WEBVTT

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Hey, it's Bob Pickett. We're
on our way to the legendary Broken Spoke.

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Come on, let's get out the
truck and head inside it. Come

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on, let's go inside, getting
ready for another tale from the Broken Spoke.

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Oh, we got some stories.
We got some tales for you,

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Bob, Picket Tales and Broken Spoke. Monty wardens with us and a guy

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that we've been trying to get on
the podcast since we first started money,

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Terry Lacona, Austin City Limits,
Austin City Limits. And I gotta tell

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you my college years were spent watching
Terry introduce the stage and tell us where

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we could find the free beer the
old studio for Rostin City Limits. That's

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well, I'm freedoms. I think
that's a complimentary. No, it is

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a compliment. I was. I
was a college kid. Come on,

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I thought it was you fed me. You fed me every week when we're

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talking about you know and everybody,
it will still because how come we don't

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give up the free beer at our
new home down call of the new home.

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We've been at the movie theater now
for thirteen years. But you know,

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it's a different kind of situation down
there. They have a liquor license

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and all that sort of thing,
and TABC frowns on giving away beer.

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But you know, there was nothing
like being a student at Rsity Texas,

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and just of course I was an
RTF student. We would just wander down

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the hall and we would get in
and at that time acl I mean,

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it wasn't packed. What was the
capacity of the old studio of aclire.

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So when we started out, we
backed as many people in the room as

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we could, up like a thousand
people. I remember we did a show

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with Willie once where we actually had
people up on the catwalk, which is

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not even you know, where people
are supposed to be. Right. But

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over the years, when the ut
Fire Marshal and others finally started pay attention

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and realized what we were doing,
they got out their codebook and they realized

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our capacities less than it was than
we thought. So it got cut back

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from a thousand until like three hundred
by the time we doubt and frankly we

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realized long before then that we had
outgrown that space. As much as we

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loved it, Yeah, you really
have the history all began. It just

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wasn't quite big enough to accommodate all
the people who wanted to be there.

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How many episodes taped in the old
studio? Remember we were there for thirty

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six years. I can tell you
that last year we just taped our one

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thousandth episode. Well that includes the
thirteen years that we have been at the

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Moody Theater downtown, So that's a
thousand different tapings, actually not episodes,

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a thousand different tapings that we've done
over the years. And that includes a

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lot of artists, not only the
lead singer you know, and musician,

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but all of the side men and
women who played that on that stage and

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other studages down through the years.
It's it's an incredible history, and it's

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boggles my mind when I really stopped
to think about it, which I do

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a lot, even though it's my
day job, and I love what I

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do and kind of get caught up
in what I'm doing. Yeah, I

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can't help but reflect back on that. Well, you know, when I

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moved down here in eighty one,
I asked when I started tending the tapings,

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And there's no joke. I'll go
back through an old foot locker in

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the garage and I will find playbills
and I know that I probably have been

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close to three hundred tapings that because
then again it was free, you know,

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well you know, but but you
would see I mean you would see

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everybody, you know, one night
to be George Jones and the next week

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you'd have somebody else. And that
the music was great. And I remember

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because like you know, growing up
here, you know, there'd be so

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many eclectic things. And I remember
the first time I ever heard heard of

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saw heard the music of George Strait
was on an ACLS. I was at

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the taping and the thing was,
man, if you remember eighty one,

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a cat in a start shirt and
a cowboy had was weird. It was

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almost like a punk thing. And
Straight came out there and I just went,

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who the hell is that? Kind
of went down to Intersanctum and you

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know, the guy with the mohawk
there that turned me on to cool record,

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said, oh yeah, man,
he's gonna be big. He's huge.

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Of course, the Interstate Intersancting didn't
have a George Straight record, but

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they got it for me and it
was the album Straight Country, and I

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had just I was just arrested.
I thought that was so unusual. That

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was as different as any punk music. I was listening to at the time.

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Well, of course, back then, George was playing at the Cheatham

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Street Warehouse SA Marcus, and he
was playing frat parties and he had longer

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hair, yeah at the time under
that cowboy. But Terry, I mean

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you you had ears, you discovered
music. I mean, it was amazing

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you were you the one that booked
all the shows back then. That is

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the most important thing that I do
to this day, and that is to

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book the talent for the show.
Yeah, but I mean in radio,

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and I haven't always batted the housing
over the last forty nine years, and

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I got a better record than I
do. Our record overall, you know,

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speaks for itself. But yeah,
it's um. You know, when

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you look at the history of the
way the shows evolved, it started out

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as pretty much at Texas Country Music
Show as sort of like our answer to

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what Nashville was putting out at the
time. And but over time we expanded

