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Speaker 1: Pushkin.

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Speaker 2: The New York Psychoanalytics Society and Institute is in a

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Speaker 2: very formal European style building on a quiet side street

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Speaker 2: on the upper East side of Manhattan. Oak tables, high ceilings.

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Speaker 2: In the library, long ribbons of leather bound volumes, and

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Speaker 2: five different busts of Sigmund Freud, all in a row.

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Speaker 2: I went there to meet with the Society's president, Michelle Press,

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Speaker 2: a psychoanalyst herself with that lovely quality of patience and

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Speaker 2: openness the best therapists always have. I wanted to talk

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Speaker 2: with her about a subject that I've always found deeply interesting,

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Speaker 2: what Freud called parapraxis, but not just anyone's parapraxis, the

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Speaker 2: Kings parapraxis. My name is Malcolm Gladwell. You're listening to

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Speaker 2: Revisionist History, my podcast about things overlooked and misunderstood. After

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Speaker 2: the first two episodes on Memory earlier this season, I

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Speaker 2: decided to do a third. It involves an odyssey. This

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Speaker 2: odyssey took me from the pages of the Handbook of

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Speaker 2: Psychobiography to a shrine in Tennessee, to the legendary Battery

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Speaker 2: Studios in Times Square, and to the hushed offices of

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Speaker 2: the New York Psychoanalytics Society, where I sat with Michelle

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Speaker 2: Press in search of an answer to a simple question.

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Speaker 2: What if a singer couldn't remember the words to a song,

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Speaker 2: a song had sung a thousand times, particular parts of

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Speaker 2: the song, the same part of the song, over and over.

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Speaker 2: What would that tell us about the singer?

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Speaker 3: It was a term in German faulty acts or faulty functions.

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Speaker 3: It would be slips of the tongue. It could be misreadings, mishearings,

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Speaker 3: but it's Freud's invention.

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Speaker 2: Michelle Press is talking about parapraxis, from the Greek para

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Speaker 2: meaning abnormal, beyond praxis meaning act, abnormal speech acts, or

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Speaker 2: as they are more colloquially known, Freudian slips. Does Freud

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Speaker 2: mean that there are no accidental slips, or that if

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Speaker 2: you look at the range of accidental slips you can

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Speaker 2: find meaning in some.

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Speaker 3: So when you read him, he doesn't want to sound

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Speaker 3: that kind of definitive. He'll say, yes, maybe one might

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Speaker 3: prove that there are some that are truly accidental, or

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Speaker 3: truly a result of fatigue or of maybe some medical illness.

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Speaker 3: But he said, if you do the work, one will

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Speaker 3: find the reasons for this slip, that they're not accidental

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Speaker 3: that they have. He called it a sense, and that

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Speaker 3: that sense has to do with unconscious forces or unconscious

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Speaker 3: ideas that are trying to find expression but are because

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Speaker 3: they're unacceptable. They emerge in these ways when one might

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Speaker 3: be unguarded.

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Speaker 2: Now, is that concept of unacceptability central to the notion

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Speaker 2: of parapraxis?

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Speaker 3: Yes?

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Speaker 4: What was a less over Here? Sun metal Stream?

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Speaker 2: In nineteen fifty six, early in his career, Elvis Presley

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Speaker 2: recorded a song called Old Shep. It's a sentimental song

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Speaker 2: about a boy and his dog, Shep, written in the

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Speaker 2: nineteen thirties by Red Foley. The dog gets old and sick.

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Speaker 2: The vet says there's no hope. The boy aims his

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Speaker 2: rifle at Shep to put him out of his misery,

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Speaker 2: but he can't pull the trigger. He lies down next

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Speaker 2: to Shep cradles him in his arms as the dog

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Speaker 2: dies and the song ends.

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Speaker 4: Old Shelby has gone weather, good dog, It's gold.

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Speaker 5: And but if.

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Speaker 4: Dolls have a heaven, that's one I know, Oh Shepherds.

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Speaker 2: Wonderful who? Old Shep is not one of Elvis's more

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Speaker 2: famous songs, but in an essay publish in two thousand

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Speaker 2: and five. On Elvis, the psychologists Alan Elms and Bruce

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Speaker 2: Heller have an aside about a small but significant discrepancy

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Speaker 2: between the original version of Old Shep and Elvis's cover.

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Speaker 2: I'm going to come back to Heller and Elms in

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Speaker 2: a while because they really do the most thorough analysis

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Speaker 2: of Elvis's lyrical parapraxis. But let's start with Old Shep.

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Speaker 2: Listen to Hank Snow performing the lyrics as they were

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Speaker 2: originally written. The boy has just put away his gun,

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Speaker 2: realizing he can't shoot Shep.

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Speaker 6: So I threw down let a little gun and ran

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Speaker 6: right up to his sign. Ladies, faithful, old head, right online,

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Speaker 6: knee and friends. I stroked the best pound a little

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Speaker 6: man ever found. I even cried, so I scared good.

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Speaker 2: See Now listen to Elvis sing his.

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Speaker 5: Version, I had strong, the best friend, not a man.

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Speaker 5: I cry.

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Speaker 4: Sauscurs good.

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Speaker 2: See Hank Snow sings, I stroked the best pal a

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Speaker 2: man ever found, meaning that the boy considers an act

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Speaker 2: of violence against his best pal, then decides against it

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Speaker 2: and takes instead the path of nurture and sympathy. He

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Speaker 2: recovers his humanity, But Elvis sings, I had struck the

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Speaker 2: best friend a man ever had, which turns the meaning

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Speaker 2: of the song completely upside down. The boy does not

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Speaker 2: recover his humanity. He now holds himself responsible for an

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Speaker 2: act of violence against Shep, an act of violence that,

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Speaker 2: in fact, he he did not commit. Stroke becomes struck,

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Speaker 2: and all of a sudden, the song about moral redemption

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Speaker 2: turns into a song about morbid remorse. Now, I suppose

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Speaker 2: you can say stroke, struck whatever those two words sound

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Speaker 2: the same. It's just a cover. But it's not just

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Speaker 2: a cover. Elvis was obsessed with Old Shep. It's the

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Speaker 2: first song he ever learned on the guitar. He played

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Speaker 2: it incessantly as a child. At age ten, he played

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Speaker 2: it at the Mississippi Alabama Fair, his first public performance.

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Speaker 2: He played it at his high school talent show and won.

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Speaker 2: He played it on dates with girls. He played it

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Speaker 2: well into his career. And why does the song resonate

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Speaker 2: so much with him? It's a song about love, betrayal,

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Speaker 2: and loss, themes that are at the center of Elvis's life.

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Speaker 2: He's a twinless twin, someone who's twin died in Utero

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Speaker 2: and He's obsessed by that fact. He brings it up

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Speaker 2: again and again. The loss of someone who should have

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Speaker 2: been his closest friend, Alvis's mother, Gladys, is to say

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Speaker 2: the least unusual. She's controlling, intense, he calls her baby.

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Speaker 2: Gladys died when Alvis was just twenty three. When he

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Speaker 2: first saw her casket, he threw himself on top of

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Speaker 2: her body, then stepped back and talked about how beautiful

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Speaker 2: she was. While pointing to her dead feet. He called

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Speaker 2: them her little suities. He did this again and again.

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Speaker 2: At the end of the funeral service, he lay on

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Speaker 2: top of her casket, saying, I want to go with you.

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Speaker 2: I don't want to stay here. I can't be without you.

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Speaker 2: And we haven't even gotten to Priscilla, Alvis's wife. He

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Speaker 2: spotted her when she was fourteen and eventually convinced her

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Speaker 2: to move in with him in Memphis.

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Speaker 7: Once Alvis took your tool move.

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Speaker 8: Yes he did.

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Speaker 2: This is Priscilla being interviewed by Barbara Walters in nineteen

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Speaker 2: eighty five.

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Speaker 7: Why why that fascination?

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Speaker 8: Yeah, I don't know. I don't know what the fascination was.

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Speaker 8: This is not the first time that he had done this.

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Speaker 8: I don't know if it was for the shock value,

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Speaker 8: you know, to see how people would react, or just

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Speaker 8: for his own thrill of it.

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Speaker 7: You wrote there were times when you were Elvis spent

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Speaker 7: days in the bedroom, freezing bedroom. He liked to be cold.

