ACL Hall of Fame 2018 taping an emotional, exciting evening

Marcia Ball and Irma Thomas, HOF 2018; photo by Gary Miller

It goes without saying that an ACL Hall of Fame taping is something special. The combination of ACL greats being saluted by their peers and fans always makes for an emotional, exciting evening. For the HOF’s fifth anniversary, we were privileged to honor Austin blues icon Marcia Ball, East L.A. rock pioneers Los Lobos and the late American music giant Ray Charles. With an all-star roster of talent to celebrate these tremendous artists’ work, it’s no wonder the Hall of Fame is something we look forward to every year.

Following a delightful set of tunes from Austin’s own Mariachi Los Toros and remarks from KLRU-TV CEO Bill Stotesbery and ACL executive producer Terry Lickona, host Chris Isaak took the stage to introduce the first honoree: singing/songwriting/piano-pounding ATX veteran Marcia Ball. Inducted by her longtime friend and collaborator Irma Thomas, the Soul Queen of New Orleans, Ball gave a lovely speech that paid tribute to her inspirations (including Thomas), her family and band, and music charities HAAM, HOME and SIMS. She took her seat behind the piano and introduced Thomas and singer Tracy Nelson. Together the trio reprised their 1998 appearance on ACL with the joyful “Sing It,” the title track from their Grammy-nominated collaboration of the same name. The threesome went back to the blues for the shuffling “I Want to Do Everything For You,” from the same record. Ball then brought up her old friend and Austin treasure Lou Ann Barton, along with next-generation blues singers Shelley King and Carolyn Wonderland. Together the sextet paid tribute to Dreams Come True, the 1990 album Ball and Barton made with the sadly absent Angela Strehli, rolling through Ike Turner’s classic “Fool in Love.” Ball, King, Wonderland, Nelson and Thomas closed out the segment with the funky, uplifting “Shine Bright,” the title tune to Ball’s latest record, and proof that she’s as vital an artist now as she’s ever been.

Gary Clark Jr., Shelley King, Carolyn Wonderland and Ruthie Foster pay tribute to Ray Charles at HOF 2018; photo by Gary Miller

One quick set change later, Chris Isaak returned to introduce the next inductee, “one of the most important music artists in American music history,” the late, great Ray Charles. The genre-defiant musical giant nicknamed the Genius was inducted by Concord Records president John Burk, who produced Charles’ final album Genius Loves Company and told the story of proposing that album to Charles in his office. Valerie Ervin, president of the Ray Charles Foundation, accepted the award as the house band and Norah Jones took the stage. Joined by former Ray Charles Orchestra keyboardist and musical director Dr. James Polk, the ivories-tickling singer opened with the quietly dramatic ballad “Seven Spanish Angels,” originally recorded in 1984 as a duet between Charles and Willie Nelson. Jones then reached back three decades to the mid-fifties for the blues ballad “What Would I Do Without You,” one of her favorite Charles tunes. Host Isaak came on to gracefully sing one of Charles’ iconic recordings: Don Gibson’s classic country tune “I Can’t Stop Loving You.”

Two of Austin’s own rounded out the tribute. Equally genre-agnostic singer and songwriter Ruthie Foster put her remarkable voice to the service of “Georgia On My Mind,” Hoagy Carmichael’s immortal standard that will forever be associated with Charles – though Foster’s gospel-influenced reading gave the master a run for his money. Foster remained onstage, joined by Carolyn Wonderland and Shelley King, to back up blues rock star Gary Clark Jr., eschewing his trademark guitar slinging for a swaggering take on the sizzling “(Night Time is) the Right Time.” Isaak returned to praise house band director Lloyd Maines, who introduced the ACL All-Stars: guitarist David Grissom, organist Red Young, hornmen John Mills, Jon Blondell, Eric Burnheart and Adrian Ruiz, bassist Bill Whitbeck and drummer Tom Van Schaik.