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the limits, you know, so
to speak, to include all kinds of

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music. Well, and you like
the Rank and File taping you did in

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eighty two was phenomenal, and that
the set that that Chip and Tony and

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Alan Slim played, it's one of
the greatest thirty minutes of live music ever,

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I mean, and it was just
so pure and nobody knew. I

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don't know to this day, I
don't know what's called rank and file other

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than great. Well, you know, I remember going down there and seeing

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some Austin group, the Wagoneers,
who their record wasn't even out, and

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here they are taping the show.
Well, you know, and let me

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tell you it. To Terry's credit, not that I record, wouldn't nowt

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we recorded that segment in November of
eighty seven, and we recorded Stout and

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High in January of eighty eight.
Terry had us on before we made our

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record. I don't know if you've
done that before. So that's that's good.

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That's pretty good. Yeah, rarely, you know, when when we're

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inspired you generally speaking of though,
I mean, I've learned over the years

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that timing makes a big difference for
these things. So you know, there

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have been times over the years I
might have booked an artist or a band

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a little too soon, you know, before they really had matured or were

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ready for prime time, so to
speak. And then in other cases I

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might have waited too long and missed
an opportunity why does adele come to mind?

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For instance? You know, I
mean I have to go by instinct

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most of the time. Well I
know, but sometimes if there's somebody who

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I think's ready, but maybe they
don't have that record out yet, well

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maybe that show, that Austin City
Limits show will kind of put them over

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the finish line, so to speak, so they can move on to the

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next step. But it did for
my career because here's the thing. When

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when I want an orgaon our first
single came out, it coincided with the

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release of our acl segment and this
you know that record. It was a

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it was a shuffle on country radio
in nineteen eighty eight, and yet we

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were we were on Austin City Limits. Here was this band. Nobody knew

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who the hell we were. And
I think that was one of the main

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we know from radio, that was
one of the main reasons why our debut

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single went top forty was you know, who the hell are these guys?

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I don't know, but they're on
Austin City Limits. You know, I

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hear from so many people to this
day, to Marcia Marshall Ball, I'll

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love it. Will tell me that
they still have people come up with them

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after their shows, saying that the
first time they saw them was on Austin

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City limits and no matter how many
years it's been. And that's the thing,

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you know, people tune in to
watch our show to discover somebody or

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something or some kind of music that
they've never heard of or not familiar with.

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People will tell me, you know, I don't usually like country music

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or whatever filled in the blank.
But I saw somebody on Austin City limits

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and they were good, you know, because they were on Austin City limits,

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so they must be good. Right. First of all, I sat

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the bar pretty high. Well,
well it's it's a good programming, which

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a lot of radio stations don't seem
to have these days. But you know,

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the first time I saw law love
it, he was a background singer

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for somebody on Nancy Nancy Griffin,
that's who was. Yeah, they were

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friends and Nancy invited him to come
up and saying really just on one song,

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I think, yeah. And there
was a girl that sang with him.

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Her name escapes me now, but
she was in a class with me

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at ut and I thought, well, there's somebody and I see twice a

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week in classies. She's up there
singing, you're right. He was a

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Nancy Grip of the show. She
was singing with Lyle Well a lot,

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you know, And I just it's
not just the Wagon Ears taping. Like

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in ninety four, I put out
a little old indie record on a tiny

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label out of Austin called Watermelon Records. Okay, and once again contemporaneous to

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nineteen ninety four, acts on indie
labels did not go on national television.

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They did later because people like Terry
Lacona had the vision to go. You

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know, there's some cool things going
on indie labels. And this little old

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record I put out, and I
know Terry personally, so he knows my

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career taking a couple of pretty good
kicks in the nuts, you know,

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so thank you. So this record
came out, got phenomenal press, and

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Terry invited me to do a segment. And this is not another guy from

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the Wagon Ears. There's there's no
name to build on. Nobody knew who

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this is, just you by yourself, just with the band. But nobody

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knew Monty Warden, and he had
me on. And I will tell you

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this, once again contemporaneous to that, Watermelon's Best selling record before my ACL

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slot was sold twenty five thousand records. That don wallser record, my ACL

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record before my Watermelon record, before
I did a CL had sold about fifteen

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thousand records, and we thought after
our slot that it had sold about it

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maybe none of ten thousand records.
Well, when Watermelon went into bankruptcy,

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you know, twenty years later,
fifteen years later, that record sold one

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hundred and five thousand records. Oh
god, wow, I thanks to Terry.

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That was thanks to Terry. Oh
try. From my perspective, sometimes

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we just lose track of what we're
doing in the impact that it actually has.