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Speaker 7: The windows with blackout drapes or no sunlight ended day

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Speaker 7: after day.

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Speaker 8: It went into weeks. Yes, we stayed like that. We

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Speaker 8: had our food delivered by the door, and it was cold.

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Speaker 8: I mean, he did like a cold and it was dark,

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Speaker 8: and it could get real lonely. And that's that's how

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Speaker 8: he liked it at times, with a cocoon, almost like

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Speaker 8: a womb.

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Speaker 2: I guess you think. Priscilla and Barbara Walters are on

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Speaker 2: a white couch surrounded by pink flowers. Priscilla is in

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Speaker 2: a strapless sun dress. She looks amazing. Barbara Walters turns

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Speaker 2: to her and says, Alvis controlled your looks, your clothes,

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Speaker 2: your hair, your makeup. He controlled you totally. Priscilla says, yes,

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Speaker 2: he did.

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Speaker 7: Then six years you lived there before he decided to

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Speaker 7: marry you. In those six years of sleeping with him

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Speaker 7: every night, he never had intercourse with you. You wrote

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Speaker 7: in your book that there were times when you begged

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Speaker 7: him six years so why well again, you know, I

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Speaker 7: can only go back to what his concept was as

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Speaker 7: what he wanted in a woman, and somewhere he along

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Speaker 7: in his past he said that he wanted a.

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Speaker 2: Virgin Alvis is complicated. And what does Freud's theory of

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Speaker 2: parapraxis say that complicated feelings inappropriate, maybe unacceptable feelings are

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Speaker 2: normally suppressed. But every now and again, some little bit

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Speaker 2: of that buried emotion slips out, and if you're paying

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Speaker 2: attention and listening closely, that little slip can tell you

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Speaker 2: something struck for stroke. But old Shep is just the

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Speaker 2: beginning for Elvis. The real parapraxis occurs in are You

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Speaker 2: Lonesome Tonight? A song originally written in the nineteen twenties

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Speaker 2: and which Elvis took to the top of the charts

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Speaker 2: just after he came out of the Army.

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Speaker 4: Are You Longsina.

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Speaker 7: Who?

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Speaker 9: As Day zero six, Take two.

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Speaker 2: Elvis at the RCA Studios on Music Row in Nashville,

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Speaker 2: April fourth, nineteen sixty The recordings from the original session

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Speaker 2: now held in the Sony Music Archive.

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Speaker 10: Yeah this is there's numerous takes here, so they fall

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Speaker 10: apart they make a mistake and what have you?

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Speaker 2: John Jackson and Vic Nissini from Sony Me all listening

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Speaker 2: together at the legendary Battery Studios in Manhattan where everyone

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Speaker 2: from John Lennon to Bruce Springsteen recorded Holy Ground. I

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Speaker 2: started my quest at the very beginning.

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Speaker 4: Is your hot till.

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Speaker 3: Share?

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Speaker 8: I harm?

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Speaker 11: Tony d.

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Speaker 8: Are you lonesome?

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Speaker 4: Because he's so amadia is he? Uh? When he records that?

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Speaker 4: Are the jordan Aires singing along with him?

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Speaker 2: Or they're laying that tracked on C liveth Yeah.

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Speaker 12: He always preferred to have everyone in one room and

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Speaker 12: record live. Oh, even in one room, not in booths

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Speaker 12: or no no, no, no no.

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Speaker 4: He hated booths.

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Speaker 2: Recording the song was not Elvis's idea. It was a

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Speaker 2: favorite of the wife of his manager, Tom Parker. In

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Speaker 2: the studio, Elvis asked the lights be turned off so

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Speaker 2: the room was in darkness. He did five takes. He

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Speaker 2: didn't like any of them.

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Speaker 10: It was four in the morning when he recorded it,

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Speaker 10: so he made everyone get out of the studio go away,

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Speaker 10: and then he just you know, did it. And then

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Speaker 10: they this is the second take, which they told him

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Speaker 10: how the background singers, you know, pee popped because he said,

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Speaker 10: just stop the tape, you know I'm on. They said,

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Speaker 10: just do it once more because you know, we hit

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Speaker 10: a peap pop on there. So the third take ends

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Speaker 10: up being the master.

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Speaker 4: Oh I see.

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Speaker 10: Then he held the label held it back for seven

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Speaker 10: eight months because.

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Speaker 2: They didn't realize what they hed on their hands.

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Speaker 10: Yeah, it was seven months. I think after he recreated

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Speaker 10: they finally released it as a single and didn't go

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Speaker 10: out that he had done eight songs for Elvis's back

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Speaker 10: and this was just like, yeah, just try this.

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Speaker 2: One, recorded in the wee hours of the morning in

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Speaker 2: darkness as a favor to someone else, a song neither

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Speaker 2: Elvis nor his label particularly liked. It's almost like the

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Speaker 2: song had a curse on it right from the beginning,

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Speaker 2: and from then on Elvis could never quite get it right.

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Speaker 2: I talked about this with Michelle Press at the New

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Speaker 2: York Psychoanalytics Society. Elvis wasn't typically someone who forgot the

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Speaker 2: words to the songs he sang. There's all these examples

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Speaker 2: out of his life of him being able to recite,

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Speaker 2: to sing from memory, massive amounts of stuff. I'm worried about,

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Speaker 2: I'm interested about that. There's a little slip I'm worried about,

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Speaker 2: I said, I'm worried about that. I'm interested in that,

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Speaker 2: and I'm wondering what the what would you make of that?

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Speaker 2: As a psychoanalyst. I try to go on, but of

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Speaker 2: course I'm talking to a hardcore Freudian. I meant to

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Speaker 2: say I was interested, but what came out was worried.

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Speaker 3: I mean, I'm still caught on your slip, obviously thinking what.

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Speaker 4: Do you what do you make of it?

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Speaker 3: So one thought was whether the slip might be a

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Speaker 3: key to something that you're figuring out and puzzling with him,

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Speaker 3: because you're right now, you're immersed in him.

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Speaker 2: Oh I am. I've been singing this song under my

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Speaker 2: breath for months. I can't understand why I've never been

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Speaker 2: an Elvis fan. I don't own a single song of his.

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Speaker 4: Or am I am?

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Speaker 2: I drawn to this story because isn't this story that

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Speaker 2: I'm talking to you the great anxiety of anyone in

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Speaker 2: a creative field, that moment when you lose control, right

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Speaker 2: or the the presentation to the audience is unmasked. I

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Speaker 2: want to I want to show you. I take out

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Speaker 2: my laptop, pull up YouTube. There's a mountain of Elvis

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Speaker 2: on YouTube, one of the last performances of his life.

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Speaker 2: It's bananas. I mean, he just it's he's singing a

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Speaker 2: song he's singing thousands of times.

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Speaker 11: And he just.

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Speaker 4: Completely loses control of it.

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Speaker 2: I can skip it coming.

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Speaker 13: I wonder if.

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Speaker 12: Two lungs of a night, you know, if someone said

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Speaker 12: the worlds of stays in each play apart.

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Speaker 4: Playing in.

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Speaker 5: A plus tags Irigel select cleverly.

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Speaker 10: I never missed you.

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Speaker 8: And it came back to it.

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Speaker 14: Forgot the word seem to change.

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Speaker 2: When I first saw it it as someone in a

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Speaker 2: I mean, I'm not Elvis, but I'm someone in a

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Speaker 2: creative field. It terrified me. It's like up on stage

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Speaker 2: doing what he's paid to do, and.

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Speaker 15: He he just I'm like, well, really, won't during your life.

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Speaker 4: Go on living without you?

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Speaker 8: Now?

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Speaker 6: The stage is bare and I'm sitting there without a

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Speaker 6: new hair.

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Speaker 8: I don't know.

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Speaker 12: If you'll come back to me.

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Speaker 2: Every live performance he's ever given of this that we

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Speaker 2: have on tape, he mangles the bridge, can't do it right.

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Speaker 2: It's he's returning to the song again and again and

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Speaker 2: again and again and again and doing the same kind

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Speaker 2: in this particular always a bridge so singing party over.

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Speaker 3: How many years did this go on?

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Speaker 4: Yours?

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Speaker 11: Okay?

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Speaker 14: In nineteen eighty two, this life and.

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Speaker 10: Version was rare in the UK and each number twenty

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Speaker 10: five and the British Singles.

