WEBVTT - The Big Birthday Party

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<v Speaker 1>Pushkin. So I'm calling you because I'm doing a little

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<v Speaker 1>thing on how I don't like my birthday. Yes, and

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<v Speaker 1>I have questions for you.

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<v Speaker 2>Yes, I'm eagerly waiting to hear of this because I

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<v Speaker 2>have spaid a lot of time one ding what it's

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<v Speaker 2>all about.

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<v Speaker 1>That's my mom, Joyce. She's very short, speaks very softly.

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<v Speaker 1>You would like her. Do you remember ever having a

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<v Speaker 1>birthday party for me when I was a child.

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<v Speaker 2>I think we did. We didn't do exotic things. I

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<v Speaker 2>think you had people sleep over, or you had some

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<v Speaker 2>people to tea, a few friends from school.

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<v Speaker 1>I remember there was once a big party, and really

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<v Speaker 1>and I and I said, and afterwards I said, that's enough.

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<v Speaker 2>Oh okay, now, well you're going to exclaine what you were?

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<v Speaker 3>What was enough?

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<v Speaker 1>In case you're wondering, my mom is a therapist. I

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<v Speaker 1>just thought it was a I thought it was a

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<v Speaker 1>needless production to have all these people over.

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<v Speaker 2>What should it have been instead?

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<v Speaker 1>Well, what would I do now? Is perfect? Which is nothing?

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<v Speaker 2>Oh, so you didn't enjoy any part of having friends

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<v Speaker 2>to eat with you?

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<v Speaker 1>No, I haven't had a birthday party since. It's worse

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<v Speaker 1>than that. I don't remember anyone's birthday. I know my

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<v Speaker 1>mother's but not my father's, one of my brothers, but

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<v Speaker 1>not the other. One of my daughters was born in

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<v Speaker 1>July and the other in August, but I'm not sure

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<v Speaker 1>which is which. If I were to name my five

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<v Speaker 1>closest friends, I think I know the birthday of one

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<v Speaker 1>of them. And that's because it's January first. And I

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<v Speaker 1>just saw him on January first, and he said to me,

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<v Speaker 1>with tones of great injury and reproach, today is my birthday.

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<v Speaker 1>But I am sure I'll forget that fact really soon

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<v Speaker 1>on this particular subject. The overloaded lifeboat that is my

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<v Speaker 1>memory is refusing all further passengers. And by the way,

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<v Speaker 1>my mother reminded me, it's not just birthdays that I

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<v Speaker 1>have a problem with, it's any kind of arbitrary celebration.

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<v Speaker 4>So you were.

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<v Speaker 5>A very thoughtful child.

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<v Speaker 2>The fact, for example, was that you child is your teacher,

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<v Speaker 2>Miss Brown.

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<v Speaker 1>Missus Brown was my first grade teacher. I was very

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<v Speaker 1>fond of Missus Brown. But one day at school she

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<v Speaker 1>brought up Christmas and Santa Claus.

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<v Speaker 2>You put your hand up and said, there is no

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<v Speaker 2>center flower. This was when she had the fair problem,

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<v Speaker 2>because here she was speaking to a group of small

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<v Speaker 2>children who wanted to believe.

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<v Speaker 1>Yes, it's they're linked by the way my disdain for

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<v Speaker 1>Santa Claus and my disdain for my birthday. Is this

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<v Speaker 1>part of the same impulse?

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<v Speaker 5>Yes, of course, Yes, of.

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<v Speaker 1>Course, says mom the therapist. Why am I telling you

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<v Speaker 1>all this because last year, twenty twenty five was the

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<v Speaker 1>tenth anniversary of when we started making Revisionist History, and

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<v Speaker 1>I forgot all about it, totally skip my mind until

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<v Speaker 1>I was randomly on the Revision's history dot Com website

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<v Speaker 1>looking up some forgotten fact from an episode from season

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<v Speaker 1>one one of my favorite food Fight, and I noticed

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<v Speaker 1>the release date July fourteenth, twenty sixteen, and I realized,

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<v Speaker 1>holy mackerel, we've been around for ten years. The Internet

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<v Speaker 1>tells me that this is the ten or Aluminum anniversary,

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<v Speaker 1>which I have to say, kind of proves my point.

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<v Speaker 1>What are you supposed to do in your tenth anniversary?

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<v Speaker 3>Right?

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<v Speaker 1>I love you in magic marker on a sheet of tinfoil.

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<v Speaker 1>This was back in the summer. So what did I do.

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<v Speaker 1>I didn't say anything, kept it to myself. It's better

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<v Speaker 1>this way, I thought, But then I remember to date.

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<v Speaker 1>I went on many years ago with a girl who

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<v Speaker 1>told me that she turned her birthday every year into

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<v Speaker 1>a seven day marathon. She called it, wait for it,

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<v Speaker 1>Princess Week. Picture me in the darkened bar making sense

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<v Speaker 1>of that revelation. Good lord, But if someone wants Princess Week,

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<v Speaker 1>shouldn't we just give them Princess Week. So, all of

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<v Speaker 1>you insufferably sentimental people out there in listener land, this

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<v Speaker 1>is for you, a little revisionist history tenth anniversary celebration.

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<v Speaker 1>To get started, I did little homework, sent out a tweet,

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<v Speaker 1>asked listeners for feedback, scoured some Reddit threads, talk with

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<v Speaker 1>people who've been involved in the show over the years,

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<v Speaker 1>trying to generate a highlight reel for the big birthday party.

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<v Speaker 1>What was her favorite moment memory? First thing I got

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<v Speaker 1>back was from my colleague Bend daph Haffrey, who talked

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<v Speaker 1>to my old producer Elowise Linton about a reporting trip

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<v Speaker 1>we took back in twenty twenty one for the episode

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<v Speaker 1>The Dog Will See You Now.