Following an intermission, Isaak returned to introduce the night’s final honoree: one of America’s greatest, most versatile rock & roll bands, Los Lobos. Austin filmmaker Robert Rodriguez inducted the band, telling the story of how they scored his movie Desperado. Accepting the award, David Hidalgo talked about how the Austin musical royalty of the early eighties welcomed them to town. Then it was time for Los Lobos to do what it does best, as they picked up their instruments and launched right into “Will the Wolf Survive,” the song that took the rock underground by storm in 1984. Steel guitar master Robert Randolph then came on stage for “Don’t Worry Baby,” the blazing blues rocker that opens Lobos’ first album and a standard of their shows since. The band donned acoustic instruments for one of their catalog highlights – the title track of La Pistola y El Corazón, the group’s tribute to its Mexican-American roots. Then came what may have been a surprise to Los Lobos’ fanbase, as singer/songwriter Boz Scaggs arrived to join the band to add vocals and guitar to “Hearts of Stone,” a groovy, soulful Lobos classic.

Los Lobos, Boz Scaggs, Robert Rodriguez close HOF 2018 with “La Bamba”; photo by Gary Miller

Of course, Los Lobos couldn’t leave the stage without playing their biggest hit. But they didn’t do it alone, inviting all the night’s performers, plus Rodriguez and guitarist Adrian Quesada, up for a rousing “La Bamba,” with a big rock ending and plenty of streamers. You couldn’t ask for a better ending than that, and we can’t wait for you to see it when the ACL Hall of Fame 2018 Special airs on New Year’s Eve on your local PBS station.

Arctic Monkeys chase superstardom on debut ACL taping

photo by Scott Newton

Arctic Monkeys are certified superstars in their home country. While the Sheffield UK band isn’t quite that big here, they’re no slouches, as their massive radio hit “Do I Wanna Know?” and their set at this year’s Austin City Limits Music Festival attest. If we were clairvoyant, we’d say American superstardom is just around the corner for the Monkeys. So we were excited to host them for the first time, especially in light of their acclaimed sixth album Tranquility Base Hotel + Casino.

Augmented by four auxiliary musicians, the quartet took the stage and went into “Four Out of Five,” from Casino. The harmony-heavy glam pop tune led into the familiar, riff-rocking pound of “Do I Wanna Know?,” a clear audience favorite. But the same could be said for “Crying Lightning,” a dramatic Humbug cut that earned cheers as soon as the first notes rang out. Leader Alex Turner sat down at the piano for “505,” an intricate song from the band’s debut Favorite Worst Nightmare, which was immediately followed by a crunchy instrumental jam. That segued directly into the title track of Casino, which brought the sound back to “505.” Next up was “One Point Perspective,” a tune that blended elements of Paul McCartney, David Bowie and orchestral pop with the Monkeys’ own je ne sais quoi for a song that couldn’t be by anyone else. Turner moved to the organ for “American Sports,” driven by the leader’s rolling keyboard riff.

Turner abandoned instruments entirely for “Cornerstone,” reveling in the persona of a rock & roll crooner for the loquacious ballad. Acoustic guitar in hand, he led the band through the midtempo pop of “No. 1 Party Anthem,” a nod to the world-weary side of the British glam rock years. The Monkeys kept that vibe going for “Knee Socks,” a subtly funky rocker with just a hint of menace. Once again indulging his 70s Bowie jones, Turner took the mic and belted “The Ultracheese” as if it was the sequel to “Life On Mars.” Back at the piano, Turner took the Monkeys to the cabaret, giving the ballad its own Arctic twist. The band ended the set with the hard-rocking “R U Mine?,” a sort of aggressive sequel to “Do You Wanna Know?” It was the perfect blast to end the show, as the audience’s loud approval showed. It was a nicely rocking set, which we can’t wait for you to see when it airs early next year on your local PBS station.   

Janelle Monae brings 4-act masterpiece to ACL

photo by Scott Newton

If there’s proof you can be a superstar and a restless innovator, it resides in the art and life of Janelle Monáe. The Atlanta-based singer, songwriter, producer, actor and label owner was proclaimed a star right out of the box with her debut album The ArchAndroid, and her stock has done nothing but rise since. Following two renowned LPs and breakout roles in the Oscar-nominated Hidden Figures and Oscar-winning Moonlight, Monáe hit the music world like a freight train with the wildly lauded Dirty Computer, a major statement on community and inclusion and her most successful album yet. We were thrilled to host her acclaimed four-act masterpiece that is the Dirty Computer tour.