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Speaker 2: Chart at Battery Studios. I made the Sony guys play

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Speaker 2: every version they had. They even have names, Laughing Elvis,

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Speaker 2: Crazy Elvis, each one stranger than the one before.

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Speaker 4: The World's a Stadius and East must play a part.

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Speaker 2: There's sweat and tears streaming down his face.

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Speaker 12: And I had no calls to do.

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Speaker 2: It goes on like this, on and on a baby.

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Speaker 4: Show. Come again.

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Speaker 8: Tell me, dear h, that's it man?

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Speaker 7: What'll do?

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Speaker 4: You don't not a jury? And what I'll do?

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Speaker 8: You o? S?

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Speaker 2: Have you ever played the song before?

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Speaker 11: No?

290
00:20:03,036 --> 00:20:03,916
Speaker 4: I never played it before.

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Speaker 8: I didn't.

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Speaker 4: It's funny. I played a bunch of chick I played

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Speaker 4: a bunch of his stuff. Do you want to flip

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Speaker 4: in a standby switch?

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Speaker 2: I'm with Jack White at his studio in Nashville Third

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Speaker 2: Man Records. Jack White, formerly of the White Stripes, one

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Speaker 2: of the great rock and rollers of his generation and

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Speaker 2: a huge Elvis fan. He's a shrine to Elvis in

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Speaker 2: his hallway. Actual shrine. All that's missing is flowers. We

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00:20:31,156 --> 00:20:33,836
Speaker 2: met in his private office, lots of black and yellow

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Speaker 2: and leather and taxidermy. He sat on the couch with

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Speaker 2: a guitar. Do you play Do you play Elvis songs

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Speaker 2: a concert?

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Speaker 4: Sometimes? I do, like a.

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Speaker 16: What's that?

306
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Speaker 4: I want you to love me?

307
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Speaker 7: Love me?

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Speaker 4: And just dream and just say.

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Speaker 2: I was gonna say, don't stop, I'm enjoying it. Anything

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Speaker 2: any other ones you do?

311
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Speaker 4: Wait?

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00:21:19,356 --> 00:21:21,996
Speaker 2: But anyway, why do you why that one? What's it

313
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Speaker 2: about that song?

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Speaker 12: I had heard that early from a band called the

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Speaker 12: Flat Duo Jets that I really liked, and I didn't

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Speaker 12: know it was Elvis. And then when i'd heard the

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Speaker 12: Elvis version, I had connected the two, like, oh no, really,

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Speaker 12: and I started doing it when.

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Speaker 4: I put in coffee houses.

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Speaker 12: I started playing that when I was like sixteen, Yeah,

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Speaker 12: I goes back.

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Speaker 4: Which is funny.

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Speaker 12: I eventually heard a story of Robert Plant telling Elvis

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Speaker 12: he loved that song when led Zepp and met Elvis,

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Speaker 12: and then when they walked out out of the hallway

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Speaker 12: that Elvis poked his head out in the hallway and

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Speaker 12: sang that song to Robert Plan. They sang it back

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Speaker 12: to each other, and you were crying and must have

329
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Speaker 12: been an amazing moment.

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Speaker 2: Jack White owns the original acetate pressing of Elvis's first

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Speaker 2: recording from nineteen fifty three, My Happiness. After we talked,

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Speaker 2: White took me into his vault to show it to me.

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Speaker 2: It's priceless. He asked me if I weren't to hold it.

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Speaker 2: I was too terrified to say yes. Jack White seemed

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Speaker 2: like the right person to see to try and understand

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Speaker 2: Elvis's problem. And are you lonesome tonight?

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Speaker 4: All right, let me see.

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Speaker 9: We're gonna take a crack.

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Speaker 4: It might we might have to give a couple whorls.

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Speaker 4: What are you a lone song tonight? Do you miss

341
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Speaker 4: me tonight?

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00:22:50,276 --> 00:23:00,556
Speaker 9: Are you sorry? We drifted a paw? Does your memoir

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Speaker 9: strain through a bride song?

344
00:23:06,276 --> 00:23:13,836
Speaker 4: Day? We're not stew and call you sweet hot?

345
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Speaker 12: Do the chair in your partner seamany?

346
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Speaker 4: And bear? Do you geeze? That's a door? Stell and

347
00:23:31,676 --> 00:23:40,556
Speaker 4: pitcher me? Then? Is your heart filled with pain? Shall

348
00:23:40,596 --> 00:23:47,676
Speaker 4: I come back again? Till the deed are your own?

349
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Speaker 9: Song?

350
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Speaker 11: To night?

351
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Speaker 2: That's the first half of the song. The song version

352
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Speaker 2: all questions. A man is wondering whether his lover misses him.

353
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Speaker 2: Then comes the spoken bridge, in which the emotional tables

354
00:24:04,116 --> 00:24:08,236
Speaker 2: are turned and the man leaves himself bare. Are you

355
00:24:08,316 --> 00:24:11,236
Speaker 2: Lonesome Tonight? Has been recorded countless times over the years.

356
00:24:11,916 --> 00:24:14,676
Speaker 2: A lot of performers leave out the bridge because it's

357
00:24:14,716 --> 00:24:19,596
Speaker 2: corny and way too long and hard. Elvis kept it in,

358
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Speaker 2: so does Jack White.

359
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Speaker 4: I wonder if you're a lonesome tonight.

360
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Speaker 13: You know, someone said that the world's a stage and

361
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Speaker 13: each must play a part.

362
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Speaker 4: Fate had me playing in love with you as my sweetom.

363
00:24:37,916 --> 00:24:41,156
Speaker 4: That one was where we at. I loved you at

364
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Speaker 4: first glance.

365
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Speaker 13: You read your line so cleverly.

366
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Speaker 12: And never missed a cue. The thing came back too.

367
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Speaker 4: You seem to change.

368
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Speaker 12: You acted strange, and why I've never known, Honey. You

369
00:24:58,156 --> 00:25:01,796
Speaker 12: lied when you said you loved me, and I had

370
00:25:01,836 --> 00:25:05,876
Speaker 12: no cause to doubt you.

371
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Speaker 13: But I'd rather go on hearing your lies and to

372
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Speaker 13: go on living without. Now the stage is bare and

373
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Speaker 13: I was standing there with emptiness all around. If you

374
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Speaker 13: won't come.

375
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Speaker 5: Back to me.

376
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Speaker 12: And maybe bring the crook back, is your heart fill

377
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Speaker 12: Lewis play.

378
00:25:35,116 --> 00:25:38,356
Speaker 4: Shall not come back again?

379
00:25:39,636 --> 00:25:45,436
Speaker 9: To medd Loan song to night?

380
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Speaker 2: Whoa wait You you you enjoyed that.

381
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Speaker 12: I did it gets it gets uh, there's some nice

382
00:25:58,236 --> 00:25:59,716
Speaker 12: parts where it gets the.

383
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Speaker 4: You can see uh playing that live now, I just

384
00:26:04,836 --> 00:26:06,356
Speaker 4: did that, like well, we just did that.

385
00:26:06,636 --> 00:26:10,836
Speaker 12: I played it once yesterday reading this, but now playing

386
00:26:10,916 --> 00:26:11,196
Speaker 12: like that, I.

387
00:26:11,196 --> 00:26:13,516
Speaker 4: Could see, wow, live you could really that really could

388
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Speaker 4: be to be.

389
00:26:14,116 --> 00:26:17,756
Speaker 12: A really emotional song. So I didn't really think about

390
00:26:17,756 --> 00:26:18,596
Speaker 12: it until just then.

391
00:26:19,916 --> 00:26:21,396
Speaker 2: What led you to think that just now?

392
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Speaker 12: Because it feels like, well, it's in a mine, it's

393
00:26:24,436 --> 00:26:26,756
Speaker 12: a lot of minor chords, so that that that's already

394
00:26:26,756 --> 00:26:29,156
Speaker 12: gets you in that melancholy vibe, but it has it

395
00:26:29,196 --> 00:26:34,836
Speaker 12: has that. What just occurred to me now is he

396
00:26:34,836 --> 00:26:37,916
Speaker 12: doesn't he doesn't. He doesn't really care that if she's lonesome,

397
00:26:38,396 --> 00:26:41,876
Speaker 12: he's lonesome, that the singer is lonesome. And it's a

398
00:26:41,916 --> 00:26:45,076
Speaker 12: it's a mcguffin to pretend like I'm worried about you?

