About a year ago,

I first started thinking
and people started asking,

"Who's gonna play the last show
at 'Austin City Limits'?"

There's no better way
to end an era

than celebrating the past,
present and future all at once.

Please welcome our good friend,
the one and only Lyle Lovett.

[cheers and applause]

We'd like to do one more song

to close out
"Austin City Limits"

at its Studio 6A.

And we would love it if you guys
would leave your posts

and join us on stage.

[cheering and applause]

[man] There were
a lot of special memories.

Many, many years
of special memories

that were formed in this room.

You can just feel
the history in there.

There's just something
about that room, you know.

It's just a special place.

* Closing time

* Unplug those people

* Send them home

* It's closing time *

Here's to another 36 years,
36 seasons,

of "Austin City Limits."

* Tonight's all that's
left behind *

* Well, you take your part
and I'll take my mine *

* And go on home

* It's closing time *

[cheering]

At the time, I wasn't
one of those that was...

I don't want to use
the word "devastated,"
that's melodramatic,

but there were people
who thought we were
really losing something

by leaving the space.

[dissonant rock riff playing]

"Austin City Limits"
is about the artists

and the audience.

And to me, that wasn't
really gonna change.

[rock riff playing]

So we're still in Austin, Texas.

We still have a bunch
of music fans.

It's just in a different room.

So the key elements
are still in place.

[rock riff playing]

A lot of times,
you get on TV,

and, uh...

you know, there's a lot
of direction given to a band.

"You gotta stand here,

and they're gonna have
these camera angles,"

and they'll make you play
the same song 20 times

before you actually film it.

You know what I mean,
so this is a...

there's a naturalness and a...

and a spontaneous thing
that can happen on this show.

I came into
the Austin city limits.

I came into
the city limits of Austin.

All by myself.

I didn't have any friends.

And I was feeling most alone.

Feeling like
I didn't have any...

anybody in this world.

And I came
to this place tonight.

And I think I found
some friends.

[cheering]

'Cause sometimes...

your problems get all tied up
around in a knot.

Your problems...

they get too much to handle.

They get all tangled up and...

Your problems get all around
your neck and around your head.

Sometimes you just
need a friend...

to take you in their arms

and tell you it's all
gonna be all right.

* Will you take me
in your arms tonight? *

[cheering]

* Will you tell me it's
all gonna be all right? *

It's a very-- for a TV show,

it seems like the audience
is very, uh...

they're open, but they're also,
there's a lot of energy.

You're getting
a lot back from them.

He's got an amazing
new album out.

He'll be back in October
for the ACL festival.

And we're proud to say we've
got him right here tonight.

So let's make him
feel welcome.

-Beck!
-[cheering and applause]

Say four, three, two, one!

Four, three, two, one!

* Destination
little up the road *

* From the habitations
and the towns we know *

* Place we saw
the lights turned low *

* Jigsaw jazz
to the get-fresh flow *

* Pulling out jives
and jamboree handouts *

* Two turntables
and a microphone *

* Bottles and cans
and just clap your hands *

* Just clap your hands

* Where it's at! *

* Two turntables
and a microphone *

-* Where it's at! *
-Come on!

* I got two turntables
and a microphone *

Oh, God.

Yeah.

Bring it down.

* Whee-hoo!

[audience] * Whee-hoo!

-* Whoo-hoo!
-[audience] * Whoo-hoo!

-* Whoo-hoo!
-[audience] * Whoo-hoo!

Thank you.

[loud cheering, whistling]

So we are going to actually
rehearse all of this stuff...

-Interesting.
-...which will be a luxury.

And, you know, Willie's
manager, Mark Rothbaum,

has committed Willie to the idea
of coming down here to rehearse

on Saturday, parking
the bus at about noon,

and basically, as he put it,

just make it
Austin City Limits Day

and Willie will be here to do
what we need him to do,

and when we don't need him,
he can go back to the bus,
take a nap.

Now, if this all goes
according to plan,

this is not going to be a really
long, drawn-out evening.

Of course, it could be
a clusterfuck,

but we have enough people

to deal with anything.

[tuner playing piano notes]

This way.

[woman] We're
following you, Terry.

Run!

How are you?
Good to see you.