The band took the stage to the strains of “Also Sprach Zarathustra” before launching into the title track of Dirty Computer. The scene thus set, Monáe herself climbed the white pyramid at center stage for “Crazy, Classic, Life,” a song that lays out her philosophy and invites everyone to join in. Donning a guitar, she chunked out the chords to “Screwed,” a catchy funk/pop tune that conflates the act of sex with the exercise of power. Changing her costume onstage in front of a mirror held by a dancer (a nice homage to the futuristic funk of The Time), Monáe ascended the throne that appeared at the top of the pyramid for “Django Jane,” a fiercely rapped anthem of empowerment for weirdos everywhere. The lights went down for a minute as the four dancers changed costume; when illumination returned, it was to the tune of “Q.U.E.E.N.,” from her sophomore record The Electric Lady. That was followed by the title track from that LP, which became a call-and-response singalong with the electric ladies in the audience, who knew every word. After letting the crowd know that they were loved, Monáe eased into “Primetime,” a positive power ballad that guitarist Kellindo Parker morphed into the ending solo of key Monáe influence Prince’s “Purple Rain.”

After a break, bassist Téja Veal and keyboardist Krystal Johnson broke out the keytars and Monáe and her dancers came out for the catchy funk rock of “Pynk,” her infamous ode to human anatomy. While that song is as much about the color all people have in common inside as anything more lascivious, there was no mistaking the erotic vibe of “Yoga,” her 2015 single with rapper Jidenna. “We’re here to celebrate self love,” she declared, but before anyone could get the wrong idea, she followed that sentiment with “I Like That,” a song about self-acceptance that became another communion between performer and audience. The stage darkened once again, before everyone returned for a redo of “Pynk.” One more quick interlude later, and it was on to the awesomely hooky “Make Me Feel,” a sensual bit of stripped-down funk with nods to Michael Jackson (who inspired Monáe’s shadow dancing during the intro), Prince (who helped create sounds for the song before his untimely death) and James Brown (bits of whose “I Got the Feeling” made sporadic appearances). The funk kept roiling with “I Got the Juice,” yet another highlight from Dirty Computer that became a showcase not only for her dancers, but select members of the audience Monáe invited to show off their juice. The dancing kept going as the lights went down, the spotlight came up, and Monáe returned to redo her silhouette dance and the rest of “Make Me Feel.”  

Monáe and band returned to remind the audience that her work celebrates inclusion, empowerment and the fight for the rights of those unfairly pushed to the margins. “I come in peace,” she explained, “but I mean business.” To underscore the point, she ended the main set with an extended “Tightrope,” the rocking soul tune that was a highlight of her debut. But that was not, of course, the end. Egged on by enthusiastic applause, Monáe and the band returned for the rollicking “Come Alive (War of the Roses),” which blazed across the stage, heavy on audience participation, before the star danced her way through the crowd itself. It was an incredible end to a show like no other that’s ever graced the Austin City Limits stage, and we can’t wait for you to see it when it airs this season on your local PBS station.

Residente brings the music of the world to ACL

photo by Scott Newton

It’s not every day that an artist records an album inspired by a DNA test. But that’s just what Puerto Rican superstar Residente did. Energized by discovering that his genetics came from literally all over the world, the former Calle 13 co-founder traveled to France, China, Russia, Spain, England, Africa, the United States and more to record his smash self-titled LP. The erstwhile René Juan Pérez Joglar brought this incredible range of sounds to his debut ACL taping for a show that made the crowd dance and think at the same time.

Residente’s seven-piece band took the stage first with “Intro ADN/DNA,” mixing Latin, African and Arabic music with rock guitar and electronica to hint at the incredible range of the music to come. The man himself came out rocking with “Somos Anormales,” the explosive opening cut from his solo album. He then dipped into the Calle 13 catalog, adapting “Bailes De Los Pobres” and “El Aguante” to his current worldbeat-driven style – how many other rappers prominently feature instruments like oud and dumbek? “We like to include everyone, not exclude anyone,” Residente explained about going back and forth between English and Spanish – a philosophy that translates to his musical vision as well. Things slowed down for that rarest of things in hip-hop: a ballad. “Desencuentro” began with a jazzy piano solo courtesy keyboardist Leo Genovese (who previously visited the ACL stage with Esperanza Spalding), evolving into a duet between Residente and singer Kiani Medina and ending with a lighter-waving guitar solo from Elias Meister. Switching gears dramatically, Residente and band brought the rock side back to the fore for the angry “Calma Pueblo,” which the vocalist dedicated to “the motherfuckers of the music business.”  