399
00:26:45,996 --> 00:26:47,116
Speaker 4: Are you lonesome tonight?

400
00:26:47,196 --> 00:26:47,396
Speaker 11: You know?

401
00:26:48,036 --> 00:26:50,676
Speaker 12: But it's really he's the singer is worried about himself.

402
00:26:51,636 --> 00:26:54,876
Speaker 12: So that could be. You know, you take that kind

403
00:26:54,916 --> 00:26:59,356
Speaker 12: of emotional song and you put years and years on stage,

404
00:26:59,436 --> 00:27:01,676
Speaker 12: and then you put drugs in the mix, and then

405
00:27:02,156 --> 00:27:04,356
Speaker 12: in your own state of mind at the time. It

406
00:27:04,396 --> 00:27:07,236
Speaker 12: could be a really you could be onto something there.

407
00:27:07,236 --> 00:27:09,876
Speaker 12: It could be a real diversion that it's too powerful

408
00:27:09,916 --> 00:27:10,956
Speaker 12: to sing.

409
00:27:11,116 --> 00:27:16,276
Speaker 2: What's fascinating is the some parts the singer is in

410
00:27:16,356 --> 00:27:19,716
Speaker 2: control and he's worried about her right the spoken parts,

411
00:27:19,916 --> 00:27:22,756
Speaker 2: the singer is vulnerable and he's confessing his own and

412
00:27:22,756 --> 00:27:26,476
Speaker 2: it's so screwed up. It's like, I know you lied

413
00:27:26,516 --> 00:27:28,796
Speaker 2: to me, and I wish you hadn't right. I whish

414
00:27:28,796 --> 00:27:30,396
Speaker 2: I didn't know that you lied to me because I'd

415
00:27:30,476 --> 00:27:33,116
Speaker 2: rather be in the state of being deceived than know

416
00:27:33,156 --> 00:27:38,756
Speaker 2: the truth, which is like seventeen convolutions of neuroticism.

417
00:27:40,236 --> 00:27:43,756
Speaker 12: He's still blaming her most of the lines, still pointing

418
00:27:43,756 --> 00:27:44,196
Speaker 12: the finger.

419
00:27:45,236 --> 00:27:48,116
Speaker 2: White says, you can't run from that kind of emotion,

420
00:27:48,556 --> 00:27:51,396
Speaker 2: not if you're singing the song properly. And so when

421
00:27:51,476 --> 00:27:55,076
Speaker 2: he writes songs, he tries to establish some distance between

422
00:27:55,116 --> 00:27:57,636
Speaker 2: himself and the feelings he's singing about.

423
00:27:58,036 --> 00:28:01,836
Speaker 1: I try to push it into a character's standpoint rather

424
00:28:01,876 --> 00:28:07,236
Speaker 1: than it being a self confession. It confessional for me

425
00:28:07,676 --> 00:28:10,236
Speaker 1: because I think that would be really hard to consistently

426
00:28:10,316 --> 00:28:12,516
Speaker 1: keep living that moment over and over and over again.

427
00:28:12,796 --> 00:28:16,676
Speaker 1: I've definitely seen older artists ignoring certain parts of their

428
00:28:16,756 --> 00:28:19,156
Speaker 1: certain songs in their career because it's probably too close

429
00:28:19,196 --> 00:28:21,036
Speaker 1: to home about something or other.

430
00:28:22,076 --> 00:28:26,196
Speaker 2: But you can't avoid a song's emotional effects all the time,

431
00:28:26,756 --> 00:28:28,996
Speaker 2: and especially not when you have to read a soliloquy

432
00:28:29,036 --> 00:28:31,076
Speaker 2: in the middle of it, which is what the are

433
00:28:31,116 --> 00:28:35,196
Speaker 2: you lonesome? Bridge? Is a speech parachuted into the heart

434
00:28:35,236 --> 00:28:35,716
Speaker 2: of the song.

435
00:28:36,636 --> 00:28:39,916
Speaker 12: I had a little flubb moment at one point trying

436
00:28:39,916 --> 00:28:41,876
Speaker 12: to figure out, well, wait a minute.

437
00:28:41,756 --> 00:28:42,516
Speaker 4: It's a waltz.

438
00:28:43,116 --> 00:28:44,116
Speaker 12: You know you have that.

439
00:28:45,116 --> 00:28:51,236
Speaker 4: So if I'm like, I wonder if.

440
00:28:52,636 --> 00:28:59,116
Speaker 12: Two three so one two three one two three, so

441
00:28:59,236 --> 00:29:02,276
Speaker 12: your brain kind of wants to go, I wonder if

442
00:29:03,076 --> 00:29:07,396
Speaker 12: you're lonesome tonight? That's what your brain wants to do.

443
00:29:08,676 --> 00:29:11,756
Speaker 12: You know, someone said that the world's a stage and.

444
00:29:11,716 --> 00:29:12,836
Speaker 4: We must each play a part.

445
00:29:12,956 --> 00:29:15,596
Speaker 2: Then it starts to get it breaks down.

446
00:29:15,716 --> 00:29:17,116
Speaker 12: Yeah, I mean it would, I mean I would. I

447
00:29:17,116 --> 00:29:19,196
Speaker 12: can definitely say that this would be a lot easier

448
00:29:19,196 --> 00:29:22,876
Speaker 12: if someone else was playing guitar and I could just recite.

449
00:29:24,316 --> 00:29:26,476
Speaker 2: That part, which should I recite while you played a guitar?

450
00:29:27,356 --> 00:29:28,916
Speaker 4: Yeah, do that.

451
00:29:30,076 --> 00:29:32,116
Speaker 2: I'm not going to torture you with my rendition of

452
00:29:32,116 --> 00:29:36,756
Speaker 2: the spoken bridge. Well maybe later. I'm just saying until

453
00:29:36,796 --> 00:29:39,516
Speaker 2: I die, I can say I played with Jack White

454
00:29:40,476 --> 00:29:43,396
Speaker 2: and then, because how many opportunities am I going to

455
00:29:43,436 --> 00:29:46,396
Speaker 2: get like this? I asked Jack White to help me

456
00:29:46,676 --> 00:29:50,716
Speaker 2: edit the soliloquy. If one were to rewrite it, I'm

457
00:29:50,716 --> 00:29:55,116
Speaker 2: thinking you that you uh, you lose the first three

458
00:29:55,156 --> 00:30:00,156
Speaker 2: lines fate had me playing in love you as my sweetheart?

459
00:30:01,196 --> 00:30:04,356
Speaker 2: Or even Act one was when we met? Why don't

460
00:30:04,356 --> 00:30:05,676
Speaker 2: why don't they just start with act one?

461
00:30:05,796 --> 00:30:05,996
Speaker 8: Did that?

462
00:30:09,996 --> 00:30:13,156
Speaker 12: Act one was where I met I loved you at

463
00:30:13,196 --> 00:30:19,116
Speaker 12: the first class? He read your lines so carefully, never.

464
00:30:18,996 --> 00:30:19,956
Speaker 4: Missed a que.

465
00:30:21,196 --> 00:30:21,876
Speaker 13: What did I do there?

466
00:30:21,996 --> 00:30:24,396
Speaker 2: You say carefully cleverly, which is clever, beautiful?

467
00:30:26,196 --> 00:30:30,076
Speaker 4: And then came back too. You seem to change, you

468
00:30:30,196 --> 00:30:31,036
Speaker 4: acted strange.

469
00:30:31,956 --> 00:30:36,116
Speaker 2: What did Jack White do there? The actual lyric is

470
00:30:36,796 --> 00:30:41,156
Speaker 2: you read your lines so cleverly? He said, you read

471
00:30:41,196 --> 00:30:46,796
Speaker 2: your line so carefully, carefully for cleverly. A man singing

472
00:30:46,836 --> 00:30:49,796
Speaker 2: one of the songs of his musical idol comes to

473
00:30:49,876 --> 00:30:53,916
Speaker 2: the emotionally complex center and what do we hear? A

474
00:30:53,996 --> 00:30:58,316
Speaker 2: moment of vulnerability? Can he be as clever as Elvis?

475
00:30:58,876 --> 00:31:03,956
Speaker 2: He's not sure. He must be careful parapraxis.