[indistinct conversation]

You should be inducted
in this first one.

Yeah, how come you're not
getting something?

I'm still alive.
I don't know.

Well, wait a minute!

No, now, don't take that
the wrong way.

Wow! Ouch!

* Ba-dum-dum
Cut that camera.

[Lickona, announcing] Tonight
we celebrate the history
of "Austin City Limits,"

40th anniversary, by honoring
the man who started it all.

Along with his sidekick Trigger,
please welcome

the one and only
Willie Nelson!

-Applause, applause, applause.
-[man] This is the opening
of the show?

-Yeah.
-[Lickona] I'm looking
at the prompter.

The big black, black prompter.

And does it look
like I'm, you know,

staring into the camera?

Does it look natural enough?

It's as natural
as it can look.

It's as natural
as it can look.

I'm going to talk to McConaughey
when he comes in

and, hopefully, convince him
to just memorize

or wing this very first
intro part.

And then just go
straight into Willie.

[band playing
"Whiskey River" intro]

* Whiskey river...

[band stops, resumes]

To have done the last show
in Studio 6A

a few years ago
and to come back here tonight,

to be part of the
Austin City Limits
Hall of Fame,

I just felt like I was
back at "Austin City Limits."

* I saw the light

* No more darkness,
no more night *

* Now I'm so happy *

* No sorrow in sight

* Praise the Lord

* I saw the light

There's just those
two lines there.

I'll go up high
on "praise the Lord."

Let's just do it one more time.

* I saw the light...

Handhelds are gonna get

wherever there's individuals
of people at the tables,

over their shoulders, whatever
it is, that kind of thing.

[Lickona] Be on
the lookout for any...

-[man] Celebs?
-Celebrity faces.

[man] It's ten of.
I think you guys need to go out

and secure your spots.

[Lickona, announcing]
The 2014 "Austin City Limits

Hall of Fame" special,

honoring the artists
and others who've inspired

the longest-running music show
on American television today.

-Pick him up, Michael.
-All right, everybody,
good evening.

It feels so good
to be back on this stage.

[man] Come on back, Michael.
Thank you.

-Next up on the stage...
-[man] Pick him up, Jay.

...he is the most recent
Academy Award-winner,

our friend,
Matthew McConaughey.

[man] This is your take.

31, 32. Retake.

[McConaughey] Thank you.

[man] Oh, who walked
in front of the shot?

He's been called Saint Willie.

[audience chuckles]

[chuckles] There's
a ten-foot statue of him

in the middle
of downtown Austin

on a street called
Willie Nelson Boulevard.

[cheering and applause]

He's an icon,
an inspiration to many.

Will everyone please
join me as we salute

the one and only
Red Headed Stranger.

[cheering, whistling]

* Well, I've been a lot of
places in my life and times *

* I've sung a lot of songs
and I made some bad rhymes *

* Acted out my life on stages

* With 10,000 people watching

* Now we're alone and I
am singing my song for you *

* And I know your image of me
is what I hope to be *

* I've treated you unkindly
but, darling, can't you see *

[Lickona] I don't really
have a strong sense

of personal accomplishment

about what I do
or what I have done

or my contribution or this,
that and the other thing.

But I think that's an attitude
that really pervades

the rest of the staff, too.

I mean, part of it is,
this is our job.

This has been our job since
we were all in our 20s,

and we've been doing it
for years and decades.

So it just seems like
the thing we do, you know?

So, I guess
what credit I take

is, uh, I feel something to be
shared with everybody else,

with the rest of the team,
because they deserve it.

I used to wonder what you
thought about this kid

from New York coming in

and basically taking over
the show after a year or two.

[Lickona] I had quite a 'fro.

[Arhos, laughing] You did.

It wasn't easy at first,
I have to tell you that.

When I took over the booking,
I had no experience

booking talent for anything.

I was learning by
the skin of my teeth,

basically, learning on the job.

But no matter how good
my instincts were,

or how fast a learner I was,

I never could have done my job
if you weren't out there

to keep it going
all of those years.

* Listen to the melody

* For my love
is in there hiding *

[Lickona] Don't you think it
would be hard to start a show
like "Austin City Limits" today?