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<v Speaker 3>Okay, So Malcolm wanted to do an episode on these

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<v Speaker 3>dogs who were trained to small COVID and we found

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<v Speaker 3>this center in Alabama that trained these specialized dogs and

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<v Speaker 3>we all decided to go on a road trip and

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<v Speaker 3>it was me, Malcolm and Jacob Smith, so Malcolm and

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<v Speaker 3>two producers. And part of the thing that was fun

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<v Speaker 3>but also kind of crazy about it was that we

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<v Speaker 3>were just sort of coming out of COVID, so we

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<v Speaker 3>hadn't It was fun to take a trip in a

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<v Speaker 3>moment when there wasn't a lot of socializing or traveling

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<v Speaker 3>going on.

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<v Speaker 1>Let me just butt in here and say that no

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<v Speaker 1>one loves doing Alabama stories more than me. Back in

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<v Speaker 1>season two, we did The foot Soldier of Birmingham. Season eight,

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<v Speaker 1>we did an episode called Footnote Remember for our gun

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<v Speaker 1>series about a guy living on an old plantation outside

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<v Speaker 1>of Tuskegee. Season ten, we went to Scottsboro, Alabama for

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<v Speaker 1>an episode of our nineteen thirty six Olympic series. And

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<v Speaker 1>we just did The Alabama Murders, a seven part series

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<v Speaker 1>about crime and punishment and redemption set in a little

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<v Speaker 1>town in northwestern Alabama. Bet and I went twice. Ben

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<v Speaker 1>went a third time on his own. No one loves

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<v Speaker 1>Alabama more than I love Alabama. So in the middle

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<v Speaker 1>of COVID, I want to do a story about how

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<v Speaker 1>dogs are much better detecting COVID, then even the most

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<v Speaker 1>sophisticated molecular bio essay, and I find out that one

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<v Speaker 1>of the biggest COVID canine training centers is an hour's

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<v Speaker 1>drive from Birmingham, way up in the hills, Alabama. Cute puppies,

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<v Speaker 1>viral epidemics. My feeling was that this might be the

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<v Speaker 1>perfect revision's history story.

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<v Speaker 3>One fun thing that I learned about Malcolm on this

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<v Speaker 3>trip is that he doesn't believe in using maps, which

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<v Speaker 3>caused you know, nah, he doesn't want He doesn't mean

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<v Speaker 3>you can ask him his philosophy on it. I'm sure

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<v Speaker 3>he has some great answer, but he would not use

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<v Speaker 3>an app. So it was kind of me and Jacob

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<v Speaker 3>secretly checking our you know, Google maps and sort of

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<v Speaker 3>suggesting that he takes certain turns, picking your fingers, sticking

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<v Speaker 3>it to the wind and being yeah, exactly, yeah, this

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<v Speaker 3>is true.

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<v Speaker 1>Since we're talking about my parents, one of my fondest

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<v Speaker 1>memories of being a kid is driving with my family

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<v Speaker 1>somewhere and clearly getting hopelessly lost and my father announcing

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<v Speaker 1>gleefully from the front seat, I'm following my nose. I

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<v Speaker 1>felt that my young producers deserved a similar experience.

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<v Speaker 3>And on this long drive road trip, we had to

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<v Speaker 3>stop for gas, and we stopped at a very desolate

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<v Speaker 3>gas station, kind of in the middle of nowhere, very

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<v Speaker 3>in the middle of nowhere, and Malcolm and Jacob both

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<v Speaker 3>went in to grab something, and I went to the

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<v Speaker 3>bathroom and I came back out and they were gone,

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<v Speaker 3>and I left my cellphone in the car, and I

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<v Speaker 3>just kind of remember calculating what my options were in

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<v Speaker 3>terms of what I could do. So I remember I

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<v Speaker 3>went into the I went into the sort of gas

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<v Speaker 3>station and was concentplating calling my family, calling my roommate

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<v Speaker 3>and saying, listen, my boss left me at a gas.

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<v Speaker 1>In fairness to me and Jacob, Elowis had been sitting

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<v Speaker 1>in the back seat, and she is by nature quite

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<v Speaker 1>as a church mess, so it makes sense that we

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<v Speaker 1>might assume that she was back there all the time,

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<v Speaker 1>reading a book or something. And it did not take

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<v Speaker 1>that long for us to realize our mistake, maybe ten

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<v Speaker 1>miles max and the frantic drive back, both Jacob and

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<v Speaker 1>I felt really, really guilty. Anyway, why am I telling

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<v Speaker 1>you this story because when I meet listeners, I think

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<v Speaker 1>they have the impression that this show is some big,

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<v Speaker 1>well oiled corporate machine, and clearly it's not.

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<v Speaker 3>I was like, did you try calling me? Like what?

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<v Speaker 5>One?

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<v Speaker 3>I don't think we really talked about it, because we're.

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<v Speaker 1>Also read all right. Speaking of Ben, here's a note

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<v Speaker 1>from my Twitter call out from a listener named Rob Gilfillian.

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<v Speaker 1>Here's my question. Malcolm pronounces his colleague's name as Ben

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<v Speaker 1>Nadaph Haffrey, while Ben calls himself Ben a de Haffrey.

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<v Speaker 1>It's similar to the difference in pronouncing pecan or pecan,

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<v Speaker 1>or Caribbean or Caribbean. These two obviously spend a lot

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<v Speaker 1>of time together. Seems odd. This is so true. It's

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<v Speaker 1>because I just love a double barreled last name. I

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<v Speaker 1>wish I had one. My mother's maiden name was Nation.

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<v Speaker 1>Can you imagine if I were known as Malcolm Nation Gladwell,

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<v Speaker 1>I would be unstoppable. So I'm deeply appreciative of that

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<v Speaker 1>nadaph in the middle of Ben's name. I want to

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<v Speaker 1>give it the kind of relish I believe it deserves.

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<v Speaker 1>Nadafha is like pickles on a sandwich. It's transformative. The

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<v Speaker 1>other reason, while I'm on this subject is that this

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<v Speaker 1>is the price I pay for being the child of

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<v Speaker 1>a Jamaican and an Englishman who was raised in Canada

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<v Speaker 1>and then moved to the United States. I have four

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<v Speaker 1>different pronunciation and accent models bouncing around my head at

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<v Speaker 1>all times. Everything is up for grabs. The person who

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<v Speaker 1>knows this better than anyone is my producer, Nina Lawrence.

