This past August week a listing on the aircraft purchasing website Controller.com, lists the sale details for Elvis' Airplanes, the Lisa Marie and Hound Dog II Jet-Star.
The Airplanes are not owned by Elvis Presley Enterprises and Elvis Presley's Graceland. The Airplanes are leased to Graceland by the owner by KG Coker, in Memphis of the OKC Partnership. The lease for the airplanes at Graceland will end April 26th 2015.
Click here to read the listing from the Controller
According to Elvis Presley Enterprises President and CEO Jack Soden, and Elvis' former wife Priscilla Presley, negotiations are being made to keep Elvis' airplanes at Elvis Presley's Graceland. Elvis' Daughter Lisa Marie Presley, has also made a statement. The Airplanes, have been on exhibition at Elvis Presley Graceland since the mid 1980's.
Lisa Marie Presley, on August 27th made a statement via the social media website Twitter. The screen capture of Lisa's tweet is seen below.
Michael A. Hoey, who wrote several the screenplays for Elvis Presley films and was the architect behind the 1966 cult science-fiction movie The Navy vs. the Night Monsters, has died.
Hoey, passed away Sunday, August 17th, 2014 from cancer, at his home in San Clemente, California. He was 79 years old.
Hoey, the son of English actor Dennis Hoey— who played the bumbling Inspector Lestrade in the 1940s Universal Pictures series of Sherlock Holmes films.
Hoey penned the scripts for the Presley films Stay Away, Joe and Live a Little, Love a Little, both released in 1968. For the latter, he worked with director Norman Taurog, who also helmed the teen comedy Palm Springs Weekend (1963), a film that Hoey produced.
Born in London and raised in Beverly Hills, Hoey began his Hollywood career as an editor, working for such top-notch directors as John Ford, George Cukor and Fred Zinnemann. Studio head Jack Warner made him a producer for Palm Springs Weekend, which starred Troy Donahue, Robert Conrad, Stefanie Powers and Connie Stevens.
Hoey later would direct episodes of Dallas, Falcon Crest, Murder, She Wrote and Crossroads Café; wrote for the shows The Rat Patrol, Get Christie Love! and McCloud; and served for years as executive producer of the Creative Arts Emmy Awards.
He also wrote the books Elvis, Sherlock and Me: How I Survived Growing Up In Hollywood; Sherlock Holmes and the Fabulous Faces: The Universal Pictures Repertory Company; and Elvis’ Favorite Director: The Amazing 52-Year Career of Norman Taurog.
He served two four-year terms as a governor on the board of the Academy of Television Arts & Sciences, and the WGA honored him with its prestigious Morgan Cox Award in 1997.
Hoey asked that his film books be donated to the USC School of Cinematic Arts, where he taught editing as an adjunct professor.
In addition to his son Dennis, a former Hollywood makeup artist and producer of TV commercials, survivors include his daughters Lauren and Karin.
The family plans a small memorial service, with his ashes scattered at sea.
source: Hollywood Reporter
August 20, 2014
The King's Third Act
Elvis Presley in Amazingly Dynamic Form and At the Height of His Formidable Powers Performance is what drives the 2001 edit of 'Elvis: That's the Way It Is.'
This new incarnation—Elvis Presley as a touring concert artist (following his emergence as a 1950s rock 'n' roll radical and his second act as a 1960s Hollywood hitmaker)—would find him returning to his roots as a live performer, encompassing a wider range of material as he appeared before ever-larger audiences. This renaissance was unfortunately brief; by the mid-1970s, Presley's substance abuse and self-destructive tendencies would catch up with him. He would be a bloated mess in the final months of his short life, but in 1970, he was in peak physical condition and artistically at the top of his game.
Copious evidence of this is now offered in a new package from Sony Legacy, which features two DVDs in addition to eight compact discs; it includes all the audio from the run of concerts at the International Hotel in Las Vegas that were filmed for the project as well as a splendidly illustrated 80-page booklet. (The first CD is actually the original 1970 LP released in conjunction with the theatrical film and bearing the same title, even though it's a collection of mostly studio tracks recorded in Nashville.)