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I mean, I could name any
number of artists and anecdotes, but

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when comes to mind, and that
was when Alan Jackson. Of course,

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now he's a country music superstar,
but the first time you did our show

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way back, Gwen, you know, he came up to me and he

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said, the reason I decided to
be a country singers because I saw George

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Jones and Ray Price and Willie Nelson
on Austin City Limits. Because he was

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a country boy living in rural Georgia
and the only TV stations that could pick

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up are a couple of the networks
and BBS and so I mean that hit

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me like you mean you were inspired
to want to pursue music because of some

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little TV and now he's in the
country. That's exactly right. And that's

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also speaks to how long we've been
doing this. Amen, you know what

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really speaks how long we've been doing
this. So, of course everybody knows

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Willie just recently celebrated his ninetieth birthday
and I was looking back. In fact,

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on his ninetieth birthday, we posted
the original pilot show that Willy did

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back in nineteen seventy four. He
was thirty nine years old the first time

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he did Austin City Limits, our
original pilot show. And so here he

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is. He's still at it and
so are we. Now, how did

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you get involved with Austin City Limits
because you're not a native Austin And no,

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I am not. I am a
to Pokeepsie eight. I'm from Pokeepsie

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in New York. Originally I moved
down to Austin basically got a wild hair

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when I was out of college.
Friend of mine and I came down to

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Willie's fourth of July Picknick in nineteen
seventy four, came to Austin afterwards,

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and we both decided to move here. My friend and his band and wife

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and me just decided to command down
here. And I was a radio DG

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at the time in Pokeepsie and decided
that Austin might be a better place to

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do what I do and also to
get away from the cold winners up there.

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So I just moved down here on
a whim after looking around. In

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fact, I applied for jobs at
every radio station in Austin, including KAVED

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and kle BJ, and you named
the station, and I applied there.

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Finally guy to get KUT, which
was in the same building as the PBS

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station, and I literally moved to
Austin three weeks after they taked the The

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Willie Pilot Show. Most people think
I most have started Austin City limits just

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because I've been around so long,
but nope. But I got to know

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the producers of the TV show and
I sort of volunteer just to kind of

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learn the ropes and help them out
in any way that I could. And

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then a funny thing happened, like
literally a year or two later, they

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all left the people that started the
show, the executive producer, producer,

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director. They were older, had
families. Nobody thought the show was going

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to last more than a couple of
years, and they were worried about job

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security, so they kind of moved
on. And I looked around and realized

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there's nobody left minding the story here. I walked into the manager's office and

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I literally, I've always been pretty
good with the BS. Talked my way

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into the job. I talked my
way into the job as producer when I

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didn't have any experience, didn't go
to RTF school, and they gave me

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a shot at it. And you
know, after we had our tenth anniversary,

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we looked at each other and thought, this seeing my last for a

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while. You know, maybe there's
more too than we thought. Right place

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at the right time, weren't.
It really had to do with that,

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and like I said, having a
little bit of pluck and being willing to

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kind of put myself out there and
have the you know, hootspat to give

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it, give it a try.
Oh many. But that's not just to

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be dismissed, because that's that's so
much a just show biz. I just

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go, you know, do you
know how to do this? You know?

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My all manager Card and Major said
always take the job and then later

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on figure out while the other kids
you my success and our success, I

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would say, is and I guess
this is a talent that I have,

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and that's hiring the right people,
the best people I have hired, the

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people who do best at what they
do, whether it's David Hoffert audio director

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since that original Willie Show, or
our lighting director, Gary Manati, our

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tv DRIC camera director, and a
whole list of other people on my crew

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who've been there as long as I
have, if not longer, who really

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make this show what it is today. How much prep goes into an episode

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now, I mean it is still
in the entire week time to spend years

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trying to book somebody to come to
do the show. But once we've got

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a show booked, then we begin
the production advance. You know the usual

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details of logistics, hotels, finding
out what their production needs are, if

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they need any any backline or specialized
audio like monitor consoles, so forth.

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And the day of the show is
pretty cut and dry. We've got that

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down to a you know, a
pretty good system where they low it in,

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set up, sound checked, or
our camera rehearsal in the afternoon,

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take a break, set the Lights
do the show. That's when we let

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the people in, and then I'd
do my little interview after the show,

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which now that just started to becoming
like one of my favorite things to do.

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And I man, I wish we
had started doing that back in the

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day, as opposed to I think
it was only maybe twenty five years ago

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I started doing these sit down interviews
with the artists right after the show when

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they come off the stage and they're
really excited and chatty. Otherwise. Yeah,

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I wish I could have talked to
Ray Charles and BB King and Roy

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Orbison and some of the others back
when. I remember the old days,

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you'd have to stop the show to
change the tape. Remember that. Yeah,

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we don't have to change the tape
anyway, it's all And I was.