I mean, just because
of the environment out there,

the way the world is,
it's a different place.

[Nelson] * And when
my life is over *

* Remember when
we were together *

* And we were alone and I
was singing my song for you *

* We were alone and I
was singing my song *

* For you

[cheers, applause]

KUTX, 98.9.
Laurie Gallardo here.

As you may have heard,
the founder of
"Austin City Limits,"

Bill Arhos,
passed away recently.

This afternoon at three o'clock
there will be a celebration

of the life of Bill Arhos

at ACL Live
at the Moody Theater.

You know, it's hard
to define anyone's legacy,

especially in a few words.

Someone who you knew
and worked with side by side,

day by day, for not just
years but decades.

Although there were
a lot of other people involved

in the idea behind
"Austin City Limits,"

Bill is the one
who made it happen.

*

Bill Arhos,
you can't categorize him.

There's no pigeonhole
for Bill Arhos.

God love him.
He's, uh...

one of a kind.

[woman] Bill imbued
a sense of honor, integrity,

a passion for music.

And this is his baby, you know.

This whole thing, he was
in it from the beginning

until the moment he left.

* When the evening

* The evening sun goes down

* You're gonna find me
in Austin *

[cheering]

* Somewhere hanging around

Austin City Limits.

* The night life

* It ain't
no good life, people *

* But it's my life, yeah *

Looking back, it was just
an incredible partnership

that endured and thrived
for 25 years,

and a friendship that endured
until the day he died.

* Dreamin' about
their old used-to-be *

* The night life

* Yes, it ain't
no good life, people *

* Oh, but it's *

* My life

[cheering and applause]

So go to the top,

edit underneath it,
that box says "Hello Reddit!

My name is Terry Lickona."

[Lickona] I don't
get hit up with a lot

of heavy philosophical
type questions

about the future of the show.

Frankly, I spend more time
thinking about that

than probably
most other people do,

people who watch the show
or who just take it for granted

that it's always
gonna be there.

"Do you think Austin
is a separate entity
from the rest of Texas?"

Yes, and I wish Austin would
secede from the state of Texas

and become a city-state like
in the days of ancient Greece.

I'm only half joking.

I think there are people who,
who are beginning to wonder

how much longer
I'm gonna stay at this.

"Seriously, when will
the show's producers change

so that it can last
another 40 years?"

It's a question
that's inevitable,

or it's just a matter of time
before there will be change.

Well, I'm the oldest, dude.

My other producers
are in their 40s,

50s or 30s, so I think
it will be a while

before there
is a major turnover

unless I get hit by a bus.

That being said,
I really, really wish

that we could produce more
than just 13 episodes a year,

and if we did,
we might want to bring

another producer
or two on board.

And I hope someday
it comes to that.

The response was,
"Are you scared?"

And my response was,
"Aren't we all?"

I know you're not
that excited to see me,

but you're excited to be here
tonight for what's coming up.

-[cheers, whistling]
-Now we're talkin'.

This is taping for our 41st
season of "Austin City Limits."

-[cheering]
-Last year we celebrated...

Yeah, how about that?

We celebrated our 40th
anniversary last year.

[cheers, whistles]

We just keep on going.
Why quit now?

From what I've seen,
it's just greats on that stage.

So I step up, it's like
it's time to be great
or time to go home.

Every time Gary
sets foot on the stage,

whether it's this stage
or the original stage

back up in Studio 6A,

it really feels like
he's coming home,

in more ways than one.

This is his home.

[Clark] Terry asked me one day,
and it will...

it will stick with me forever.

He's like, "When are you
gonna do my show?"

I was like,
"I'm ready right now."

*

"Austin City Limits"
has stood the test of time

because somebody is
curating this music.

All those guys down there
that do the show

have a deep love for the music
and that shows.

That's why the show's
lasted so long,

and I think that's why
it's so special.

[man] Someone had the idea
that they should

put this old stage
in the middle of a TV studio

in Austin, Texas,

and invite all of the coolest
musicians to come and play,

and it inspired
generations of people.

* Give it up, now

* Play it cool

I can't tell you how many hours
I've pissed away on YouTube

watching old ACL shows.

There's so much history
and tradition

and heroic influence.

It's pretty overwhelming.