The DVDs contain two very different versions of the 1970 feature: the original theatrical edit and the 2001 "restoration." In 1970, director Denis Sanders, not satisfied with capturing Presley in performance on stage, felt the need to make a true documentary. While the copious rehearsal footage is often fascinating, other behind-the-scenes moments are far less so. The 1970 edit presents too much interview footage with Elvis fans, most of whom were too young to have experienced Presley during his 1950s breakthrough—as if to prove that his audience extended beyond his original rock 'n' roll following. The 2001 edit is a vast improvement, offering more footage of Elvis in action and omitting nearly all of the tedious fan interviews.
It's his performance that drives "Elvis: That's the Way It Is." At the start of his career, Presley was widely perceived as a divisive figure in American culture. No entertainer did more, even inadvertently, to create the generation gap. RCA Records marketed his songs specifically to teenagers—and if the music annoyed their parents, so much the better. Yet in the final and, in many ways, the most rewarding phase of Presley's career, the singer entered into what seems, in retrospective, like a musical crusade to bring people together. In this, his major asset was his versatility as a performer, which empowered him to be an old-school entertainer in the tradition of Frank Sinatra (as opposed to a singer-songwriter, who was limited to doing his own compositions). Presley sang any song in any genre that suited him.
After roughly a half hour of behind-the-scenes footage (and watching celebrities like Sammy Davis Jr., Cary Grant, George Hamilton and even Xavier Cugat and Charo filing in), the concert starts with a medley of two early Elvis blues numbers, "That's All Right" and "Mystery Train." Like Sinatra alternating between classic Cole Porter and something more contemporary or written expressly for him, Presley hops from genre to genre, imbuing it all with his majestic voice and dynamic personality.
From basic 12-bar Delta-style blues, he moves to the Gospel-infused soul music of Ray Charles's "I Got a Woman." Before the evening is through, he also sings the contemporary country classic "I Can't Stop Loving You" and Simon & Garfunkel's folk-rock spiritual "Bridge Over Troubled Water." In addition, the Dusty Springfield hit "You Don't Have to Say You Love Me," which was originally recorded by co-composer Pino Donaggio as "Io che non vivo (senza te)," reflects Presley's fascination with Italian music. And two Beatles songs also turn up in the rehearsals and the concert, "Something" and "Get Back." All of which is in addition to the many Elvis signatures that he reprises, both old ("Hound Dog," "Heartbreak Hotel") and new ("Suspicious Minds," "In the Ghetto"). A few years later he would attempt to bring all of America together with his "American Trilogy," which juxtaposed a song from the North, the South and an African-American spiritual.
The 1970 concert is essentially one climax after another, not only because the editors assembled the footage from six different shows, but because Presley himself—in what has become his trademark white jumpsuit—is in amazingly dynamic form and at the height of his formidable powers. One of the heart-stoppers is the great Brill Building anthem "You've Lost That Lovin' Feeling"; thanks to the King's unstoppable energy, sheer chops and overwhelming passion (not to mention effortlessly hip kung-fu moves), he makes everyone else who ever sang the song, including the Righteous Brothers, seem like mere pretenders. And yet, as searingly dramatic as Presley is, he doesn't lose his sense of humor; when he gets to the line "Baby, I'd get down on my knees for you," he shouts the aside "if this suit wasn't too tight!"
Even the 10-disc box doesn't amount to the whole story: Warner Bros. released a two-disc Blu-ray set of the film, again with the 1970 and 2001 edits, but with a different selection of outtakes and extra footage. (Even more footage from the individual concerts was issued on a 3-DVD bootleg a few years ago.)
Theatrical concert movies were pretty much wiped out by MTV in the mid-1980s as kids were getting pop-music videos at home 24 hours a day. Yet special spectacles are now edging their way back into cinemas, and this week the restored "Elvis: That's the Way It Is" will be shown nationally in movie theaters. Elvis may be singing about having lost something, but this remarkable film, like the singer himself, has only gained in stature over the past four decades.
Mr. Friedwald writes the weekly Jazz Scene column for the Journal.
In her upcoming duet album Partners, Barbra Streisand pairs up with some of the world’s greatest male vocalists.
One of the most breathtaking tracks on the album is her virtual duet with Elvis Presley to his 1956 ballad “Love Me Tender.”