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I was at a taping Nitty Greedy
dirt band. You guys had to

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stop the show because bats were dive
bombing the stage. They used to be

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able to get into the AC ducks
up on the rooftop of the building on

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ut campus. Oh well, yes, you know. There are stories,

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and I love to tell them.
Someday I'll write a book about them.

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I wish one night the lights went
out when Chris Chris Opperson was doing a

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show. This was in our eighth
season. I was on stage about to

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say, ladies and gentlemen, please
welcome, and it just got as pitch

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dark in that studio as if you
were in one of those caves when they

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turned the lights out. Yeah,
and we thought, well, I would

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just sit tied. The lights will
be back on any second, I'm sure.

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Well, he didn't come back on
until the next day. The whole

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ut campus apparently was blacked out,
so we had to lead people down the

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stairs by flashlight. That's when we
also discovered we didn't have an emergency lighting

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system in the studio. But a
great way to discover that. Well,

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but I was here for a power
outage too, so power outages were pretty

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common at that old place. This
shoe Yeah, yeah, yeah, I

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guess we were overloading the system.
Then there was the time why Nona did

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the show and she was a little
nervous, shall we say, about doing

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TV and she did every song twice
for her shot. I was at TA

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Yeah where you at that taping?
Yeah, Well that's why it was like

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a two and a half hour show
instead of the one hour show that we

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had kind of planned for, but
she was real happy when all was said

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and done, but she just wanted
to make sure. And again that speaks

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to how important the show is to
the artist. They want to make sure

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it's going to be the best of
who they are. Well, you know,

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I know it's so funny would say
that because somebody that was a real

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good early you know, proponent or
you know, influence mentor was Emmy Lou

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Emmy Emmy Lou Harris. And when
we were talking about recording our acl shot,

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you know, I was up in
Nashville, was she and her husband

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at the time, Paul Kennerley,
And she said, she said, don't

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repeat a song. She said,
it's a gig. She said, you

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don't want to lose the audience.
She said, unless you blow your single,

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do not repeat a song and just
do the next song. And absolutely

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00:17:03.519 --> 00:17:07.839
the right advice. She said,
ed go second because there's free beer.

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So you went the second slot and
everybody's drunk. That's right. You guys

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would do double taping the and that
was really for the second of the budget,

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by more than anything else. But
we don't do that anymore because that's

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a lot of work to do two
shows and one night, and sometimes would

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be midnight and people would start trickling
out or had too many beers. Yeah,

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I went to a great double taping
in the old studio. It was

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I was hanging out with Rodney Kraw. Rodney taped his segment walking down the

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hall. Keith Urban is next.
Nobody knew who Keith Urban was. Again,

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00:17:37.319 --> 00:17:41.079
that's your missionary pot and Rodney's telling
Keith, hey, I've just written

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00:17:41.119 --> 00:17:42.039
a song. You've got to hear
it, man. I want to give

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it to you after the show.
And I always wondered what song was that

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that Rodney was talking. Don't know
what it was, but I can say

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as a writer, it was probably
his most recent song, you know whatever,

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00:17:52.960 --> 00:17:56.720
it's the greatest thing in the world. I think it's a song that

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that that Keith eventually sang it Aston
Nicole, That's that's in back of my

285
00:18:00.759 --> 00:18:03.240
mind, That's what I want to
say it was. But it was just,

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I mean, just one of those
magic moments, you know, backstage

287
00:18:06.960 --> 00:18:11.079
with Trisha Yearwood when nobody knew Trisha
Yearwood was. And thank goodness, we

288
00:18:11.160 --> 00:18:14.240
have all these photos and everything in
this but that was just a cool studio,

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00:18:14.480 --> 00:18:18.000
a cool deal. The coolest taping
that Iver went to. Like I

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00:18:18.039 --> 00:18:22.759
said, I mean close to three
intertapings Garth Brooks. The first half was

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00:18:23.119 --> 00:18:27.960
Garth okay, the second half was
his character, Chris Gaines. The only

292
00:18:29.000 --> 00:18:33.000
thing that changed was the band.
Garthon changed his clothes. He was wearing

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00:18:33.039 --> 00:18:37.720
cowboy gear and that was a great
Now who owns the rights to the ACO

294
00:18:37.799 --> 00:18:42.480
tapings? They are owned controlled by
the PBS station here in Austin, Kale,

295
00:18:42.519 --> 00:18:47.279
Are you okay? They go by
Austin PBS now, But yeah,

296
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they owned the rights to all of
the shows. And as you may have