Explaining the concept of his solo album, Residente introduced “Dagombas El Tamale,” a song based around the vocal and percussion styles of the African nation of Ghana. “Adentro,” a dis track aimed at gangsta rappers, followed, before the band went back to Africa for “La Sombra,” recorded with Nigerian guitarist Bombino and filled out by Meister and co-axeslinger Justin Purtill onstage. The rapper shouted out the resistance – but, pointedly, not the use of violence – for “Guerra,” a track that ended in an explosion from the guitarists, Genovese, percussionists Daniel Diaz and Brahim Fribgane and ex-Mars Volta/Suicidal Tendencies drummer Thomas Pridgen. “Latinoamérica,” a beautiful tribute to Residente’s region of the world, began with virtuoso acoustic guitar picking from Purtill before flowing into vocal trade-offs between the leader and Medina. The energy level shot back up for “Apocalíptico,” a dramatic track inspired by the Chinese landscape in which it was recorded.

As the song drifted into ambience, Residente quit the stage, but the break was brief. The rapper returned with the Calle 13 tune “La Vuelta Al Mundo,” an especially groovy number with lush synth work from Genovese. Fribgane kicked off  “El Futuro Es Nuestro” with an expert oud solo, introing recorded with Bosnian singer Goran Bregović, but blew the doors off in good hands here. After the world travels of the rest of the show, Residente brought it back to Latin America for “Atrévete-Te-Te,” Calle 13’s irresistibly danceable barnburner from its debut album. It was an incredible ending to an incredible show, the most internationally diverse since Manu Chao a decade ago. We can’t wait for you to see it when it airs early next year on your local PBS station.

Khalid brings youth and talent to ACL

photo by Scott Newton

We don’t usually think of El Paso as a hotbed of new music stars. But Khalid Robinson has kicked that notion into a corner. The twenty-year-old took the years he spent in high school in the Texan border town as inspiration for a series of hits and his double-platinum debut LP American Teen. A few sold-out tours and Grammy nominations later, including one for Best New Artist, Khalid brought his youthful outlook and abundant talent to the Austin City Limits stage for a buoyant debut taping.

With his backing trio in tow, Khalid took the stage to “8Teen,” an anthem that encouraged his peers to “do all the stupid s**t that young kids do.” Dancing across the stage, he turned his attention to young love for “Winter,” expressing his romantic confusion over a tight funk beat. Then it was time for the title track to his best selling album, on which he really opened up his vocal chords and showed off his golden pipes. He dialed back the energy for the moody “Coaster,” revving back up for the funkier “Therapy.” His knack for anthemic melody returned for “Another Sad Love Song,” the ascending melody of which belied its romantic melancholy. After that lighterwaver, he brought the mood down once again with the soulful ballad “Saved,” a song clearly beloved by the crowd. That was followed by a couple of verses of his equally sedate single “Eastside,” but that segued directly into the upbeat “Hopeless,” another study in contrast.

Bringing his stool back out, Khalid belted out “Shot Down” and “Angels,” a ballad he noted beforehand “was really special to me,” ending on his knees on the stage. That kept the audience primed for “Young, Dumb and Broke,” one of his smash hits, as the crowd provided the backup vocals and sang along. He then stepped outside the confines of his album for the hit singles “Silence,” which he originally recorded for producer Marshmello, and “Love Lies,” formerly a duet with Normandi. Dropping back into his album, the singer picked up the pace with “Let’s Go,” another song that became a call-and-response with the crowd. Thus pumped, the audience once again became part of the performance as Khalid launched into “Location,” his first major hit. He followed up with “Keep Me,” another anthemic pop tune that revved the audience up even further. Khalid and company ended the show with “OTW,” his catchy new single that suffered not a jot from the absence of recording partners 6lack and Ty Dolla Sign. It was a fine way to end a fine show, and you’ll see for yourselves when the show airs later this year on your local PBS station.  

Trombone Shorty & Orleans Avenue turn ACL into one big party

photo by Scott Newton

Whither goeth New Orleans, there goeth the party. And no one better represents New Orleans in the new millennium than Trombone Shorty. Along with his stalwart band Orleans Avenue, the singer/songwriter/horn blower channels his hometown’s legacy of soul, funk, jazz, rock and hip-hop into an irresistibly delicious stew. We drank deeply from that gumbo back in 2010, when Shorty first appeared on the show. For this taping, he brought us something special: the Voodoo Threauxdown, an expanded version of the New Orleans experience that raised having a good time to an art form.  