Here’s the full track list for Partners:
An Elvis Hologram is Coming
Ryan, USA TODAY
August 26, 2014
Pulse Evolution, who resurrected Michael Jackson's image for a holographic TV performance at the Billboard Music Awards in May, announced a partnership with The Estate of Elvis Presley Monday, with plans to bring The King of Rock 'n' Roll to live performances and commercials as a hologram, according to Scripps Treasure Coast Newspapers.
A concept and venue for the 60- to 90-minute live shows has not yet been determined, although Pulse has already begun work on the project, which could take 18 to 24 months to complete, said company executives. The late icon's estate will also decide if the holographic image will resemble a younger or older Presley, Pulse CEO Frank Patterson said.
Jamie Salter, CEO of Authentic Brands Group, which manages Presley's estate, said there are talks of Elvis' holographic image playing four-night residencies in Las Vegasand Macau, and even performing with Michael Jackson's hologram, according to Adweek.
Salter added that Priscilla and Lisa Marie Presley support the technology, AdWeek said.
When USA TODAY spoke with Pulse executive chairman John Textor about Jackson's holographic image in May, he mentioned Elvis, Frank Sinatra and Bob Marley as obvious candidates for holographic treatment.
"We're hearing from a lot of estates and promoters saying, 'We're ready for a concert,' " Textor told USA TODAY, before cautioning that "if we're going to bring a Michael or an Elvis back into this form of stage entertainment, it must be story-based. You can't have Elvis sitting on a stool singing 20 songs. That won't work."
source: USA Today
Architectural Renderings of the Guest House at Graceland.
Guest House at Graceland Hotel Designed by Memphis Talent
By Andy Meek
When designing a hotel that effectively expands the footprint of the most famous home in Memphis, it shouldn’t come as a surprise that the design team for the project is stacked with local talent.
Memphis-based architecture firm Hnedak Bobo Group worked with Elvis Presley Enterprises for years to study and research the hotel project, which entails building a 450-room resort-style hotel called the Guest House at Graceland north of Presley’ Graceland mansion in Whitehaven.
And the firm’s design team included three experienced designers who brought to the project their years of experience designing a variety of prominent buildings and landmarks in the Memphis area.
Those projects include everything from the FedEx World Headquarters to the Main Street Mall Downtown and the Westin Memphis Beale Street Hotel.
Leading the team of HBG designers is Mark Weaver, a 30-year veteran of the firm who says he was especially drawn to the historic legacy surrounding the new hotel project, for which officials, including Presley’s wife, Priscilla, broke ground earlier this month during the annual observance of the singer’s death.
And once it’s finished, the hotel project will represent the largest such project in Shelby County in 30 years, according to Memphis Convention and Visitors Bureau president Kevin Kane.
Weaver said the design team has been “acutely focused” on capturing the essence of the atmosphere Presley instilled at Graceland. The firm’s design team also worked closely with Priscilla Presley to capture the singer’s and his mansion’s style – and to incorporate it all into the hotel.
“We’ve focused on creating even more of a sense of intimacy between the guest and property,” Weaver said.
Weaver’s past work for HBG includes convention centers in Orlando and Dallas, helping cement the firm’s reputation for national hospitality work. Since its founding in 1979, HBG has had a passion for the entertainment and leisure market, and today the 95-person firm is ranked among the top hotel design firms in the country.
In addition to Weaver, other members of the HBG team who’ve worked on the hotel’s design are Rob Jurbergs and HBG’s lead interior architect and interior designer Aron Ramage.
Specific features of the Guest House at Graceland, meanwhile, will include a grand stairwell connecting two floors in the lobby that harkens back to the main staircase at Graceland itself. The hotel, scheduled to open in fall 2015, also will include Jungle Room-inspired prints and accents, plus a sports bar and lounge that recalls the design of Graceland’s billiard room.
Other design touches include the separation of the hotel façade into three components to give it the feel of three separate residential-scale hotel buildings added over time.
The HBG team’s goal was to make the hotel look like it was built around the same time as Graceland, according to the firm, which is evident in everything from the hotel’s main entry door to its columned entry portico. After stepping into the hotel, they’ll be greeted by touches that include a lobby ceiling pattern inspired by Presley’s signature capes.