297
00:18:51.400 --> 00:18:52.920
noticed, over the ears, we
have been able to release some of the

298
00:18:53.039 --> 00:18:57.200
older episodes, like deal with the
West Records. If you're flying on American

299
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Airlines, don't be surprised if you
see in Austin City Limits on their in

300
00:19:00.799 --> 00:19:06.599
flight entertainment system. But we make
separate deals, whether it's with the artists

301
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and the record company or American Airlines. And one of these days, my

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00:19:11.480 --> 00:19:15.440
dream, now that we're approaching our
fiftieth anniversary, and that's a whole other

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00:19:15.480 --> 00:19:21.160
subject, is that we can make
the entire archive library of Austin City Limits

304
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available anybody who wants to go either
on their phone or computer, and you

305
00:19:25.480 --> 00:19:29.039
know whether it's a whole show or
just a song from somebody's show, and

306
00:19:29.559 --> 00:19:33.279
whether there's some system for preparing for
that so that the artists can share in

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the royalties. It's a massive project
that you can imagine with so many years

308
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now, so many these shows.
But that's what people keep asking about.

309
00:19:41.480 --> 00:19:44.240
You know, how can I go
back and look at that old Whalen Jennings

310
00:19:44.440 --> 00:19:47.759
show the first time he did the
show, or George Shones or Roy Orbison

311
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or whoever fell in the blank?
Oh, you know, and I know,

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like like on my solo shot in
ninety four on the record I did

313
00:19:55.559 --> 00:19:59.039
a do it. It was wild
because Moss Player and will produce a record

314
00:19:59.519 --> 00:20:03.359
in Bruce Robinson and I wrote the
song and Kelly Willis is my duet partner.

315
00:20:03.400 --> 00:20:07.640
So there's Kelly with her first husband
and second husband and song with me.

316
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But the reason why I bring that
up is the record versions great,

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00:20:11.480 --> 00:20:15.759
it's really good, and people really
dug it. The ACL live version is

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00:20:15.799 --> 00:20:19.480
better than the recording. Really.
Yeah, there's just some magic whoe.

319
00:20:19.640 --> 00:20:23.480
Kelly and I were both excited to
be doing ACL and proud of each other,

320
00:20:23.880 --> 00:20:27.880
and there's just whatever that is,
but there's always magic in that studio.

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That's studio every time, you know, I mean acoustically the studio.

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00:20:32.920 --> 00:20:33.960
I mean, to look at it, you wouldn't know it. But there

323
00:20:34.079 --> 00:20:37.400
was something always happening in that studio, which translated it was a great TV,

324
00:20:37.559 --> 00:20:40.880
it was great audio. It's just
a great performance. One of my

325
00:20:40.920 --> 00:20:47.920
favorite things I ever saw was Terry
and Jeff produced a Buddy Holly tribute and

326
00:20:48.200 --> 00:20:52.160
Christofferson wasn't the host, and Brian
sets was on it, and Carl Perkins

327
00:20:52.240 --> 00:20:56.559
was on it, and Sweethearts of
the Rodeo and in the Crickets and Duyne

328
00:20:56.640 --> 00:21:02.160
Eddie and this this was eighty seven, so the Wagoneers hadn't even recorded our

329
00:21:02.160 --> 00:21:04.599
segment there. But Buddy's brother Larry
was there, Marie, Lanna Holly was

330
00:21:04.640 --> 00:21:07.400
people that were that were doug what
we were doing. And because it was

331
00:21:07.480 --> 00:21:14.119
eighty seven, all these pickers had
guitar pedals and effects in their amps,

332
00:21:14.160 --> 00:21:18.400
and all the bells and whistles and
and all this, and so these guys,

333
00:21:18.640 --> 00:21:21.039
you know, Brian Setzer comes and
he plugs in, He's got all

334
00:21:21.119 --> 00:21:23.599
his pedals, and even Carl Perkins
just got a mess of gear and magic

335
00:21:23.640 --> 00:21:27.519
tricks and everything, and then Duane
Eddy has his cord in his hand,

336
00:21:29.039 --> 00:21:33.359
he plugs right into a Fender Twin. No affection enough and his guitar sounded

337
00:21:33.400 --> 00:21:37.319
better than anybody. I will never
forget so cool. That was a great

338
00:21:37.359 --> 00:21:41.680
show. Some of the most special
things we've done have been nights like that,

339
00:21:41.759 --> 00:21:47.000
the Tribute to Buddy Holly, the
Tribute to Towns Fans, and yes

340
00:21:47.160 --> 00:21:49.240
they attributed to Steve your A and
just the two shows that Steve your A

341
00:21:49.440 --> 00:21:52.640
did you know at the beginning of
his career and then literally just a few

