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Additional info for The Playbook: Suit up. Score chicks. Be awesome.
I’m not sure what it was about this song that caught my attention—the obscure, angelic object of desire does not, for instance, have my name, as in “Bobby’s Girl” (and “girl group rock,” as Greil Marcus calls it, was mostly about “The Boy”4), but I’m pretty sure sex, however sublimated and prepubescent, had something to do with it. I can also distinctly remember watching Shelly Fabares sing “Johnny Angel” on an episode of The Donna Reed Show (ABC, 1958–66), a program—like The Patty Duke Show (ABC, 1963–66)—that was de rigueur or must-see TV at the time.
Though I spent hours gazing at the cover, Elvis one face in a sea of famous faces, the song that kept haunting me, déjà vu all over again, was “Lucy in the Sky with Diamonds”: with its surreal lyrics and trippy melody, it sounded like nothing I had ever heard before. For some reason, perhaps the color of the back cover, I always associate it with the color red, the color of revolutionaries, and Sgt. Pepper’s, vinyl turning round and round on the turntable, turned me upside down, transporting me, like LSD later, to another, phantasmagoric world.
As her own pop-culture-studded repartee suggests (Mia has already established that there is a pronounced, generational difference between Elvis and Beatles fans), Jack Rabbit Slim’s is a pop-culture diorama, recollecting the sort of “googy” clubs featured in ‘60s cult films like Speedway (1968), a film that itself featured Elvis and Nancy Sinatra. Indeed, with its Douglas Sirk steaks and Martin-and-Lewis milkshakes, not to mention its manqué Sullivan maitre d’ (in real life, to quote Vince, “a wax museum with a pulse”), Jack Rabbit Slim’s is a miniature version of Pulp Fiction, a virtual treasure trove of mass-cultural kitsch and bric-a-brac.