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By Cheryl Eddy

Somehow I found myself in San Jose -- where temperatures broke 100 degrees yesterday -- bringing the average age way down at the San Jose Stage Company's final performance of Idols of the King. The show, which featured a cast of three including a mostly plausible (if vigorously spray-tanned) Elvis impersonator named Scot Bruce, managed to mix songs from all three EP eras (1950s hillbilly cat, 1960s Hollywood, 1970s jumpsuit) with a series of atonal vignettes, one of which actually included references to the Paul Lynde era of Hollywood Squares.

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The experience made me want to rush back to the city, home to my hotter-than-Blue Hawaii apartment, and watch one of the King's least fortunate cinematic efforts, 1968's Live a Little, Love a Little -- directed by frequent Presley collaborator Norman Taurog. Released the same year as Elvis' landmark TV special, which heralded his much-delayed return to live performing and signaled a popular comeback of sorts, Live a Little, Love a Little exists to remind us how weirdly far the King's career trajectory had taken him to that point. Witness the psychedelic freak-out (unintentionally hilarious, probably even back in '68) that accompanies the song "Edge of Reality," and wish a much-earlier Elvis song lyric would've entered into somebody, anybody's mind while they were filming: "You may have a pink cadillac, but don't you be nobody's fool."

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