342
00:21:52.680 --> 00:21:56.319
months before he died in that helicopter
accident. You know, people ask me

343
00:21:56.480 --> 00:22:00.559
all the time, Terry, what's
your favorite show of all time? I

344
00:22:00.559 --> 00:22:03.920
wouldn't ask you no, it's well, there is no good answer to that,

345
00:22:03.039 --> 00:22:06.359
because every show is specially in his
own way, and there's so many

346
00:22:06.720 --> 00:22:10.559
great shows over the years. But
I got to pick the Stevie Ray shows,

347
00:22:10.640 --> 00:22:14.279
the two of them that he did, because he was so amazing to

348
00:22:14.359 --> 00:22:18.960
begin with, and the show's book
ended his his very sharp career and it

349
00:22:18.039 --> 00:22:22.359
showed how much he had grown as
as an artist. And then just the

350
00:22:22.440 --> 00:22:25.960
fact that he died and we lost
him so so young in his career,

351
00:22:26.039 --> 00:22:27.839
when he was at his prime.
So yeah, I always point to that

352
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as probably a good example of what
Austin City Limits is all about, and

353
00:22:30.920 --> 00:22:36.440
a show that has also inspired so
many other people, including like Eric Clapton

354
00:22:36.880 --> 00:22:41.279
the first time he heard about Stevie
Ray and I love the Stevies. Last

355
00:22:41.359 --> 00:22:45.720
segment he'd been he'd been clean and
sober by that point two and a half

356
00:22:45.839 --> 00:22:49.079
years, I think maybe three.
And the difference for him just as a

357
00:22:49.279 --> 00:22:53.599
human, I mean, the smile
on his face is just from is standing

358
00:22:53.640 --> 00:22:56.400
in the sunlight of the spirit,
you know. And and the first one

359
00:22:56.680 --> 00:23:00.119
musically is so great, but he
he just seemed a little rough on the

360
00:23:00.240 --> 00:23:06.400
edges in the last segment. Every
song is just a testament to the joy

361
00:23:06.559 --> 00:23:11.039
music. It's so beautifully casts.
Just hearing you talk about him on it

362
00:23:11.079 --> 00:23:14.279
makes me emotional still just thinking back, even though it's about a long long

363
00:23:14.400 --> 00:23:17.400
time since that night, I want
to go back and watch it again.

364
00:23:17.880 --> 00:23:21.079
Now. One thing that did change, which was funded to watch it change,

365
00:23:21.200 --> 00:23:25.480
was a skyline behind the stage.
Yeah, especially when Austin is going

366
00:23:25.519 --> 00:23:26.920
through the booms. I mean,
you know, but a lot of people

367
00:23:27.039 --> 00:23:30.319
probably coup. They always thought that
that was taped outside well, you know,

368
00:23:30.559 --> 00:23:34.119
for whatever reason, especially in the
old studio back up on the Ute

369
00:23:34.119 --> 00:23:38.359
campus. For real, people thought
that it was outside in the park somewhere

370
00:23:38.480 --> 00:23:42.880
on a hill overlooking downtown Austin,
where magically it never rained, the wind

371
00:23:44.079 --> 00:23:48.240
never blew sound rasually a bat would
come by, but other than that,

372
00:23:48.359 --> 00:23:52.880
it was like perfect. And then
finally, once we did move to our

373
00:23:53.039 --> 00:23:56.960
new home, the bigger theater downtown
at the Moody, it was a little

374
00:23:57.039 --> 00:24:03.000
more obvious with any more people in
the room. And frankly, when high

375
00:24:03.079 --> 00:24:07.359
definition TV came along, you know, it was kind of how hard to

376
00:24:07.480 --> 00:24:11.279
kind of pretend like that was the
real skyline, not to mention the skyline

377
00:24:11.359 --> 00:24:14.079
keeps changing, probably from last week, right, you know. I mean,

378
00:24:14.200 --> 00:24:17.680
so we kind of gave up on
this idea of updating the skyline and

379
00:24:17.759 --> 00:24:21.680
adding every new building that went up
because it was a never ending Now we

380
00:24:21.839 --> 00:24:23.880
passed. We heard a rumor this, mate, Yeah, I just wanted

381
00:24:23.880 --> 00:24:27.720
to spell this right now. Supposedly, when Reba taped an episode of ACL

382
00:24:27.799 --> 00:24:30.720
that she had the UT tower covered
up. There's no, that's just a

383
00:24:30.839 --> 00:24:34.559
nasty rumor that somebody started right,
You never had an artist at demand that

384
00:24:34.680 --> 00:24:38.240
part of the skyline was covered up
or anything. To set the record straight,

385
00:24:38.279 --> 00:24:41.319
Wait a minute, it did happen. However, it did happen.