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<v Speaker 3>Yeah, you have a real problem with with ambulances.

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<v Speaker 1>And what do you say? But when the ambulance arrived

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<v Speaker 1>a few minutes later? What do I say?

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<v Speaker 6>When the ambulance?

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<v Speaker 1>And that's the that's what it says, ambulance. What where

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<v Speaker 1>were we? One more memory. We're celebrating our tenth anniversary,

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<v Speaker 1>and you were You were the principal figure in the

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<v Speaker 1>founding of revisionist history.

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<v Speaker 6>It's crazy, I guess.

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<v Speaker 7>I mean, yeah, I was there.

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<v Speaker 1>I was there from the very very start.

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<v Speaker 7>I remember our very first meeting Bell.

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<v Speaker 1>The person who taught me everything there is to know

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<v Speaker 1>about podcasting. I want you to go back. So we

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<v Speaker 1>we were interviewing people and you waltzed in.

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<v Speaker 5>Is that? How is that how it felt that?

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<v Speaker 1>I want that I waltzed in. I know who you were.

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<v Speaker 1>I did not I did not read your resume in advance.

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<v Speaker 1>I never do the wait, but I want to know

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<v Speaker 1>what were you? We had never met.

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<v Speaker 7>Before, we had never met before.

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<v Speaker 1>What were your impressions there? I was skinny, Malcolm, what

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<v Speaker 1>you say?

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<v Speaker 7>Well, I knew your work coming in, and I had

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<v Speaker 7>read the outline of your I'd.

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<v Speaker 1>Given you an outline of some suggested ideas I had

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<v Speaker 1>for the first season.

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<v Speaker 7>Yes, yes, and there were some great you know, there

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<v Speaker 7>was some great stuff in there, but I also saw

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<v Speaker 7>a lot of sports and cars, and all the sources

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<v Speaker 7>that you referenced were dudes. And I was just like, Okay,

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<v Speaker 7>here we go.

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<v Speaker 1>And so I'm not a mean person, but.

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<v Speaker 7>I needed to speak my truth, my truth, which was

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<v Speaker 7>there's some great stuff here, but no woman is ever

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<v Speaker 7>going to listen to this podcast.

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<v Speaker 1>So I remember. I remember that perfectly. I I the

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<v Speaker 1>minute I heard that I fell in love with you.

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<v Speaker 1>I was like, I was like, so, so, I so

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<v Speaker 1>want to work with this woman. This is fantastic. It

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<v Speaker 1>was a show called Revisionist History. The tagline was because

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<v Speaker 1>sometimes the past deserves a second chance. The premise of

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<v Speaker 1>the show was that you needed to go back over

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<v Speaker 1>things that had happened, because chances are you got them wrong.

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<v Speaker 1>The first time, and Mia walks in, looks at the

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<v Speaker 1>proposed lineup of episodes and says, you need to go

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<v Speaker 1>back over them. You got them wrong the first time.

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<v Speaker 1>Under the circumstances, who could say no? After talking to Mia,

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<v Speaker 1>I thought of one of my all time favorite songs,

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<v Speaker 1>David allen Coe's you Never Even Called Me by my Name,

0:13:53.916 --> 0:13:58.596
<v Speaker 1>which begins with the perfect country opening line, Well.

0:13:58.476 --> 0:13:59.316
<v Speaker 8>It was all.

0:14:00.996 --> 0:14:03.156
<v Speaker 5>I could do.

0:14:03.156 --> 0:14:04.796
<v Speaker 9>You keep from crying.

0:14:06.476 --> 0:14:08.636
<v Speaker 1>If you've never heard of David allen Coe, By the way,

0:14:09.116 --> 0:14:11.236
<v Speaker 1>he just read you, a line taken at random from

0:14:11.316 --> 0:14:15.596
<v Speaker 1>his Wikipedia page. After concluding another prison term in nineteen

0:14:15.636 --> 0:14:18.956
<v Speaker 1>sixty seven, Co embarked on a music career in Nashville,

0:14:19.436 --> 0:14:21.716
<v Speaker 1>living in a hearse which he parked in front of

0:14:21.716 --> 0:14:25.516
<v Speaker 1>the Rymann Auditorium while he performed on the street. How

0:14:25.516 --> 0:14:28.556
<v Speaker 1>can you not love David allen Coe anyway? Halfway through

0:14:28.676 --> 0:14:31.116
<v Speaker 1>you never even called me by my name? Coe just

0:14:31.196 --> 0:14:33.596
<v Speaker 1>stops and says, well.

0:14:33.636 --> 0:14:36.116
<v Speaker 9>A friend of mine named Steve Goodman wrote that song,

0:14:37.076 --> 0:14:39.236
<v Speaker 9>and he told me it was the perfect Countrey and

0:14:39.276 --> 0:14:42.876
<v Speaker 9>Western song. I wrote him back a letter and I

0:14:42.916 --> 0:14:45.356
<v Speaker 9>told him it was not the perfect Conkrey and Western

0:14:45.436 --> 0:14:49.396
<v Speaker 9>song because he hadn't said anything at all about mama

0:14:50.116 --> 0:14:55.356
<v Speaker 9>or trained, or trucked, or prison.

0:14:56.436 --> 0:14:57.396
<v Speaker 10>Or getting drunk.

0:14:58.316 --> 0:15:01.116
<v Speaker 1>So then Goodman writes a new verse, sends it to

0:15:01.156 --> 0:15:04.716
<v Speaker 1>co and Coe says, Okay, now this really is the

0:15:04.756 --> 0:15:06.156
<v Speaker 1>perfect country and Western song.

0:15:07.236 --> 0:15:09.316
<v Speaker 9>The last verse goes like this here.

0:15:10.956 --> 0:15:16.076
<v Speaker 8>And I was drawn to d My mom got out

0:15:16.076 --> 0:15:23.476
<v Speaker 8>of prison, and I with the picker up.

