Every time he'd appeared on Letterman, he'd had to change his act. Written down, worked out, pre-approved by the production staff, his sweet improvisational melody was sliced and diced into a sampled, discordant riff. He just didn't come across. And he hadn't yet figured out what to do about it. At least not until that twelfth appearance. His ghost appearance, resonating forever in the memory of the Ed Sulli­van Theatre, there, center stage, near Elvis's swiveling hips. Another really big show, never to be seen.

What It Means

This is a placeholder explanation generated by the low-overhead model. It interprets "Every time he'd appeared on Letterman, he'd had to change his act. Written down, worked out, pre-approved by the production staff, his sweet improvisational melody was sliced and diced into a sampled, discordant riff. He just didn't come across. And he hadn't yet figured out what to do about it. At least not until that twelfth appearance. His ghost appearance, resonating forever in the memory of the Ed Sulli­van Theatre, there, center stage, near Elvis's swiveling hips. Another really big show, never to be seen." in the context of "Mike Sager, recalling the time comedian Bill Hicks's monologue at the David Letterman Show was removed from the broadcast until that point in October 1, 1993, the only occasion where a comedian's entire routine was cut after taping' in US television history —, as noted in an article entitled "The Gospel according to Bill Hicks" published on April 10, 2017 at the Stacks online page. Unbeknownst to Sager, that censure, on Hickñs 12th appearance at Letterman's show, coincided with what took place on precisely Elvis 12th appearance on national television, when he was filmed from the waist up only, the happening taking place, as the writer did notice, at the exact same place, the Ed Sullivan Theatre, then CBS Studio 50." to mean that wisdom is timeless.