386
00:24:41.759 --> 00:24:42.920
It did, in fact happen,
and if you were to go back and

387
00:24:42.960 --> 00:24:47.359
look at that show, you would
see that happened. And it was her

388
00:24:47.599 --> 00:24:51.000
manager at the time, who shall
remain nameless and whose name I forgot anyway,

389
00:24:51.119 --> 00:24:53.519
he didn't last very long with her. But yeah, when I finally

390
00:24:53.960 --> 00:24:56.759
and I tried for a long time, she was at the you know,

391
00:24:56.920 --> 00:25:00.640
top of her game at that point
the book Reba McIntyre come and do Austin

392
00:25:00.640 --> 00:25:04.720
City Limits. Her manager said,
only on the condition that you turn off

393
00:25:04.839 --> 00:25:10.640
that what is that capital and that
tall skinny building, because we don't want

394
00:25:10.680 --> 00:25:12.160
it to look like a local TV
show. Rebase. You know, she's

395
00:25:12.200 --> 00:25:18.200
a big star, and you know, we didn't much take to that idea.

396
00:25:18.240 --> 00:25:22.359
In fact, I won't repeat what
we said, but we decided,

397
00:25:22.519 --> 00:25:23.839
you know, when all was said
and done, we just really wanted to

398
00:25:23.880 --> 00:25:26.519
get Reba down down there on that
stage and to do a show. So

399
00:25:26.599 --> 00:25:30.160
I thought it was just a rumor. We turned off the Capital and the

400
00:25:30.359 --> 00:25:33.759
ut Tower lights and we did the
show. I really doubted knew a thing

401
00:25:33.799 --> 00:25:37.440
about it. Actually, I know
she didn't even realize what was going on.

402
00:25:37.839 --> 00:25:41.880
She was more focused on doing her
show and facing the audience. But

403
00:25:41.079 --> 00:25:45.319
afterwards people would come up to her, you know, and so how come

404
00:25:45.440 --> 00:25:49.359
we heard or well we saw your
show? Where was the Austin Skyline?

405
00:25:49.599 --> 00:25:53.000
And it was all news to her. She had no idea. Her manager

406
00:25:53.119 --> 00:25:56.920
had been so presumptuous to say that, you know, well I wasn't at

407
00:25:56.960 --> 00:26:03.160
that taping. So that's why I
always that's the first hand only time,

408
00:26:03.200 --> 00:26:07.440
and I don't think we'd ever go
for that idea again. Come up right,

409
00:26:07.480 --> 00:26:10.319
You wouldn't have to because now it's
acl I know it's there. Don't

410
00:26:10.359 --> 00:26:15.200
do it if you're just kinda look
at it every channel on your on your

411
00:26:15.240 --> 00:26:18.839
five hundred and thirty channels, um, and you came up on Austin City

412
00:26:18.920 --> 00:26:21.960
limits, you know instantly what it
is because once you see that Austin Skyline

413
00:26:22.000 --> 00:26:26.960
backdrop, you know that it's Austin
City limits. So there's no thought even

414
00:26:26.119 --> 00:26:30.359
changing that. At this point.
Were also as a picker. You know

415
00:26:30.480 --> 00:26:33.920
what is when when you do first
of all, when you do television,

416
00:26:33.200 --> 00:26:40.759
you're always doing you're always performing music
in a television studio and it's designed to

417
00:26:40.880 --> 00:26:44.640
be a TV studio, or you're
lip syncing, which there is no such

418
00:26:44.759 --> 00:26:48.119
thing, is naturally lip syncing anything, you know, It's like, well,

419
00:26:48.240 --> 00:26:49.599
what do you mean? You you're
singing and you wrote the song and

420
00:26:49.640 --> 00:26:53.640
you're playing it. It doesn't matter. And because lip syncing is just weird,

421
00:26:53.880 --> 00:26:57.799
you know. Like I remember the
week before I shot my first music

422
00:26:57.880 --> 00:27:00.960
video, my manager said, go
home and practice lip syncing. Now,

423
00:27:02.039 --> 00:27:03.799
when the hell is she talking?
They know it, I wrote it.