As some pre-taped brass played, Orleans Avenue took the stage and launched into “Buckjump” with their trademark blend of funky N.O. rhythms and rock power chords. Once the groove began cooking, Shorty himself joined in, adding his raucous namesake instrument to the riffs. After that high energy start, the only thing to do was keep it hot, and they did with the rocking “The Craziest Things.” “What’s up, ACL? We meet again!” proclaimed Shorty, leading into the greasy funk of Allen Toussaint’s “On the Way Down,” featuring Peter Murano’s electrifying guitar solo. The horsepower didn’t let up an iota for “Here Come the Girls,” which added some New Orleans Indian second line to the intro, rap on the bridge and call-and-response from the crowd for another inexorable good time. Shorty drove the song home with circular breathing and an almost impossibly sustained trumpet blast, before conducting the band in extended rhythmic improvisation. The crowd went wild like it was the closing number. But the show wasn’t even halfway done.

Most performers would take this time for a breather, maybe a ballad. Not Shorty – while “Long Weekend” had a more relaxed, almost disco groove, the energy was just as relentless as it had been thus far, spiced with some phrases from Dr. John’s “Going Back to New Orleans” and a speed-demon conga solo from percussionist Weedie Braimah. Then the guitars cranked and Shorty got down with the funky rocker “Where It At?” as the bandleader traded licks with guitarist Joshua Connelly. Follow-up “Lose My Mind” accurately described what the audience was doing by that point, especially when the song became a showcase for powerhouse vocalists Tracci Lee and Chrishira Perrier. The group finally laid back – well, almost – with the nearly mid-tempo “Something Beautiful,” allowing the audience to catch its collective breath.

And a good thing, too, as Shorty brought up one of his New Orleans mentors: ACL Hall of Famer Cyril Neville. The nattily-dressed Neville Brother reached back to the Nevilles’ predecessor, though, burning through the legendary Meters’ “No More Okey Doke” and “Fiyo On the Bayou,” a certified New Orleans classic that made every pair of hips in the room move. After a warm embrace that felt like a passing of the torch, Neville left the stage, followed quickly by Shorty and Orleans Avenue. But let’s face it: we all knew it wasn’t really over. Sure enough, the band came back and ripped into first album steamroller “Hurricane Season,” segueing seamlessly into the unconquerable funk of “Do To Me.” Just as a reminder of where this all came from, Shorty and sax players BK Jackson and Dan Oestreicher dropped into “When the Saints Go Marching In” in the brass band tradition, leading the crowd into a giant singalong. Once the tune circled back to “Do To Me,” Shorty joined the audience, turning the room into a massive jumpfest. One band intro and flourish later, the song – and show – was over, band and crowd finally satiated.

If the Neville Brothers were New Orleans’ greatest musical ambassadors in the twentieth century, that honor goes to Trombone Shorty & Orleans Avenue for the twenty-first. You’ll see why when this episode airs early next year on your local PBS station.

Buddy Guy gives ACL the blues

photo by Scott Newton

Austin City Limits has been privileged to host many music legends on our stage, and we were thrilled to welcome back another: blues titan Buddy Guy. The Chicago bluesman has headlined twice before, bringing his signature guitar style and bottomless catalog for a pair of landmark episodes. This evening Guy returned to one of his favorite cities to show off those strengths once again, including songs from his latest LP The Blues is Alive and Well with a taping we live streamed around the world.

Taking the stage in his trademark polkadots, signature drill-through-a-concrete-slab Strat tone and no setlist, Guy and his four-piece Damn Right Blues Band took the stage with the classic “Damn Right I’ve Got the Blues,” a statement of purpose if there ever was one. The 82-year-old then brought out “Hoochie Coochie Man,” from the repertoire of his old employer Muddy Waters, engaging in some playful call-and-response with both the audience and keyboardist Marty Sammon. He stayed with the Waters catalog by segueing into “She’s Nineteen Years Old,” adding a snippet of “Somebody Done Hoodooed the Hoodoo Man” at the end in tribute to his late partner Junior Wells. Clearly just warming up, Guy sampled his latest record with “Cognac,” a savage blues celebrating the titular beverage in lyric and the British blues rockers Guy inspired in music, calling out Keith Richards and Jeff Beck in particular. He revisited his Grammy-winning 2015 album Born to Play Guitar for the title track, before indulging in some more blues history with Sonny Boy Williamson’s “Nine Below Zero.”