476
00:31:04,316 --> 00:31:06,396
Speaker 17: Sometimes you know I love I love him so much,

477
00:31:06,436 --> 00:31:08,996
Speaker 17: and that you know, I'm afraid to learn more about

478
00:31:09,156 --> 00:31:12,476
Speaker 17: certain things, like you know, you're so close to it,

479
00:31:12,756 --> 00:31:18,236
Speaker 17: and you've experienced certain things about you know nothing in

480
00:31:18,276 --> 00:31:20,476
Speaker 17: comparison to what he went through, but you're in the

481
00:31:20,476 --> 00:31:23,356
Speaker 17: same where we do the same kind of thing. We perform,

482
00:31:23,436 --> 00:31:25,876
Speaker 17: and we go on stages, and we make records and

483
00:31:25,916 --> 00:31:27,916
Speaker 17: all this stuff from a different time.

484
00:31:27,716 --> 00:31:30,836
Speaker 12: Period, but you notice these tiny little moments that are

485
00:31:31,236 --> 00:31:33,596
Speaker 12: when you see certain you're like, oh, I know exactly

486
00:31:33,676 --> 00:31:35,596
Speaker 12: what that's about. I know exactly what that feels like.

487
00:31:41,356 --> 00:31:44,956
Speaker 2: There are ten known live recordings of Elvis performing Are

488
00:31:44,956 --> 00:31:48,236
Speaker 2: You Lonesome Tonight, starting in nineteen sixty one in a

489
00:31:48,276 --> 00:31:51,556
Speaker 2: concert at Block Arena in Honolulu, up to the end

490
00:31:51,636 --> 00:31:55,916
Speaker 2: of Elvis's life in nineteen seventy seven. Alan Elms and

491
00:31:55,956 --> 00:31:59,756
Speaker 2: Bruce Heller analyze them all in their essay Twelve Ways

492
00:31:59,796 --> 00:32:03,476
Speaker 2: to Say Lonesome? Assessing error and control in the music

493
00:32:03,516 --> 00:32:10,316
Speaker 2: of Elvis Presley, Elms and Heller find that Elvis performs

494
00:32:10,356 --> 00:32:13,516
Speaker 2: the sung portion of Are You Lonesome Tonight more or

495
00:32:13,596 --> 00:32:16,596
Speaker 2: less flawlessly because the song portion is the part of

496
00:32:16,636 --> 00:32:19,956
Speaker 2: the song where the singer is in control, but in

497
00:32:19,956 --> 00:32:23,116
Speaker 2: the Spoken Bridge, the narrator is suddenly the one who's

498
00:32:23,156 --> 00:32:26,996
Speaker 2: been deceived and rejected, and that's the part Elvis can't

499
00:32:27,036 --> 00:32:31,796
Speaker 2: get right. Elms and Heller count a total of one

500
00:32:31,916 --> 00:32:35,516
Speaker 2: hundred and nine errors in those ten live performances of

501
00:32:35,556 --> 00:32:40,556
Speaker 2: the Spoken Bridge, twenty nine of which involved just four lines.

502
00:32:41,756 --> 00:32:44,756
Speaker 2: I loved you at first glance, where he confesses the

503
00:32:44,796 --> 00:32:49,796
Speaker 2: depths of his feelings. You seem to change, You acted strange,

504
00:32:50,396 --> 00:32:54,796
Speaker 2: where he testifies to his betrayal and rejection, and why

505
00:32:54,996 --> 00:32:58,916
Speaker 2: I've never known, where he expresses his feelings of anger

506
00:32:59,236 --> 00:33:05,516
Speaker 2: and victimization, and with emptiness all around, where he admits

507
00:33:05,716 --> 00:33:10,196
Speaker 2: to his loneliness. The most problematic conditions of the Bridge

508
00:33:10,356 --> 00:33:12,876
Speaker 2: are the later ones, which come after the summer of

509
00:33:12,956 --> 00:33:18,676
Speaker 2: nineteen seventy two. What happens in the summer of nineteen seventy.

510
00:33:18,316 --> 00:33:21,356
Speaker 7: Two, And one day you went in and said I'm leaving.

511
00:33:23,996 --> 00:33:26,836
Speaker 7: There was another man in your life. He was your

512
00:33:26,876 --> 00:33:30,396
Speaker 7: karate teacher, right, Mike Stone. And you went off then.

513
00:33:30,316 --> 00:33:31,036
Speaker 8: And lived with him.

514
00:33:32,436 --> 00:33:36,876
Speaker 2: Priscilla Presley back on the couch with Barbara Walters, America's

515
00:33:36,956 --> 00:33:38,116
Speaker 2: Prime Time Freudian.

516
00:33:38,916 --> 00:33:41,116
Speaker 7: It was said that Elvis tried to kill him. I

517
00:33:41,196 --> 00:33:43,156
Speaker 7: wanted him killed, right? Do you believe that?

518
00:33:43,836 --> 00:33:46,796
Speaker 8: I think at that time yes, he did. He wanted

519
00:33:46,796 --> 00:33:47,396
Speaker 8: that to happen.

520
00:33:50,436 --> 00:33:53,276
Speaker 4: Do the cheers in your father?

521
00:33:54,996 --> 00:33:55,876
Speaker 14: Seeing empty?

522
00:33:56,876 --> 00:34:03,436
Speaker 4: And do you gain? Is that your ball head? And

523
00:34:03,716 --> 00:34:12,356
Speaker 4: wish you had hair filled with pain? Shall I come back?

524
00:34:15,516 --> 00:34:15,836
Speaker 11: Tell me?

525
00:34:17,476 --> 00:34:21,076
Speaker 4: Are you lost? Lord?

526
00:34:21,196 --> 00:34:21,476
Speaker 7: Lord?

527
00:34:25,036 --> 00:34:26,716
Speaker 8: I want.

528
00:34:28,556 --> 00:34:33,516
Speaker 2: A man who fears betrayed an abandonment, is portrayed and abandoned.

529
00:34:37,356 --> 00:34:39,156
Speaker 4: And I had no cause to doctor.

530
00:34:45,676 --> 00:34:48,636
Speaker 2: It's too much. He's a wreck baby?

531
00:34:52,276 --> 00:34:52,996
Speaker 11: Shall I come?

532
00:34:54,356 --> 00:34:55,196
Speaker 4: Okay?

533
00:34:56,196 --> 00:34:56,836
Speaker 9: Tell me, dear?

534
00:34:58,196 --> 00:34:59,556
Speaker 4: Why are you loss?

535
00:35:08,116 --> 00:35:11,316
Speaker 2: After I left Jack, I went to see Bobby Braddock

536
00:35:11,716 --> 00:35:14,836
Speaker 2: just down the street at the Sony Studios on Nashville's

537
00:35:14,916 --> 00:35:21,556
Speaker 2: Music Row. This you may remember Bobby Braddock from season

538
00:35:21,636 --> 00:35:25,916
Speaker 2: two of Revisionist History. He's the legendary songwriter I called

539
00:35:25,916 --> 00:35:29,356
Speaker 2: the King of Tears. Braddock wanted to introduce me to

540
00:35:29,436 --> 00:35:32,996
Speaker 2: a good friend of his, a singer songwriter named Casey Bowles.

541
00:35:34,316 --> 00:35:35,756
Speaker 16: That's the church across alto.

542
00:35:36,276 --> 00:35:40,036
Speaker 2: Thirty something, long red hair, the kind of person who

543
00:35:40,076 --> 00:35:43,116
Speaker 2: if you touch you expect a little jolt of static.

544
00:35:44,436 --> 00:35:44,996
Speaker 4: Didn't work?

545
00:35:45,716 --> 00:35:47,236
Speaker 14: Oh you won't sing that song.

546
00:35:47,916 --> 00:35:50,356
Speaker 2: That we were in the biggest of the Sony recording

547
00:35:50,396 --> 00:35:53,116
Speaker 2: studios on the main floor in a corner where the

548
00:35:53,156 --> 00:35:59,316
Speaker 2: piano was Casey sang are you Lonesome Tonight? With Bobby

549
00:35:59,356 --> 00:36:07,796
Speaker 2: on the piano, do.

550
00:36:07,596 --> 00:36:08,556
Speaker 11: You miss me?

551
00:36:12,036 --> 00:36:13,436
Speaker 4: Are you Sobby?

552
00:36:14,236 --> 00:36:21,156
Speaker 2: We drifted, Then we sat and they talked about Nashville.