That show has a soul about it

that comes through
when you watch it.

It's like this thing,

something you can't describe,
and I think that's why

it's been around
for 40 years now

and will probably be around
for another 40 years.

[Lewis] It's just a necessity.

I can't imagine
a world without it.

[Francis] We enjoyed

our performance there.

It was some years ago,

so I don't want to be
so forward as to suggest

that it is overdue that we would
be asked to come back.

But, uh...

I don't think that anybody
in the band would have
a problem with that.

* Hey!

* Give it up now

* Play it cool

I'm really glad to see it

still doing well

and getting better all the time.

So congratulations
to "Austin City Limits."

* All the rules
that you use... *

It's hard for me to imagine
that "Austin City Limits"

could not exist
in some way, shape or form

with a whole new cast
of people behind the scenes
pulling strings

and a whole new cast
out on the stage,
wherever that stage may be.

* Give it up
give it up, give it *

[Clark] I love y'all, Austin,
more than you'll ever know.

For real.

*

[man] One day, Willie's
secretary at the time said,

"You know, they're looking
for a photographer over
at 'Austin City Limits'."

She dialed Terry and set up
an appointment for me
to go talk to him.

Showed him the pictures
I've been taking, and he had
the slides in the window.

"These are great, they're
much better than our stuff."

That's how I got the job.

I started at KLRU
in January of 1981.

I started as an intern in 1978.

I started on the show
14 years ago.

Growing up, I would
watch the show, gosh,
since I'm a toddler.

There's a photo of me
watching Merle Haggard

in front of the television set.

I was just fascinated
by the show.

I thought the visuals
were incredible.

So, I became a camera operator.

* Home, is where I want to be

* Pick me up
and turn me 'round *

* I feel numb

* Born with a weak heart

* Guess I must be having fun

* The less we say
about it, the better *

* Make it up as we go along

* Feet on the ground

* Head in the sky

* It's okay
I know nothing's wrong *

* Nothing, oh

* I got plenty of time

I started at the end
of season seven

as a sophomore in college.

I was just
a production assistant.

I'm proud to say that I started
at $1.65 an hour.

* And you're standing
here beside me... *

My first show was January
of 1990 and it was Garth Brooks.

* ...the passing of time

I walked in the front door
in 1993

and never looked back,
I love this place.

* Always for love cover up
and say good night *

* Say good night

I've been working
with ACL for 33 years.

Three and a half years.

Since 2012.

1987.

Five years,
as of like right now.

This is the 27th year for me.

I started at season 30,
so this is about my 10th
or 11th season.

This is my 11th or 12th season.

I interned for KLRU in '89,
so I've been at it awhile.

Jeff Peterson, who was
my intern supervisor,

said, "Hey, there's
this opening at KLRU

for a production coordinator."

I never thought
I'd be here this long.

[laughs] But I love
"Austin City Limits."

Terry hired me to be
the assistant to the producer.

That was in 1981.

We both learned as we went,
with Terry as our mentor.

We made a good team,
no question about it.

I had some regret leaving
my dream job for sure.

It's not my dream job anymore,
it's somebody else's dream job.

It's a dream come true, I think
it's the best job in the world.

I'm really glad to be here.

I'm real grateful.

That's how I feel
about "Austin City Limits."

And it's how I feel about
the people who work
on "Austin City Limits."

They're awesome.

I'll keep running till
they run out of steam.

I'm good for
another 26, I guess.

[cheering and applause]

-[man] Thank you!
-* 'Cause tonight *

* Be right by your side

-* Deep
-[chorus] * Deep in the heart

[chorus] * Of Texas

[cheering]

* Reminds me of

* The one I love

* Deep in the heart of Texas

I want everybody
in the house to sing.

* Deep in the heart

* Of Texas

Now, I know y'all
so proud to be in...

* Deep in the heart of Texas

Aww, you sound so good,
could you say it one more time?

* Deep in the heart of Texas

I want y'all to know
that I love everybody...

* Deep in the heart
of Texas *

* Been so many places
in my life and time *

* Sung a lot of songs
and I made some bad rhymes *

* Acted out my life
on stages *

* With 10,000 people watching

* Now we're alone and I am
singing my song for you **