A singer, at work, is usually thinking only about making it through the song without flubbing it. Look what's involved: breathing plausibly, remembering the lyrics, nailing the high notes, staying with your band or chorus, maintaining a soulful facial expression and looking good. You might also be whacking a guitar. And -- because Presley did -- you also have to move, oscillate, arm-wrestle with the microphone, throttle it, skid across the stage on your knees, fling your head back and spread your arms; and then you want to salt it with what you possess of art...he flings his voice up beyond the grip of gravity, and then surrenders, like a skater in a leap.

What It Means

This is a placeholder explanation generated by the low-overhead model. It interprets "A singer, at work, is usually thinking only about making it through the song without flubbing it. Look what's involved: breathing plausibly, remembering the lyrics, nailing the high notes, staying with your band or chorus, maintaining a soulful facial expression and looking good. You might also be whacking a guitar. And -- because Presley did -- you also have to move, oscillate, arm-wrestle with the microphone, throttle it, skid across the stage on your knees, fling your head back and spread your arms; and then you want to salt it with what you possess of art...he flings his voice up beyond the grip of gravity, and then surrenders, like a skater in a leap." in the context of "Catherine Rankovic, poet, essayist, instructor, as well as manuscript editor and music and writing coach, as excerpted from her review of Presley`s live performance of "I want you, I need you, I love you", in the "Steve Allen Show", (1956), and as published in "The Missouri Review", Volume XXIV, Number 2, 2001" to mean that wisdom is timeless.