553
00:36:21,676 --> 00:36:23,716
Speaker 2: They talked about how they both grew up in the

554
00:36:23,796 --> 00:36:27,516
Speaker 2: Church of Christ, the most strict of Southern fundamentalist denominations,

555
00:36:28,436 --> 00:36:29,876
Speaker 2: and they talked about Elvis.

556
00:36:30,476 --> 00:36:34,636
Speaker 16: My dad thought he was Elvis. I think, yeah, he really.

557
00:36:34,916 --> 00:36:36,796
Speaker 11: He was a Church of Christ song leader and really

558
00:36:36,836 --> 00:36:41,436
Speaker 11: wanted to be a Jordanaire badly, and so Ray Walker

559
00:36:41,476 --> 00:36:43,236
Speaker 11: was one of the Jordanaires, and he tried to emulate

560
00:36:43,356 --> 00:36:47,076
Speaker 11: him by way of dress and hairstyle. And so I

561
00:36:47,116 --> 00:36:50,756
Speaker 11: grew up either hearing him say hello, Darlan, nice to

562
00:36:50,796 --> 00:36:55,396
Speaker 11: see you, or doing this sort of you know, is

563
00:36:55,396 --> 00:36:58,956
Speaker 11: it vaudeville style or just just sort of a over

564
00:36:58,996 --> 00:37:01,116
Speaker 11: the top modeling style.

565
00:37:01,156 --> 00:37:03,036
Speaker 16: I guess is modeling the way you'd say it modeling.

566
00:37:03,716 --> 00:37:07,476
Speaker 2: Then Bobby Braddock started talking about recitations, the spoken part

567
00:37:07,556 --> 00:37:10,356
Speaker 2: in many older country songs, and he made the same

568
00:37:10,396 --> 00:37:13,436
Speaker 2: point that Jack White did that they're much easier if

569
00:37:13,436 --> 00:37:16,316
Speaker 2: they're set to music, if you could just as easily

570
00:37:16,356 --> 00:37:19,316
Speaker 2: sing them, like on one of Braddock's most famous songs,

571
00:37:19,676 --> 00:37:21,316
Speaker 2: he Stopped Loving Her Today.

572
00:37:22,076 --> 00:37:22,916
Speaker 14: Recite like.

573
00:37:27,796 --> 00:37:29,476
Speaker 4: She came to see him one waste.

574
00:37:33,756 --> 00:37:36,036
Speaker 5: Ah, we all wonder, Yeah, and you could sing that

575
00:37:36,676 --> 00:37:38,836
Speaker 5: she came to see him one last time.

576
00:37:41,756 --> 00:37:44,876
Speaker 4: Oh, we all wonder if she would.

577
00:37:45,076 --> 00:37:48,476
Speaker 5: And that works either way. But this is just like, uh,

578
00:37:48,996 --> 00:37:51,156
Speaker 5: we got this song, let's get a recitation, throw it

579
00:37:51,276 --> 00:37:54,436
Speaker 5: in there and and they Elvis made it work. And

580
00:37:54,476 --> 00:37:58,596
Speaker 5: I'm thinking, just instinctively, just because he was, Uh, he

581
00:37:58,756 --> 00:37:59,516
Speaker 5: was just so good.

582
00:38:00,396 --> 00:38:04,356
Speaker 2: Recitations are unusual these days. Braddock hasn't written one since

583
00:38:04,356 --> 00:38:06,676
Speaker 2: something he did for Toby Keith in the nineteen nineties.

584
00:38:07,356 --> 00:38:11,836
Speaker 5: Last successful recite song I had was actually it was well,

585
00:38:11,956 --> 00:38:13,636
Speaker 5: actually it was it was. It was a hip hop

586
00:38:13,636 --> 00:38:16,076
Speaker 5: thing I want to talk about me, But that was

587
00:38:16,116 --> 00:38:17,556
Speaker 5: talking talking.

588
00:38:17,636 --> 00:38:18,436
Speaker 16: That's what I'm thinking about.

589
00:38:18,836 --> 00:38:21,796
Speaker 2: But you know, it's can you can you can you

590
00:38:21,836 --> 00:38:22,876
Speaker 2: pay a little slice of that?

591
00:38:22,916 --> 00:38:24,276
Speaker 8: You remember I.

592
00:38:26,676 --> 00:38:27,116
Speaker 11: Never did that?

593
00:38:27,476 --> 00:38:29,996
Speaker 5: Why do that? Always? I always do it with with

594
00:38:29,996 --> 00:38:31,836
Speaker 5: with a karaoke thing where I get up there and

595
00:38:32,076 --> 00:38:32,876
Speaker 5: play the thing.

596
00:38:35,356 --> 00:38:37,236
Speaker 15: I want to talk about me. We wean't talk about.

597
00:38:37,316 --> 00:38:40,476
Speaker 15: I want to talk about number one. You talk about

598
00:38:40,476 --> 00:38:42,156
Speaker 15: your work, how your boss is a jerk, you talk

599
00:38:42,156 --> 00:38:44,636
Speaker 15: about your church in your head, when you talk about

600
00:38:44,636 --> 00:38:46,716
Speaker 15: the trouble you've been having with your mother and your daddy,

601
00:38:46,916 --> 00:38:48,596
Speaker 15: with your brother and your daddy and your mother and

602
00:38:48,636 --> 00:38:55,396
Speaker 15: your crazy ex lover, you know. And then and then

603
00:38:55,436 --> 00:38:58,556
Speaker 15: the minstrel minstrel period of line, which everybody said, you

604
00:38:58,596 --> 00:39:00,916
Speaker 15: can't put that in a song. Nobody will ever cut it,

605
00:39:00,996 --> 00:39:03,956
Speaker 15: you know. And it was one of the biggest songs ever.

606
00:39:03,796 --> 00:39:09,676
Speaker 14: Had about your medical charts. And when you start take

607
00:39:09,716 --> 00:39:14,516
Speaker 14: that out, nobody were recording. Toby Keith did. Here's probably

608
00:39:14,556 --> 00:39:15,716
Speaker 14: the only one who would have though.

609
00:39:17,436 --> 00:39:20,916
Speaker 2: Then I showed them the prize. I brought it my bag,

610
00:39:21,596 --> 00:39:25,436
Speaker 2: my copy of the Handbook of Psycho Biography containing the

611
00:39:25,516 --> 00:39:27,156
Speaker 2: Heller and Elms essay.

612
00:39:27,796 --> 00:39:29,196
Speaker 4: Hold on, I have my book here.

613
00:39:29,796 --> 00:39:31,236
Speaker 5: I tell you that's fashioning.

614
00:39:33,316 --> 00:39:35,876
Speaker 2: To a pair of Elvis fanatics, it was like I'd

615
00:39:35,956 --> 00:39:37,556
Speaker 2: unearthed the Dead Sea scrolls.

616
00:39:38,076 --> 00:39:38,836
Speaker 5: What's the book.

617
00:39:39,396 --> 00:39:42,756
Speaker 2: It's a book called Handbook of Psycho Biography, and it

618
00:39:42,796 --> 00:39:44,156
Speaker 2: has an essay on this.

619
00:39:44,196 --> 00:39:46,836
Speaker 5: Song Wow phycle biography and.

620
00:39:46,916 --> 00:39:49,396
Speaker 2: So yeah, so here's so this guy has gone through.

621
00:39:49,836 --> 00:39:54,636
Speaker 2: I made a chart all of the lyrical mistakes that

622
00:39:54,756 --> 00:40:00,676
Speaker 2: Elvis made in every known live recording. Of these were

623
00:40:00,676 --> 00:40:04,116
Speaker 2: two songwriters, and I felt they immediately saw themselves in

624
00:40:04,156 --> 00:40:07,756
Speaker 2: that chart. Do you find yourself making the kind of

625
00:40:07,836 --> 00:40:11,036
Speaker 2: error sometimes even subtle ones, that you know you've been

626
00:40:11,036 --> 00:40:11,556
Speaker 2: talking about?

627
00:40:11,596 --> 00:40:12,316
Speaker 16: That's so interesting.

