By Lee Zimmerman

R.A. Clark is remarkably calm for a man about to dive into preparations for one of network television's most spectacular music awards programs. At least that's the way he sounds while on the phone from Los Angeles. Nevertheless, he's only days away from boarding a plane to Nashville, where he'll meet with Music City's movers and shakers and begin discussions about the lineup for this year's 43rd Academy of Country Music Awards.

No matter that it's mid-January and the show is still four months away. Clark knows the importance of getting an early jump on the proceedings. It is, after all, wisdom garnered from experience; as executive producer of the Academy of Country Music Awards for the past four years — and senior vice president of production and programming of Dick Clark Productions, the company founded by his father, which oversees the show's production — he knows firsthand the planning that goes into this popular telecast.

In truth, Clark is one of several individuals who will help decide the lineup for this year's program. He'll compare notes with the seasoned members of the Academy's television committee and with Jack Sussman, CBS Entertainment's executive vice president for Specials, Music and Live Events, a man who's earned the producers praise for his musical savvy and consistent cooperation. Nevertheless, Clark is playing the role of advance man when it comes to sizing up performer prospects, and at the moment he has a heavy schedule ahead of him. His Nashville agenda is already packed with meetings with agents, publicists, managers and producers who will provide him input on talent availabilities, release schedules, and matters relevant to upcoming recordings and rankings on radio charts.

Narrowing the Choices

As the May airdate looms larger, the focus will fall on the acts that will likely be on the list of this year's nominees in one or more of the various categories voted on by the Academy membership. Some acts will have recordings that put them in contention. Others are simply superstars whose status makes them consistent contenders. With the advice and consent of the Academy, Clark will try to lock in 14 or 15 performers early on, a clear majority of the 18 to 20 acts that will eventually make the show's marquee. The few remaining slots will be filled closer to the airdate, allowing the producers flexibility in spotlighting talent that may have made a sudden splash, bringing something especially timely to the show.

"Our philosophy is that even if you know nothing about country music, you can turn on our show, and by the time it's over, you will have a good idea about the state of country music in 2008," says Barry Adelman, executive vice president of Dick Clark Productions and a longtime writer and producer for the particular program.

"This is a television show and there's the need to draw high ratings," says Bob Romeo, executive director for the Academy. "So we strive to bring in the biggest and brightest superstars. However, the network has also been very sympathetic to our desire to incorporate new talent into the show as well. It's a balance between the old and new, but it helps create those magical moments that make this show special."

Fanning Support

Romeo has also lobbied heavily for fan involvement. This is the first year that fans can vote for Entertainer of the Year and the fourth year they can vote for Video of the Year. "I think the industry sometimes loses perspective on how crucial the fans are in terms of our success," Romeo insists. "Without the fans, there would be no show, there would be no concert tickets, there would be no sales of CDs or DVDs. So that's why we try to embrace them and include them in the program." Of the 11,000 seats available at the show's venue, the MGM Grand in Las Vegas, 4,200 will be allocated to industry types, with the remaining tickets going to fans and radio station contest winners.

"We try to give the artists the sense that they're actually playing to their public," Romeo says. "I remember hearing an artist once say that they get nervous performing in front of their peers. So we got the idea to fill the area around the stage with fans. It makes a difference. When Montgomery Gentry first played the program they were a new act and the crowd gave them a standing ovation. And they saw that. They felt their presence and it put them at ease. And that in turn makes this a better live show."

The Producers' Pitch

Not surprisingly, the program's producers field numerous calls from managers, agents, publicists and record company executives all eager to get their charges on the program. That's where diplomacy becomes of prime importance. "It's their job to fight for their talent and convince us they're deserving," Adelman says. "We have an open-door policy because, after all, country music is a big family. I think we have a good batting average when it comes to picking those acts that are appropriate for the show."

"Honesty is the best policy," Romeo says. "I tend to wear rosecolored glasses. It may not be someone's time this year, but things do come full circle. Things could change next year and maybe then it will be their time. In this business, you never know."

By comparison, choosing the presenters for the various awards is a more subjective process, one that offers the opportunity to include stars outside the music industry. "We're pitched a lot of people," Clark says. "Many of them are nonperformers, representatives from film or sports, particularly NASCAR where there's a lot of country crossover. Jack Sussman gives us insights as to which CBS stars have musical inclinations, so that comes into consideration as well. And then there are those acts that fall outside the genre or who may be up-and-coming, and that makes them worthy of consideration as well."

"We go for viewer familiarity," Adelman adds. "We think about who the people watching the show would want to see. There may be film people who may have movies coming out around the same time that they're anxious to promote. Or there may be certain celebrities who are country music fans themselves. Vince Vaughn was a huge fan of Buck Owens and he used to go to his club in Bakersfield. When Buck died, Vince reached out to us and asked to be part of our salute. We also got a call from The Rock, because he grew up listening to country music."

Adelman also happens to be the executive responsible for scripting the show, a job for which he is well qualified. In addition to being a former speechwriter for Presidents Clinton, Bush and Reagan, he holds the unique distinction of having composed the eulogy read at Elvis Presley's funeral.

Memorable Moments

The payoff for all the preparation has been a series of great musical moments that resonate with the public and producers alike. Adelman mentions a couple he found especially affecting Tim McGraw's performance of "Live Like You're Dying" in touching tribute to his late father, Tug McGraw, and the time Kenny Chesney received the Entertainer of the Year Award and became so choked up he could barely offer his acceptance.

So too, even with all the months of preparation, a live telecast inevitably brings the possibility for inadvertent mishaps. One year, Brooks & Dunn's overhead inflatable stage prop sprang a leak and plummeted down during their performance. Another time, the battery pack in Keith Urban's guitar failed to function moments before he was set to walk out on stage. Reba McEntire tried stretching her introduction but eventually found herself struggling to ad lib any longer. Dick Clark himself came running from the wings to help her buy time while the technical difficulties were resolved. "The incident only lasted 30 seconds, but it seemed like an eternity," R.A. Clark remembers. "Then again, that's the beauty of live television!"

A One-Stage Show

Although many music shows have opted to incorporate multiple stages, the Academy of Country Music Awards utilizes only a single setup. "It's an iconic awards program," Clark says. "It tends to be a bigger spectacle and that gives it a different look from other shows of this type. The feedback that we've gotten from the public is that they like more live performances, so we stage this show like it's an actual concert."

On the other hand, the logistical demands of setting up a single stage and then reconfiguring it for approximately 20 acts, leaves the stage crew little margin for error. "We have to make this work," Clark concedes. "I'm constantly reiterating to the stage management that this show is live, live, live. And I always wonder if we're going to make it."

Naturally, nothing's left to chance. After the crew loads in equipment, generally two weeks before the program, rehearsals begin, running times are established, everyone involved in the production compares production notes and the show's rundown is set with exacting precision. Even so, it's not uncommon to find things tweaked and adjusted even on the day of the show.