424
00:27:03.920 --> 00:27:06.519
And then you go to the set
and you go on, I don't know

425
00:27:06.559 --> 00:27:10.839
how to lip sync, you know. But the thing about ACL is the

426
00:27:11.200 --> 00:27:15.960
studio is designed for music. Yeah, so not only do you feel like

427
00:27:17.000 --> 00:27:18.359
you're at a gig, you feel
like you're at a great gig, and

428
00:27:18.480 --> 00:27:23.920
your monitors are dream like and the
gears fantastic, and it is the only

429
00:27:25.079 --> 00:27:27.880
I've been blessed to record TV shows
all over the world. It is the

430
00:27:29.119 --> 00:27:33.359
best sounding studio. Not because I'm
from here, I don't care. It's

431
00:27:33.400 --> 00:27:37.839
the best sounding studio. And you
talk to pickers all over the world their

432
00:27:37.000 --> 00:27:42.079
favorite television shot, And I'm talking
people that like we're on the Ed Sullivan

433
00:27:42.160 --> 00:27:48.000
Show and stuff, I mean older
cats. Every picker's favorite musical shot is

434
00:27:48.079 --> 00:27:51.680
a cl to a man, to
a chick. It doesn't matter man everybody,

435
00:27:52.000 --> 00:27:53.960
because they treat you great. They
treat you like an artist. They

436
00:27:55.039 --> 00:27:57.240
want you comfortable. They understand maybe
you're nervous, maybe you're not. It

437
00:27:57.279 --> 00:28:02.359
goes though, no, no,
back to me and the rest VAX team

438
00:28:02.440 --> 00:28:08.400
that try. It's hard to create
an environment that makes you feel so comfortable

439
00:28:08.720 --> 00:28:12.279
and relax when it comes to doing
TV. Most artists hate doing TV money.

440
00:28:12.319 --> 00:28:15.839
Like you say, any late night
TV, Saturday Night Live, any

441
00:28:15.920 --> 00:28:22.359
of those shows, the audience is
kind of somewhere off on the side and

442
00:28:22.720 --> 00:28:26.279
usually come out of your one song, one and done, and it's so

443
00:28:26.559 --> 00:28:30.519
unnatural that it's impossible to really be
relaxed and just just kind of be at

444
00:28:30.559 --> 00:28:33.720
your best. When they committed to
Austin City Limits, we make them feel

445
00:28:33.759 --> 00:28:37.960
like they're at home. You're just
going to get up there, do your

446
00:28:37.000 --> 00:28:40.599
show, do what you do every
other night. There's gonna be real fans

447
00:28:40.680 --> 00:28:42.759
out there, and if you need
to stop or do a song over do

448
00:28:42.920 --> 00:28:45.839
it. You know, we want
it to be as good as it can

449
00:28:45.880 --> 00:28:51.160
be. And with that kind of
reassurance once they got up on that stage,

450
00:28:51.200 --> 00:28:55.240
it brings out the best in them. And now that the show has

451
00:28:55.319 --> 00:28:59.480
such a legacy behind it, they
want it to be a show. This

452
00:29:00.200 --> 00:29:02.960
is going to be entertainment for one
for one night, but to live on

453
00:29:03.119 --> 00:29:06.559
for posterity, because that's really what
it's become in four decades. I mean,

454
00:29:06.640 --> 00:29:08.960
just you know, six months ago, seven months ago, I've got

455
00:29:10.039 --> 00:29:14.200
an email out of the blue from
a journalist that I have extraordinarily great respect

456
00:29:14.319 --> 00:29:18.079
for, and she was saying,
I just I just contacted via email.

457
00:29:18.160 --> 00:29:22.519
She goes, I just emailed my
husband said, look who just reached out

458
00:29:22.519 --> 00:29:26.119
to me? And he discovered my
music through my solo shot in the mid

459
00:29:26.279 --> 00:29:30.440
nineties. He was in a little
town in Oregon. They got one channel

460
00:29:30.880 --> 00:29:33.680
and it would just happen to be
in the PVS channel and he knew my

461
00:29:33.839 --> 00:29:37.000
music from there. Otherwise he never
would have heard of me. That's another

462
00:29:37.039 --> 00:29:41.960
reason. If we could get our
entire library archive up online, people,

463
00:29:41.000 --> 00:29:45.599
I guarantee people would go back and
go scrolling through the years and see I

464
00:29:45.720 --> 00:29:49.720
might have heard of him or heard
them, or who is that, and

465
00:29:49.839 --> 00:29:52.119
then check it out and all of
a sudden, you've got a new fan.

466
00:29:52.240 --> 00:29:56.200
Amen from a show that she might
have done thirty five years ago.

467
00:29:56.759 --> 00:30:00.799
Tales from the Broken Spoke is recorded
live at the Broken Folk in Austin,

468
00:30:00.920 --> 00:30:06.400
Texas, hosted by Country Radio Hall
of Fame broadcaster Bob Pickett and Monty Warden,

469
00:30:06.759 --> 00:30:08.400
recorded mixed down and produced by Mike
Rivera