628
00:40:12,596 --> 00:40:15,396
Speaker 11: I wrote a song about my mother, called Somebody Something,

629
00:40:15,716 --> 00:40:19,956
Speaker 11: and my mother is adorable, and whenever you heard about

630
00:40:20,316 --> 00:40:22,796
Speaker 11: things going wrong or like some tumultu a story, it

631
00:40:22,876 --> 00:40:24,596
Speaker 11: was my dad. And so I finally was like, you

632
00:40:24,596 --> 00:40:26,476
Speaker 11: know what, want't we the only person in the family

633
00:40:26,516 --> 00:40:28,436
Speaker 11: that there's nothing I have it written about.

634
00:40:28,436 --> 00:40:30,036
Speaker 16: So it's trying to dig dirt on her and there

635
00:40:30,116 --> 00:40:30,636
Speaker 16: was nothing.

636
00:40:31,156 --> 00:40:33,596
Speaker 11: And so I ended up writing this song about her,

637
00:40:33,796 --> 00:40:37,196
Speaker 11: called Somebody Something, and I cry every time I do it.

638
00:40:37,596 --> 00:40:41,076
Speaker 11: And there is a line that says, you know, she's

639
00:40:41,076 --> 00:40:44,196
Speaker 11: always been somebody something. She's lived every life but her own,

640
00:40:46,556 --> 00:40:48,356
Speaker 11: and it's gone. I can't remember it right now.

641
00:40:49,476 --> 00:40:50,276
Speaker 5: I don't know that feeling.

642
00:40:50,516 --> 00:40:54,316
Speaker 16: I can't remember it. She's always been somebody something.

643
00:40:54,356 --> 00:40:58,516
Speaker 11: It's been everything but alone, A daughter, a mother, a lot,

644
00:40:58,876 --> 00:41:02,996
Speaker 11: a daughter, a lover, a wife, and a mother. She's

645
00:41:03,036 --> 00:41:06,636
Speaker 11: lived every life but her own. Yeah, she's always been

646
00:41:06,916 --> 00:41:10,076
Speaker 11: somebody's something. And there's a line that says, you know,

647
00:41:10,196 --> 00:41:12,876
Speaker 11: she she wonders what it might be like to be

648
00:41:12,996 --> 00:41:18,316
Speaker 11: somebody else, and she wonders what it feels like to

649
00:41:18,316 --> 00:41:22,636
Speaker 11: be free. But she's always imagined being nobody's nothing, and

650
00:41:22,676 --> 00:41:23,476
Speaker 11: that's something.

651
00:41:23,236 --> 00:41:24,076
Speaker 16: She never want to be.

652
00:41:24,836 --> 00:41:29,156
Speaker 11: But that line usually is just gone. And a lot

653
00:41:29,196 --> 00:41:31,836
Speaker 11: of times I'll go hold on and divert and tell

654
00:41:31,836 --> 00:41:33,076
Speaker 11: a funny story really quickly.

655
00:41:34,876 --> 00:41:39,716
Speaker 2: Yeah, wait, what's the specific line that's gone? Is which one?

656
00:41:40,276 --> 00:41:40,396
Speaker 7: Uh?

657
00:41:40,996 --> 00:41:41,716
Speaker 4: What's gone? Again?

658
00:41:42,876 --> 00:41:45,756
Speaker 16: She's always been somebody's synth. That's been everything but alone.

659
00:41:45,556 --> 00:41:48,156
Speaker 11: Daughter, a lover, a daughter, a lover, a wife, and

660
00:41:48,196 --> 00:41:50,436
Speaker 11: a mother. She's been everything.

661
00:41:52,036 --> 00:41:52,636
Speaker 9: But alone.

662
00:41:52,876 --> 00:41:56,956
Speaker 16: Yeah, yeah, why is it that lone?

663
00:41:56,956 --> 00:41:58,196
Speaker 11: I don't know. I think that.

664
00:42:02,996 --> 00:42:03,436
Speaker 16: I don't know.

665
00:42:03,476 --> 00:42:07,236
Speaker 11: I think when you she's so when you see somebody

666
00:42:07,276 --> 00:42:10,236
Speaker 11: give so much of themselves, and that's truly the only

667
00:42:10,276 --> 00:42:11,556
Speaker 11: thing that she will never experience.

668
00:42:11,596 --> 00:42:13,436
Speaker 16: And I think it's what I've experienced the most of.

669
00:42:15,316 --> 00:42:19,276
Speaker 2: A minute before we were joking about Toby Keith. Now,

670
00:42:19,316 --> 00:42:23,556
Speaker 2: Casey is pensive as she compares her mother's life to

671
00:42:23,676 --> 00:42:24,476
Speaker 2: her own.

672
00:42:25,436 --> 00:42:28,196
Speaker 11: Not being able to make a relationship work the first

673
00:42:28,276 --> 00:42:30,276
Speaker 11: eighteen thousand times out of the gate, or you know,

674
00:42:30,316 --> 00:42:33,916
Speaker 11: officially the first two and not being a mother and

675
00:42:34,876 --> 00:42:37,236
Speaker 11: she real close. Yeah, I love her.

676
00:42:38,596 --> 00:42:39,676
Speaker 14: Go to church where they're right?

677
00:42:39,756 --> 00:42:43,196
Speaker 16: Do I sit still? Because she makes me and I

678
00:42:43,236 --> 00:42:43,836
Speaker 16: stay awake.

679
00:42:43,956 --> 00:42:45,076
Speaker 4: It's good.

680
00:42:45,716 --> 00:42:48,796
Speaker 5: When I was a kid, if I'd get bored in

681
00:42:48,876 --> 00:42:50,636
Speaker 5: church and my mother and reaching them and pinch me.

682
00:42:50,916 --> 00:42:54,876
Speaker 2: Oh, I got smacked, Casey, can you play that song

683
00:42:54,916 --> 00:42:56,196
Speaker 2: for us? Is it going to be two?

684
00:42:56,396 --> 00:43:02,196
Speaker 16: Let's see? Okay, okay, well we'll see if this happens.

685
00:43:15,876 --> 00:43:22,076
Speaker 16: She grew up playing cowgirl in a railroad town.

686
00:43:23,316 --> 00:43:26,036
Speaker 11: Dream, and she'd see, oh, shoot, hold on, there's a

687
00:43:26,036 --> 00:43:28,196
Speaker 11: lit line, but Elvis in this that's just random. Hold

688
00:43:28,236 --> 00:43:30,436
Speaker 11: on dream and see shee Holly, but I'm gonna do again?

689
00:43:45,516 --> 00:43:49,556
Speaker 11: What did I just say? Sorry, I'm thinking about my mom.

690
00:43:49,596 --> 00:43:50,636
Speaker 11: She grew up playing cowgirl.

691
00:43:50,836 --> 00:43:57,236
Speaker 4: She grew up playing cowgirl in a railroad.

692
00:43:56,516 --> 00:44:01,276
Speaker 11: Town dream, and she'd see Hollywood someday.

693
00:44:03,956 --> 00:44:08,396
Speaker 4: She knew, some distant Friday night, we're.

694
00:44:08,276 --> 00:44:14,036
Speaker 16: The citar Oh just right, Fate would come.

695
00:44:13,836 --> 00:44:15,876
Speaker 4: In and carry you away.

696
00:44:19,916 --> 00:44:25,036
Speaker 16: As far sheha could say from there. Those were just facts,

697
00:44:25,476 --> 00:44:26,036
Speaker 16: that's all right.

698
00:44:28,836 --> 00:44:35,396
Speaker 2: Hold one second, My first reaction to Casey's failure of

699
00:44:35,436 --> 00:44:38,676
Speaker 2: memory was to be embarrassed for her, worried that she

700
00:44:38,756 --> 00:44:42,156
Speaker 2: had lost control. That's the way we're trained to think.

701
00:44:42,916 --> 00:44:47,356
Speaker 2: Just listen to the words I've just used, failure, embarrassed,

702
00:44:47,876 --> 00:44:52,796
Speaker 2: worried in one way or another. That's what this season

703
00:44:52,876 --> 00:44:56,356
Speaker 2: of Revisionist History has been about, about the ways we

704
00:44:56,476 --> 00:45:00,396
Speaker 2: judge each other for our mistakes and choices. The easiest

705
00:45:00,396 --> 00:45:02,556
Speaker 2: thing in the world is to look at those mistakes

706
00:45:02,956 --> 00:45:06,356
Speaker 2: and condemn. The much harder thing is to look at

707
00:45:06,356 --> 00:45:08,596
Speaker 2: those mistakes and understand.

708
00:45:09,836 --> 00:45:15,676
Speaker 16: She married in December anywhere you can address her, Mama maid.