0:15:24.996 --> 0:15:30.716
<v Speaker 3>In the right, but before.

0:15:31.956 --> 0:15:37.076
<v Speaker 8>I could get to the station, now the picker throw

0:15:40.076 --> 0:15:43.996
<v Speaker 8>she got rid over by a damn the train.

0:15:47.876 --> 0:15:49.556
<v Speaker 1>I think you can see where I'm going with this.

0:15:50.236 --> 0:15:53.196
<v Speaker 1>A singer insists on going back over a song, a

0:15:53.276 --> 0:15:56.236
<v Speaker 1>song that has already been written, because he thinks the

0:15:56.276 --> 0:15:59.796
<v Speaker 1>songwriter got it wrong the first time. And what's the fix?

0:16:00.636 --> 0:16:04.716
<v Speaker 1>Nothing elaborate, the most prosaic of things, the bare essentials

0:16:04.756 --> 0:16:09.876
<v Speaker 1>for a country singer, Mama, trains, trucks, prisons, and getting

0:16:10.436 --> 0:16:12.436
<v Speaker 1>That's what I think we've learned over the first ten

0:16:12.516 --> 0:16:16.556
<v Speaker 1>years of the show that getting something right doesn't require heroics,

0:16:17.196 --> 0:16:20.796
<v Speaker 1>is just following your nose and turning around when you

0:16:20.876 --> 0:16:37.996
<v Speaker 1>mistakenly left someone behind. After the break, the celebration continues, Okay,

0:16:38.196 --> 0:16:40.476
<v Speaker 1>I have some thoughts about the first ten years of

0:16:40.516 --> 0:16:44.196
<v Speaker 1>Revision's history why it has been so much fun, Because

0:16:44.556 --> 0:16:47.436
<v Speaker 1>it's been way way more fun than I ever imagined

0:16:48.156 --> 0:16:51.236
<v Speaker 1>for me. It starts with the difference between reading a

0:16:51.316 --> 0:16:55.636
<v Speaker 1>story and hearing a story. In reading, the writer is

0:16:55.676 --> 0:16:58.316
<v Speaker 1>in charge of what appears on the page. If you

0:16:58.356 --> 0:17:00.276
<v Speaker 1>read one of my books and you liked it, you're

0:17:00.276 --> 0:17:03.396
<v Speaker 1>giving me a direct compliment. You're saying, I like what

0:17:03.516 --> 0:17:06.996
<v Speaker 1>you made. But when you listen to a story made

0:17:07.036 --> 0:17:10.036
<v Speaker 1>up of interviews with all sorts of people, archival tape

0:17:10.076 --> 0:17:13.036
<v Speaker 1>sitch together with bits of narrative here and there, you

0:17:13.076 --> 0:17:16.276
<v Speaker 1>aren't saying I like what you made. You're saying I

0:17:16.436 --> 0:17:19.396
<v Speaker 1>like what you found. And that's a very different thing.

0:17:21.116 --> 0:17:24.276
<v Speaker 1>One episode listeners ranked as a favorite on my Twitter poll,

0:17:24.276 --> 0:17:27.636
<v Speaker 1>for example, is My Little one hundred Million from season one,

0:17:28.196 --> 0:17:32.076
<v Speaker 1>an episode all about the strange phenomenon of wealthy people

0:17:32.116 --> 0:17:34.996
<v Speaker 1>giving millions of dollars to colleges that already have millions

0:17:35.036 --> 0:17:38.396
<v Speaker 1>of dollars as opposed to schools that don't have millions

0:17:38.396 --> 0:17:41.396
<v Speaker 1>of dollars. There's a moment in the episode where I

0:17:41.396 --> 0:17:44.156
<v Speaker 1>call up John Hennessy, who was the president of Stanford

0:17:44.236 --> 0:17:47.556
<v Speaker 1>University at the time. Stanford is a tiny fraction of

0:17:47.596 --> 0:17:50.756
<v Speaker 1>the size of its neighbors in the University of California System.

0:17:50.876 --> 0:17:54.876
<v Speaker 1>And yet in twenty sixteen, Stamford's endowment was twenty two billion.

0:17:55.716 --> 0:18:00.116
<v Speaker 1>The UC systems endowment much much smaller, by about eight

0:18:00.156 --> 0:18:04.676
<v Speaker 1>and a half billion dollars. So I asked Hennessy, do

0:18:04.716 --> 0:18:08.436
<v Speaker 1>you ever imagine that a president of Stanford might go

0:18:09.316 --> 0:18:12.036
<v Speaker 1>to a funder and say, at this point in our history,

0:18:12.076 --> 0:18:13.676
<v Speaker 1>the best use of your money is to give to

0:18:13.756 --> 0:18:17.156
<v Speaker 1>the UC system, not to Stanford. Well, that would be

0:18:17.236 --> 0:18:19.316
<v Speaker 1>a hard thing to do, obviously, to.

0:18:21.316 --> 0:18:23.476
<v Speaker 5>Turn them turn them away.

0:18:23.836 --> 0:18:27.356
<v Speaker 6>And I think the other question we'd be asked is

0:18:28.236 --> 0:18:28.836
<v Speaker 6>how can I.

0:18:28.836 --> 0:18:30.756
<v Speaker 1>Have confidence that they'll use my money?

0:18:30.796 --> 0:18:34.116
<v Speaker 8>Well, which we're obviously the president of Stanford is not

0:18:34.196 --> 0:18:36.276
<v Speaker 8>in a position to vouch for. I think.

0:18:37.596 --> 0:18:41.076
<v Speaker 1>It's an amazing answer. And what's amazing is that he

0:18:41.156 --> 0:18:44.676
<v Speaker 1>had every reason to duck that question, or brush it aside,

0:18:45.116 --> 0:18:48.396
<v Speaker 1>or tell a lie, but he doesn't. He decides to

0:18:48.436 --> 0:18:51.636
<v Speaker 1>be completely honest. He owns up to the fact that

0:18:51.716 --> 0:18:54.676
<v Speaker 1>even though he is an educator, he is not primarily

0:18:54.756 --> 0:18:58.836
<v Speaker 1>in the education business. He's in the Stanford business. And

0:18:58.876 --> 0:19:01.036
<v Speaker 1>I suspect that one of the reasons so many people

0:19:01.076 --> 0:19:03.596
<v Speaker 1>listed my Little one hundred million, as one of their

0:19:03.636 --> 0:19:06.756
<v Speaker 1>favorites is because of that little bit of tape from Hennessy.