The hotel’s public spaces also will feature oversized sofas and chairs and whimsical lighting features that all reflect Presley’s style.
source: Memphis Daily News
Staff writer-Memphis Business Journal
Ground was officially broken on The Guest House at Graceland, the 450-room $75 million hotel that was announced this spring. The hotel is expected to be completed by sometime in 2015. Preceding the Guest House at Graceland, EPE has also opened the Graceland Archives Studio, a $1 million, 200-seat facility that houses a wealth of Elvis movies, performance videos and music, most of which has never been seen. Plans for another 200,000-300,000-square-foot facility for even more Elvis-related attractions are part of a master plan EPE officials discussed with the Memphis City Council last week. At that time, the Economic and Development and Tourism Committee of the Memphis City Council approved the master plan and a tourism development zone that will be created around 120 acres of undeveloped property around Graceland.
To Replace the Tattered Heartbreak Hotel, Ask One Question: What Would Elvis Do?
By Belinda Lanks August 14, 2014
It’s Elvis Week, a time when diehards make a pilgrimage to Graceland, the king’s home-turned-tourist attraction in Memphis. For decades the annual event has filled the rooms at the nearby Heartbreak Hotel. The Elvis fanatics who rarely quibble about the faded charms of Graceland—recently updated with iPad-guided tours narrated by the actor John Stamos—have mixed feelings about the old Heartbreak. The hotel garners praise for its location and campiness alongside barbs for its outdated air conditioning and well-worn décor.
“It was built under the concept of how inexpensively you could build a hotel,” says Joel Weinshanker, managing partner of Graceland Holdings, which is developing the new hotel. Heartbreak was originally built in 1985 as a branch of the Wilson World hotel chain, developed by Holiday Inn founder Kemmons Wilson. Elvis Presley Enterprises, the business arm of the musician’s estate, purchased the hotel in 1999 and rebranded it as an official Elvis destination.
Now Heartbreak will be “going away,” Weinshanker says, to be replaced by a $70 million, 450-room hotel designed to modern standards. The new facility will echo the Grecian-style portico found at Graceland, which is about a quarter mile away and draws about 600,000 visitors a year.
Weinshanker says that the project was approached with one question in mind: What would Elvis want? “Elvis loved visitors,” he says, “and he used to send them down to a motel when he couldn’t house them. What would he have done when it got to the point where there were so many people, and he didn’t want to send them down the block? He’d build a guesthouse.”
The new hotel, dubbed the Guest House, will have a full-service restaurant, a sports bar, and a conference center. The goal is to keep all the clientele who turn out for stays at the Heartbreak, which still does brisk business. During Elvis Week the 120-room hotel has an “infinite wait list,” according to Weinshanker. “The only time a [new] person comes in is when someone else, unfortunately, passes away.”
Elvis Presley Enterprises tapped local architects Hnedak Bobo Group to design an upscale extension of the Graceland experience. Gone are the kitschy furnishings and vintage feel of Heartbreak; in their place are the usual trappings of a comfortable if somewhat generic hotel.
Rooms at the Guest House, slated for completion in the fall of 2015, will cost an average of $160 a night—$20 more than the Heartbreak’s average. So what will happen to the older hotel once the bigger one opens? “There are people bidding on hitting the plunger,” Weinshanker says of the old hotel’s likely demise. But the hotel’s exact fate is still to be determined: “It’s like taking a horse out to pasture. We’re just trying to figure out a humane way to do that.”
The first-ever Auction at Graceland took place on August 14, 2014, at the Graceland Archive Studio.
All of the Items included in the auction were authenticated by Graceland Authenticated, a new Graceland affiliated authentication and appraisal service for collectors and fans. Graceland Authenticated sets a new standard for pop culture authentication and appraisal to ensure pop culture artifact accuracy and provide evaluations of privately owned collections.
Among the items in the auction were rare and unique artifacts from the collection of Greg Page, founding member of The Wiggles® and one of the world’s biggest and most well-known Elvis Presley collectors. Page’s items included Elvis’ 1977 Cadillac Seville, a Martin D-28 and Elvis’ copy of the original script for his first film, “Love Me Tender.”
Graceland Auction Items & Winning Bids.