709
00:45:16,956 --> 00:45:19,596
Speaker 16: She looked dark, grown up, standing.

710
00:45:19,156 --> 00:45:25,156
Speaker 11: There like that, had a honeymoon in Memphis Town.

711
00:45:26,556 --> 00:45:29,276
Speaker 4: Yeah, she'll look for an overs all around.

712
00:45:31,436 --> 00:45:37,636
Speaker 16: May love in the Grayhound, coming back as far as

713
00:45:37,636 --> 00:45:41,116
Speaker 16: she could see from there. Those were just the facts.

714
00:45:41,276 --> 00:45:41,596
Speaker 4: Lie.

715
00:45:43,476 --> 00:45:52,476
Speaker 11: You went from somebody's daughter, somebody's wife, Jesus.

716
00:45:52,956 --> 00:45:57,996
Speaker 2: Parapraxis is not failure. When the performer slips, the audience

717
00:45:58,156 --> 00:46:03,396
Speaker 2: is not cheated. It's the opposite. Parapraxis is a gift.

718
00:46:05,276 --> 00:46:09,556
Speaker 2: I presented myself as interested in this story, but now

719
00:46:09,596 --> 00:46:13,316
Speaker 2: you know that this subject doesn't just interest me it

720
00:46:13,556 --> 00:46:20,196
Speaker 2: worries me. Losing control is my great anxiety. When Jack

721
00:46:20,196 --> 00:46:24,716
Speaker 2: White said carefully instead of cleverly, it was a hint

722
00:46:24,836 --> 00:46:28,476
Speaker 2: that playing Elvis wasn't a trivial matter for him. It

723
00:46:28,556 --> 00:46:34,836
Speaker 2: was a sacred act. Carefully full of care, and Elvis,

724
00:46:35,156 --> 00:46:38,556
Speaker 2: after the loss of Priscilla, sang a song hit song

725
00:46:38,676 --> 00:46:41,476
Speaker 2: a thousand times only now in a way that gave

726
00:46:41,516 --> 00:46:50,116
Speaker 2: the audience a window on his pane. Mistakes reveal our vulnerabilities.

727
00:46:50,596 --> 00:46:53,596
Speaker 2: They are the way the world understands us, the way

728
00:46:53,756 --> 00:47:02,796
Speaker 2: performers make their performances real. So Bobby Braddick and I

729
00:47:02,876 --> 00:47:06,836
Speaker 2: sat there listening to Casey singh tears in her eyes,

730
00:47:06,996 --> 00:47:09,676
Speaker 2: fumbling to remember the lyrics of a song about her mother.

731
00:47:11,876 --> 00:47:15,276
Speaker 2: Fumbling not because your mother didn't matter to her, but

732
00:47:15,356 --> 00:47:16,076
Speaker 2: because she did.

733
00:47:16,956 --> 00:47:21,076
Speaker 11: She's always there, somebody something.

734
00:47:23,276 --> 00:47:37,516
Speaker 18: Then everything, daughter, Wow, daughter lover who a fan?

735
00:47:38,036 --> 00:47:38,396
Speaker 7: Mother?

736
00:47:39,836 --> 00:47:41,636
Speaker 16: She's live every life.

737
00:47:41,756 --> 00:47:48,556
Speaker 4: But she'd say, that's just call Alma.

738
00:47:51,036 --> 00:47:57,156
Speaker 16: She's always there. Somebody's so.

739
00:48:01,796 --> 00:48:02,956
Speaker 4: God, it's beautiful.

740
00:48:04,076 --> 00:48:05,116
Speaker 2: Why are you covering your mouth.

741
00:48:05,316 --> 00:48:07,236
Speaker 16: I'm just it's just weird.

742
00:48:09,436 --> 00:48:12,276
Speaker 11: Because I've never It's just weird when you're thinking about

743
00:48:12,316 --> 00:48:13,436
Speaker 11: what it is like.

744
00:48:13,516 --> 00:48:14,756
Speaker 16: I just thought, oh bad.

745
00:48:14,556 --> 00:48:17,796
Speaker 11: Memory, too many songs old, too many songs in there.

746
00:48:18,356 --> 00:48:21,396
Speaker 11: But at any point in time, I could pull out

747
00:48:22,396 --> 00:48:25,036
Speaker 11: a rap from new edition from nineteen eighty two, like

748
00:48:25,076 --> 00:48:28,116
Speaker 11: why is that in there? And something that you wrote

749
00:48:28,236 --> 00:48:30,396
Speaker 11: is not in there? That is so weird?

750
00:48:32,436 --> 00:48:36,956
Speaker 2: It's not weird. A lesser person would have sung it perfectly.

751
00:48:54,716 --> 00:48:57,636
Speaker 2: Thank you for listening to Season three of Revisionist History,

752
00:48:58,236 --> 00:49:00,796
Speaker 2: And if you like this episode, you'll enjoy my new

753
00:49:00,836 --> 00:49:04,316
Speaker 2: series launching later this year. It's called Broken Record, and

754
00:49:04,356 --> 00:49:08,596
Speaker 2: you can subscribe right now on Apple Podcasts. Revision's History

755
00:49:08,676 --> 00:49:12,196
Speaker 2: is a pan up production. The senior producer is Mia LaBelle,

756
00:49:12,276 --> 00:49:16,596
Speaker 2: with Jacob Smith and Camille Baptista. Our editor is Julia Barton.

757
00:49:17,196 --> 00:49:20,716
Speaker 2: Lawn Williams is our engineer. Fact checking by Beth Johnson.

758
00:49:21,156 --> 00:49:25,436
Speaker 2: Original music by Luis Gira. Special thanks to Kim Green

759
00:49:25,636 --> 00:49:29,876
Speaker 2: and Hal Humphries of Storyboard e MP in Nashville and

760
00:49:29,956 --> 00:49:33,436
Speaker 2: here in New York. Thanks to Jason Gambrell, Evan Viola,

761
00:49:33,956 --> 00:49:40,996
Speaker 2: Rachel Strom, Nicole Bunsis, Kate Mescal, Kristen Meinzer Carle Migliore,

762
00:49:41,356 --> 00:49:47,116
Speaker 2: Andy Bauers, and of course El Hefe Jacob Weisberg. I'm

763
00:49:47,116 --> 00:49:47,796
Speaker 2: Malcolm glamo.

764
00:50:05,556 --> 00:50:12,436
Speaker 4: Okay, so it will be.

765
00:50:12,956 --> 00:50:19,316
Speaker 2: I wonder if you're lonesome tonight. You know, someone said

766
00:50:20,316 --> 00:50:24,516
Speaker 2: that the world's a stage and each must play a part.

767
00:50:26,516 --> 00:50:30,596
Speaker 2: Fate had me playing in love you as my sweetheart.

768
00:50:32,316 --> 00:50:35,596
Speaker 2: Act one was when we met. I loved you at

769
00:50:35,636 --> 00:50:40,436
Speaker 2: first glance. You read your lines so cleverly and never

770
00:50:40,476 --> 00:50:47,436
Speaker 2: missed a que. Then came act too. You seem to change,

771
00:50:47,756 --> 00:50:54,356
Speaker 2: and you acted strange, and why I'll never know, Honey.

772
00:50:54,396 --> 00:50:56,996
Speaker 2: You lied when you said you loved me, and I

773
00:50:57,076 --> 00:51:00,676
Speaker 2: had no cause to doubt you. But I'd rather go

774
00:51:00,796 --> 00:51:04,596
Speaker 2: on hearing your lies than go on living without you.

775
00:51:07,356 --> 00:51:12,236
Speaker 2: Now the stage is bare, and I'm standing there with

776
00:51:12,356 --> 00:51:16,476
Speaker 2: emptiness all around. And if you won't come back to me,

777
00:51:18,116 --> 00:51:19,956
Speaker 2: then make them bring the curtain down.

778
00:51:21,676 --> 00:51:23,476
Speaker 4: How about doing nice very good?

779
00:51:23,916 --> 00:51:24,436
Speaker 2: I mustn't.

780
00:51:24,756 --> 00:51:25,796
Speaker 4: I'm not very musical.

781
00:51:25,836 --> 00:51:26,636
Speaker 5: No, it's very good.

782
00:51:26,636 --> 00:51:30,316
Speaker 4: That's good. Yeah,