0:19:07.476 --> 0:19:10.996
<v Speaker 1>I didn't make that moment. I didn't anticipate it. I

0:19:10.996 --> 0:19:14.836
<v Speaker 1>didn't manipulate Hennessy into saying it. I stumbled into it.

0:19:15.676 --> 0:19:18.276
<v Speaker 1>And the wonderful thing about audio is that it allows

0:19:18.316 --> 0:19:21.956
<v Speaker 1>you to capture those found moments exactly as they're happening.

0:19:24.716 --> 0:19:27.596
<v Speaker 1>There's an even better example of this. It's from another

0:19:27.636 --> 0:19:33.276
<v Speaker 1>episode on the List from Listeners, Elvis Analysis Parapraxis season three.

0:19:33.796 --> 0:19:36.396
<v Speaker 1>If you haven't heard it, the premise is pretty simple.

0:19:36.756 --> 0:19:40.316
<v Speaker 1>One of Elvis's trademark songs was are You Lonesome Tonight?

0:19:40.796 --> 0:19:42.676
<v Speaker 1>And in the middle of the song, there's a bridge,

0:19:42.756 --> 0:19:46.676
<v Speaker 1>a couple of spoken sentences, a little soliloquy, and over

0:19:46.676 --> 0:19:49.396
<v Speaker 1>and over again, whenever Elvis had to say the bridge,

0:19:49.876 --> 0:19:52.836
<v Speaker 1>hit screw it up, get the words wrong, break out

0:19:52.876 --> 0:19:54.756
<v Speaker 1>into totally inappropriate laughter.

0:19:56.516 --> 0:19:58.516
<v Speaker 2>The World's of stags and East must play a part.

0:20:11.676 --> 0:20:15.276
<v Speaker 1>The Freudian term for what Elvis was doing is called parapraxis,

0:20:15.796 --> 0:20:18.916
<v Speaker 1>a slip of the tongue that reveals something about the speaker.

0:20:19.596 --> 0:20:22.556
<v Speaker 1>So the episode was trying to answer, what does Elvis's

0:20:22.596 --> 0:20:26.076
<v Speaker 1>issue with the bridge. Tell us about Elvis. Now, I

0:20:26.076 --> 0:20:28.396
<v Speaker 1>should say I had all kinds of trouble doing this story.

0:20:28.756 --> 0:20:31.716
<v Speaker 1>There was a great essay written about Elvis's parapraxis by

0:20:31.716 --> 0:20:35.836
<v Speaker 1>the psychologist Alan Elms, so I flew to Sacramento to

0:20:35.876 --> 0:20:38.836
<v Speaker 1>meet with Elms, but he wasn't well and couldn't really speak,

0:20:38.956 --> 0:20:41.436
<v Speaker 1>so I kind of gave up put the story aside

0:20:41.436 --> 0:20:44.276
<v Speaker 1>for months until I had the random idea of just

0:20:44.356 --> 0:20:47.996
<v Speaker 1>going to Nashville and having professional musicians sing are You

0:20:48.116 --> 0:20:50.676
<v Speaker 1>Lonesome Tonight and explain to me why the bridge is

0:20:50.716 --> 0:20:54.116
<v Speaker 1>so complicated. I went to see Bobby Braddock, one of

0:20:54.116 --> 0:20:57.036
<v Speaker 1>the legendary Nashville songwriters, and he brought with him a

0:20:57.076 --> 0:21:01.196
<v Speaker 1>good friend, a singer named Casey Bowles. Casey sang are

0:21:01.196 --> 0:21:03.956
<v Speaker 1>You Lonesome Tonight? And then we got on the subject

0:21:04.316 --> 0:21:07.796
<v Speaker 1>of another song, one of her own. Do you find

0:21:07.836 --> 0:21:11.516
<v Speaker 1>yourself making the kind of errors sometimes even subtle ones

0:21:11.556 --> 0:21:13.596
<v Speaker 1>that you know you've been talking about?

0:21:13.636 --> 0:21:16.196
<v Speaker 5>That's so interesting. I wrote a song about my mother

0:21:16.356 --> 0:21:21.236
<v Speaker 5>called Somebody Something, and my mother is adorable. And whenever

0:21:21.276 --> 0:21:24.276
<v Speaker 5>you heard about things going wrong or like some tumultu

0:21:24.316 --> 0:21:26.236
<v Speaker 5>a story, it was my dad, and so I finally

0:21:26.356 --> 0:21:27.916
<v Speaker 5>was like, you know what, wantn't we the only person

0:21:27.916 --> 0:21:30.476
<v Speaker 5>in the family that there's nothing I have it written about?

0:21:30.476 --> 0:21:31.636
<v Speaker 5>So it's trying to dig dirt on.

0:21:31.636 --> 0:21:32.676
<v Speaker 6>Her and there was nothing.

0:21:33.156 --> 0:21:35.596
<v Speaker 5>And so I ended up writing this song about her,

0:21:35.796 --> 0:21:39.196
<v Speaker 5>called Somebody Something, and I cry every time I do it.

0:21:39.596 --> 0:21:43.076
<v Speaker 5>And there is a line that says, you know, she's

0:21:43.116 --> 0:21:45.996
<v Speaker 5>always been somebody something. She's lived every life but her own,

0:21:48.556 --> 0:21:51.516
<v Speaker 5>and it's gone. I can't remember it right now. I

0:21:51.556 --> 0:21:53.276
<v Speaker 5>don't know that feeling. I can't remember it.

0:21:54.756 --> 0:21:57.356
<v Speaker 6>She's always been somebody something. It's been everything but.