That didn’t last long, however, as he jumped back into his own catalog for his modern blues classic “Somebody Else is Steppin’ Out (Slippin’ Out, Slippin’ In),” for which he took his traditional walk into the audience, mic and stinging guitar solos in hand. That would be a hard song for anyone to follow, but Guy knew what to do, going back to 1992 and the elegiac John Hiatt-penned title track to Feels Like Rain, joined by his 19-year-old six-string protegeé Quinn Sullivan. As with “Steppin’ Out,” Guy invited – nay, expected – the crowd to sing the chorus, even requesting the house lights come up so he could playfully keep the people in line. His mentor egging him on, Sullivan stayed onstage for covers of Cream’s “Strange Brew” and Jimi Hendrix’ “Voodoo Child (Slight Return),” the latter run straight into Cream’s “Sunshine of Your Love.” Guy then decided to survey the guitar players that influenced him, touching on B.B. King’s “Sweet Sixteen” and John Lee Hooker’s “Boom Boom,” thanking the audience and joining them to pass picks out while the Damn Right Blues Band vamped behind him. Guy retook the stage for a couple of verses of his own “Meet Me in Chicago,” before ceding it back to Sullivan and the band for a couple of instrumental choruses of “Black Magic Woman” – proof you never know what to expect with a veteran artist working without a net. But Buddy Guy has earned the right to follow his muse into whichever corner it wants to explore. We can’t wait for you to see this remarkable show when it airs early next year on your local PBS station.    

Alessia Cara shines on debut ACL performance

photo by Scott Newton

Canadian singer/songwriter Alessia Cara shot to fame while still a teenager, scoring smash hits with collaborations with producer Zedd and rapper Logic as well as on her own, earning a coveted Best New Artist Grammy win earlier this year. The 22-year-old hit our stage not only to perform her hits, but also to preview songs from her much anticipated second LP The Pains of Growing.

Cara’s three piece band and trio of backup singers took the stage first for a mix of pre-recorded ambience and band warm-ups, before a voice offstage said “ACL, what’s up?” Wearing a loose suit that would make David Byrne proud, the Brampton, Ontario native arrived onstage singing the devotional pop tune “I’m Yours.” A freestanding tom appeared onstage for her to pound along with the band, the tribal rumble leading into the anthemic “Wild Things.” A funkier beat backed her as she sang “Four Pink Walls,” a tune about overcoming self-doubt and fulfilling dreams. Donning an acoustic guitar, Cara essayed the dramatic mid-tempo “Overdose,” then switched to a Les Paul for the soulful “Outlaws.” Once again axe-less, she recruited the audience on call-and-response for the beat-heavy “Seventeen,” a request the crowd was happy to fulfill.

Cara shifted gears for “Best Part,” a folky love song written by a fellow Toronto artist named Daniel Caesar. Her band quit the stage as she strapped on a guitar for “A Little More,” a new single from her forthcoming record that she mentioned having played only three or four times before. The crowd loved it, but that was nothing compared to the reaction to the next number. Her smash from the hit Disney film Moana, “How Far I’ll Go,” had the audience singing along from the first note. She followed that with her breakthrough hit, “Here,” her very first single and a song for everyone who doesn’t need to be part of the in crowd to feel alive – with a special bonus extra verse for a version distinct from what we’ve heard on the radio. Then came “Growing Pains,” the introspective but upbeat first single from the upcoming second LP due out this fall.

Cara’s second-to-last song carried a message about loving oneself and rejecting society’s attempts to disrupt that. “You should know you’re beautiful just the way you are,” she asserted in the pop anthem “Scars to Your Beautiful,” a huge hit and a song that really resonates. Then it was on to the final song “Stay,” another massive hit she shared with producer Zedd which erupted into an instant crowd singalong. Smoke bombs and streamers brought the tune and show to a close. It was a great debut, and we can’t wait for you to see it when it airs this fall as part of our upcoming Season 44 on your local PBS station.