0:21:57.436 --> 0:22:02.236
<v Speaker 5>Alone, a daughter, a mother, a lot, a daughter, a lover,

0:22:02.716 --> 0:22:06.116
<v Speaker 5>a wife, and a mother. She's lived every life but

0:22:06.276 --> 0:22:10.876
<v Speaker 5>her own. Yeah, she's always been so it's something. And

0:22:10.916 --> 0:22:13.236
<v Speaker 5>there's a line that says, you know, she she wonders

0:22:13.236 --> 0:22:16.436
<v Speaker 5>what it might be like to be somebody else, and

0:22:16.476 --> 0:22:22.276
<v Speaker 5>she wonders what it feels like to be free, but

0:22:22.356 --> 0:22:25.316
<v Speaker 5>she's always imagined being nobody's nothing, and that's something she

0:22:25.476 --> 0:22:30.196
<v Speaker 5>never want to be. But that line usually is just gone.

0:22:30.356 --> 0:22:32.796
<v Speaker 5>And a lot of times I'll go hold on and

0:22:32.916 --> 0:22:35.076
<v Speaker 5>divert and tell a funny story really quickly.

0:22:36.916 --> 0:22:41.716
<v Speaker 1>Yeah, wait, what's the specific line that's gone is which one?

0:22:42.316 --> 0:22:46.276
<v Speaker 5>Uh? What's going again? She's always been somebody's synth. That's

0:22:46.316 --> 0:22:49.556
<v Speaker 5>been everything but alone, daughter, lover, a daughter, a lover,

0:22:49.676 --> 0:22:52.476
<v Speaker 5>a wife, and a mother. She's been everything.

0:22:54.076 --> 0:22:54.636
<v Speaker 3>But alone.

0:22:54.916 --> 0:22:58.956
<v Speaker 1>Yeah, yeah, why is it that lone?

0:22:58.996 --> 0:23:00.236
<v Speaker 5>I don't know. I think that.

0:23:05.036 --> 0:23:05.436
<v Speaker 6>I don't know.

0:23:05.516 --> 0:23:08.796
<v Speaker 5>I think when you even she's so when you see

0:23:08.836 --> 0:23:11.876
<v Speaker 5>somebody to give so much of themselves, and that's truly

0:23:11.916 --> 0:23:13.796
<v Speaker 5>the only thing that she will never experience. And I

0:23:13.836 --> 0:23:15.476
<v Speaker 5>think it's what I've experienced the most of.

0:23:17.076 --> 0:23:19.636
<v Speaker 1>I go to Nashville to write a story about parapraxis,

0:23:19.996 --> 0:23:23.796
<v Speaker 1>and what happens I find pair of praxis. It occurs

0:23:24.116 --> 0:23:26.556
<v Speaker 1>before my eyes, and I was lucky enough to have

0:23:26.596 --> 0:23:29.276
<v Speaker 1>the tape recorder running. And the reason I love that

0:23:29.316 --> 0:23:31.996
<v Speaker 1>episode and why so many listeners over the years have

0:23:32.036 --> 0:23:35.676
<v Speaker 1>said it's their favorite, is that you the listener, and

0:23:35.676 --> 0:23:39.236
<v Speaker 1>me the host get to participate in this little golden

0:23:39.276 --> 0:23:43.796
<v Speaker 1>moment of serendipity together we Casey, can you play that

0:23:43.836 --> 0:23:45.356
<v Speaker 1>song for us? Is it gonna be two?

0:23:45.556 --> 0:24:01.636
<v Speaker 6>Let's say, okay, okay, well, I will say if this happens,

0:24:07.116 --> 0:24:07.916
<v Speaker 6>what did I just say?

0:24:09.196 --> 0:24:10.356
<v Speaker 5>I'm thinking about Mama.

0:24:11.196 --> 0:24:12.236
<v Speaker 6>She grew up playing cowgirl.

0:24:12.436 --> 0:24:20.396
<v Speaker 4>She grew up playing cowgirl in a railroad town, dreaming

0:24:20.516 --> 0:24:28.196
<v Speaker 4>she'd see Hollywood someday. She knew some distant Friday night.

0:24:29.516 --> 0:24:35.516
<v Speaker 10>With a cigarette hole just right, Fate would come in

0:24:35.676 --> 0:24:43.716
<v Speaker 10>and carry away. As far as she could see from

0:24:43.796 --> 0:24:46.636
<v Speaker 10>the air, those were just facts.

0:24:46.636 --> 0:24:47.636
<v Speaker 6>So that's all right.

0:24:50.436 --> 0:24:54.876
<v Speaker 1>Hold one second, there it is again. Pair of Praxis.

0:24:54.676 --> 0:24:56.236
<v Speaker 10>Married in December.

0:24:56.516 --> 0:25:02.276
<v Speaker 4>Anywhere you can address her, Mama maid. She looked dog

0:25:02.396 --> 0:25:04.556
<v Speaker 4>grown up standing there like that.

0:25:05.676 --> 0:25:08.516
<v Speaker 1>I've been making things my whole life. What I've learned

0:25:08.516 --> 0:25:10.836
<v Speaker 1>over the last ten years of doing this is that

0:25:10.916 --> 0:25:12.556
<v Speaker 1>I much prefer finding things.

0:25:12.716 --> 0:25:14.476
<v Speaker 10>It's all around.

0:25:15.956 --> 0:25:22.156
<v Speaker 4>May love and the greyhound coming back. As far as

0:25:22.156 --> 0:25:25.596
<v Speaker 4>she could say from there, those were just the facts.

0:25:25.796 --> 0:25:27.236
<v Speaker 1>Lie, We'll be right back.

0:25:27.996 --> 0:25:30.796
<v Speaker 4>You went from somebody's daughter.

0:25:32.076 --> 0:25:32.596
<v Speaker 6>Somebody.

0:25:39.516 --> 0:25:42.876
<v Speaker 1>So I wanted to go over our greatest found moment,

0:25:43.636 --> 0:25:45.956
<v Speaker 1>and I want to see whether you believe this is

0:25:45.996 --> 0:25:50.076
<v Speaker 1>our greatest found moment. I called up Ben Nadaph halfway

0:25:50.076 --> 0:25:51.956
<v Speaker 1>again to talk about at the time we went to

0:25:51.996 --> 0:25:55.716
<v Speaker 1>Los Angeles for our nineteen thirty six Olympics series, and

0:25:55.836 --> 0:25:58.356
<v Speaker 1>we go and see the legendary Milan Tiff who I've

0:25:58.396 --> 0:26:00.956
<v Speaker 1>been obsessed with since I was a kid, and.

0:26:00.916 --> 0:26:03.436
<v Speaker 2>I knew I'd never heard of true form.

0:26:03.836 --> 0:26:06.596
<v Speaker 1>No one almost no one has ever heard of Milan

0:26:06.636 --> 0:26:10.036
<v Speaker 1>Tiff because he was briefly the had a triple jumper

0:26:10.076 --> 0:26:12.796
<v Speaker 1>in the world in some point in the nineteen seventies.

0:26:13.276 --> 0:26:15.676
<v Speaker 1>So you understand, it's a small universe. There's a small

0:26:15.756 --> 0:26:18.836
<v Speaker 1>universe of people who remember track and field in the seventies,

0:26:18.836 --> 0:26:20.756
<v Speaker 1>and an even smaller universe of people who followed the

0:26:20.756 --> 0:26:21.596
<v Speaker 1>triple jump.

0:26:21.716 --> 0:26:23.556
<v Speaker 8>And above that, at the top of the funnel is

0:26:23.556 --> 0:26:26.796
<v Speaker 8>people who know, yeah right, what triple Yeah right?

0:26:27.676 --> 0:26:30.876
<v Speaker 1>But Milan was this kind of spectral brilliant. He was

0:26:30.916 --> 0:26:34.476
<v Speaker 1>an artist. He spoke in these kind of these kind

0:26:34.476 --> 0:26:35.716
<v Speaker 1>of gnomic utterances.

0:26:36.316 --> 0:26:38.436
<v Speaker 2>He was one of the trippiest mornings of my life.

0:26:38.516 --> 0:26:41.436
<v Speaker 1>It was he was he was just a he was drugs.

0:26:41.676 --> 0:26:41.956
<v Speaker 3>It was.

0:26:42.756 --> 0:26:46.836
<v Speaker 1>He's so fascinating and kind of just like I immediately

0:26:46.876 --> 0:26:49.076
<v Speaker 1>knew we were in some magical universe when we went

0:26:49.116 --> 0:26:53.356
<v Speaker 1>to see Milan Tiff. Milan takes us to the UCLA

0:26:53.476 --> 0:26:57.156
<v Speaker 1>track and he wants to show us the secrets to

0:26:57.156 --> 0:27:00.716
<v Speaker 1>the triple jump, and my interest in all of this,

0:27:01.476 --> 0:27:03.516
<v Speaker 1>I'm actually because I'm a huge truck and field fan.

0:27:03.996 --> 0:27:06.116
<v Speaker 1>I am. I'm just so happy to be at the

0:27:06.196 --> 0:27:09.556
<v Speaker 1>UCLA track, and I'm aware of the fact that you don't.

0:27:09.996 --> 0:27:12.676
<v Speaker 1>You're not a track and field fan, and I'm desperate

0:27:12.716 --> 0:27:14.676
<v Speaker 1>to kind of impress upon you why this is the

0:27:14.676 --> 0:27:17.116
<v Speaker 1>greatest sport of all time and I want you to

0:27:17.156 --> 0:27:22.036
<v Speaker 1>appreciate the beauty of running, which to my mind, is

0:27:22.076 --> 0:27:24.196
<v Speaker 1>the reason you watch track and field. And so I

0:27:24.236 --> 0:27:26.716
<v Speaker 1>see out of the corner of my eye a woman

0:27:26.836 --> 0:27:30.396
<v Speaker 1>running two hundred meter intervals on the track, and I

0:27:30.476 --> 0:27:31.716
<v Speaker 1>say to you, Ben.

0:27:32.036 --> 0:27:32.636
<v Speaker 2>I could see it.

0:27:32.676 --> 0:27:33.276
<v Speaker 3>I could see it.

0:27:33.276 --> 0:27:34.716
<v Speaker 1>You could see it. You could see it. And I

0:27:34.796 --> 0:27:36.716
<v Speaker 1>said to you, I actually went back over the tape.

0:27:36.876 --> 0:27:38.756
<v Speaker 1>I said to you, I don't know who that is,

0:27:39.436 --> 0:27:42.916
<v Speaker 1>but that's a great runner. And then she got closer

0:27:42.956 --> 0:27:46.436
<v Speaker 1>and stopped and was chatting with Milan, and we go

0:27:46.516 --> 0:27:51.636
<v Speaker 1>over there and we realize it's Sydney McLoughlin's liberal here.

0:27:52.756 --> 0:27:54.836
<v Speaker 1>It's the greatest. For those who don't know who Sidney

0:27:54.876 --> 0:27:59.116
<v Speaker 1>McLaughlin is, maybe the greatest female runner of the last

0:27:59.116 --> 0:28:02.476
<v Speaker 1>one hundred years. I mean, she's the world record holder,

0:28:02.596 --> 0:28:05.596
<v Speaker 1>a zillion times, double gold medal winner in the Olympics.

0:28:06.316 --> 0:28:10.356
<v Speaker 1>Clearly the greatest American runner of her generation. And it

0:28:10.396 --> 0:28:12.756
<v Speaker 1>was a found moment here I was trying here is

0:28:12.796 --> 0:28:15.276
<v Speaker 1>I went with you to the UCLA track to try

0:28:15.316 --> 0:28:18.916
<v Speaker 1>and prove to you that there was something beautiful and

0:28:18.996 --> 0:28:26.396
<v Speaker 1>transcendent about running. And I point out my example, and

0:28:26.516 --> 0:28:28.876
<v Speaker 1>my example turns out to be the greatest runner of

0:28:28.916 --> 0:28:32.316
<v Speaker 1>her generation. It was like, it was insane serendipity.

0:28:32.356 --> 0:28:33.076
<v Speaker 3>It is incredible.

0:28:33.236 --> 0:28:39.916
<v Speaker 1>Yeah, one more thought about made things versus found things.

0:28:40.596 --> 0:28:44.436
<v Speaker 1>Not long ago, I tweeted out the following a question

0:28:44.516 --> 0:28:46.716
<v Speaker 1>that has haunted me ever since I've been forced to

0:28:46.756 --> 0:28:50.196
<v Speaker 1>read Cinderella a zillion times. Why does the coach turn

0:28:50.196 --> 0:28:53.436
<v Speaker 1>into a pumpkin, the coachman into mice, and the dress

0:28:53.476 --> 0:28:56.716
<v Speaker 1>to rags, but the magical glass slippers are fine? Did

0:28:56.756 --> 0:29:00.236
<v Speaker 1>the fairy godmother have a carve out for shoes? A

0:29:00.276 --> 0:29:02.756
<v Speaker 1>ton of people weighed in with their answers because I

0:29:02.756 --> 0:29:05.196
<v Speaker 1>don't know. It seems like a question that really needs

0:29:05.196 --> 0:29:09.076
<v Speaker 1>an answer. And my favorite was this from med lecture,

0:29:09.556 --> 0:29:14.116
<v Speaker 1>who I think is a neurologist in Switzerland, although who knows, oh, Malcolm,

0:29:14.396 --> 0:29:19.116
<v Speaker 1>Because magic and fairy tales follows symbolism, not physics. The

0:29:19.156 --> 0:29:23.636
<v Speaker 1>coach dress and servants are borrowed transformation. The slippers are

0:29:23.716 --> 0:29:28.036
<v Speaker 1>proof of identity, not escapism. If they vanished, the story

0:29:28.076 --> 0:29:33.236
<v Speaker 1>loses its logic and its justice, which is beautiful right.

0:29:34.156 --> 0:29:36.196
<v Speaker 1>And I didn't come up with that. I put the

0:29:36.276 --> 0:29:38.876
<v Speaker 1>question to all of you out there, to the listeners

0:29:38.956 --> 0:29:41.876
<v Speaker 1>of revisionist history, people who are as interested as we

0:29:41.916 --> 0:29:46.916
<v Speaker 1>are in solving lives enduring and consequential and sometimes not

0:29:47.036 --> 0:29:51.796
<v Speaker 1>so consequential mysteries. One of you, who've never met, gave

0:29:51.796 --> 0:29:54.516
<v Speaker 1>me a little gift which I can in turn share

0:29:54.556 --> 0:29:57.836
<v Speaker 1>with all of you. Forgive me. I'm going to violate

0:29:57.876 --> 0:30:01.396
<v Speaker 1>all my principles here and get sentimental. But the great

0:30:01.436 --> 0:30:04.236
<v Speaker 1>revelation of the last ten years has been how much

0:30:04.396 --> 0:30:07.516
<v Speaker 1>all of us here re visions history, have enjoyed telling

0:30:07.556 --> 0:30:12.116
<v Speaker 1>stories for all of you, you, stories about the unexpected,

0:30:12.316 --> 0:30:15.956
<v Speaker 1>captured in real time, with real voices and real emotion

0:30:16.236 --> 0:30:18.876
<v Speaker 1>and a real sense of awe, about the endless surprises

0:30:19.236 --> 0:30:21.956
<v Speaker 1>the world has in store for us. I run into

0:30:21.996 --> 0:30:24.676
<v Speaker 1>you as I'm walking down the street. We're going through

0:30:24.716 --> 0:30:28.156
<v Speaker 1>an airport, and from emails in my inbox. Let me

0:30:28.236 --> 0:30:30.956
<v Speaker 1>just say it's been one of the great joys of

0:30:30.956 --> 0:30:37.876
<v Speaker 1>my life to meet all of you Happy ten Anniversary

0:30:37.916 --> 0:30:49.956
<v Speaker 1>Revisionist History, Well it was on that.

0:30:51.956 --> 0:30:53.236
<v Speaker 10>Six farm Crime.

0:30:53.796 --> 0:30:56.916
<v Speaker 1>Revision's History is produced by Lucy Sullivan, bend at Aff Haffrey,

0:30:57.036 --> 0:31:00.596
<v Speaker 1>and Nina Bird Lawrence. Our editor is Karen Shakerji. Fact

0:31:00.676 --> 0:31:04.476
<v Speaker 1>checking by Onica Robbins. Our executive producer is Jacob Smith.

0:31:04.876 --> 0:31:08.356
<v Speaker 1>Engineering by Nina Bird Lawrence. Original music by Luis Kara,

0:31:08.796 --> 0:31:12.516
<v Speaker 1>Sound design and mastering by Jake Gorsky. Special thanks to

0:31:12.556 --> 0:31:16.356
<v Speaker 1>my mom and to Jim Sullivan, my producer, Lucy's father

0:31:16.796 --> 0:31:19.876
<v Speaker 1>for recording his very own rendition of you never even

0:31:19.956 --> 0:31:22.636
<v Speaker 1>called me by my name, which Lucy tells me her

0:31:22.716 --> 0:31:24.996
<v Speaker 1>dad sang to her all the time when she was

0:31:25.036 --> 0:31:29.076
<v Speaker 1>growing up. I'm Malcolm Baba.

0:31:29.036 --> 0:31:47.196
<v Speaker 10>And I never minded Arland but never.

0:31:54.036 --> 0:31:57.996
<v Speaker 1>Maybe this is exactly this is exactly what I needed. Oh,

0:31:58.156 --> 0:32:03.316
<v Speaker 1>very good, good, very lovely to be you welcome, Thank you, mommy.

0:32:03.356 --> 0:32:04.116
<v Speaker 1>I'll talk to you soon.

0:32:05.036 --> 0:32:09.396
<v Speaker 2>We'll talk to again, Okay, yeah,