Aloha Elvis…. Aloha

 

Give us this day – May 13 – our daily Elvis

1955
Elvis performed at the New Baseball Park, Jacksonville, Florida. At the end of his performance Elvis said to the audience: “Girls, I’ll see you backstage”. This became a riot with fans pursuing Elvis into his dressing room and tearing off his clothes and shoes.

1956
Elvis performed at the Auditorium, St. Paul, Minnesota at 3.00 p.m. and at the Auditorium, Minneapolis at 8.00 p.m.

1957
Principal photography began on the jailhouse dance sequence.

1963
Elvis screened movies at the Memphian almost every night from this day on until June 23.

1965
Elvis continued recording for Frankie and Johnny at Radio Recorders at 5.00 p.m. He overdubbed lead vocals on the tracks recorded the day before, but after doing 2 additional songs he left the studio again.

1966
Like on many other nights Elvis rented the Fairgrounds after the movies.

1973
Elvis performed at the Sahara Tahoe at 3.00 p.m. This show was a special Mother’s Day engagement to benefit a local hospital.

1974
Elvis performed at the Swing Auditorium, San Bernardino, California.

 

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Director Marty Pasetta Talks about ‘Aloha’:

Forty years ago last month, NBC aired the 90-minute special ‘Elvis: Aloha From Hawaii via Satellite’ after a shorter version was seen around the globe LIVE on Jan. 14, 1973.

It was the first time satellite technology was used to transmit a live concert around the world and the project gave Presley one last magnificent credit to add to his legend.
The idea for a satellite broadcast was conceived by Presley’s manager, Col Parker, while they both lived part-time in Palm Springs in 1972. Parker sold the idea to RCA, which owned NBC, and NBC’s vice president of nighttime programming, part-time Palm Springs resident John Hamlin, assigned it to Marty Pasetta.

Pasetta, 81, who now lives in La Quinta, Calif., says he’s not sure how many people saw the broadcast.

“What I was told by NBC and others is that every third person on Earth saw that first show when it went out,” Pasetta said in his memorabilia-laden home office. “In Africa and places like that, it played in theaters. They didn’t have television.”

By the accounts of those closest to him, the Aloha concert was the last time Presley suspended his prescription drug abuse and performed at his optimum 175-pound weight.

Biographer Peter Guralnick and Sonny West credit Pasetta for inspiring the singer to clean up his act. After meeting Pasetta, West said that Elvis insisted that he and two other bodyguards join him on a diet to burn up the fat in his system. Pasetta said he told Presley at their first sit-down meeting, attended by two bodyguards, he had to lose weight before the concert.

“He sat straight and the guys on either side of him took out their guns and laid them down on the table, and if you don’t think I was scared, you’re crazy.
“I said, ‘I want you skinny because I’m going to use close-ups,’ which wasn’t very popular in television in those days. I said, ‘I’m going to go from your neck to the top of your head. That’s going to be your sex appeal on the tube, along with your voice, and it’s going to make a landmark.’

“He jumped out his chair. He grabbed me, put his arms around me and said, ‘You’re the first person who was ever honest to me.’ He said, ‘I will lose the weight for you,’ and he lost 20 pounds in two months.”

Working with Elvis

Pasetta was just coming off his Academy Awards broadcast directorial debut when Hamlin offered him the opportunity to work with Presley. Pasetta wasn’t sure he wanted to do it at first. Hamlin told him to watch Presley at the Long Beach Arena that November and Presley gave an uninspiring performance.

“He stood there like a lump,” said Pasetta. “He didn’t do anything. I went back to NBC and said, ‘Hey, guys, what am I going to do with this guy? How long is the show? 90 minutes? I can’t tap dance that much. It doesn’t look like he’s going to move.’ They said, ‘That’s your problem.’ ”

The concert film would feature Presley giving a one-hour benefit concert at the HIC Center. Pasetta tried to provide an international reach by putting Elvis’ name on the set in various international alphabets and fonts. He also tried to convey Presley’s romantic appeal, much to Parker’s consternation.

“I wanted to put a runway in, 8 foot wide, so he could walk down the center,” said Pasetta. “I wanted to put girls around there and I wanted the stage 6 feet off of the floor. The Colonel always had the stage 10 feet above the floor and he had guards across the front. He didn’t want to have anybody touch his boy.

“When I told this to the Colonel, he had a fit. He said, ‘I’m not lowering the stage. I’m going to have my guards there and he can stand there and sing.’ I said, ‘That’s not going to work on the tube for an hour and a half show.’ He said, ‘No. I won’t do it. You can’t do the show.’ ”

But Pasetta says Presley loved his ideas and, in one of the few instances in his career, he overruled his manager.

“Elvis said to me, ‘The Colonel controls my business. I control my creativity and my music and my show. He has nothing to say about it. That’s your rule. You will deal with Joe Esposito’,” said Pasetta. “I talked to Joe, the Colonel — everybody. But I tried not to deal too much with the Colonel. I had enough problems getting the show on.”
The production however was fraught with technical problems. A day before the broadcast, it was discovered someone had cut the power lines going into the auditorium. Pasetta called Don Ho and, “He got people out of bed and they came back and fixed it just in time.”

The day of the show, it was discovered the backstage equipment was creating a humming sound. Pasetta called Ho again and, “Don said, ‘Call the Navy yard.’ We had a truckload lead sheets that were brought over two hours before the show and we lined them up and got our sound back.”

Then, at the start of the show, knowing they had to shoot the entire concert continuously, “My technical director froze on me,” Pasetta said. “I had to cut the first part of the show. He was nervous.”

The soundtrack entered the Billboard charts on Feb. 24, bolstered by Presley’s best reviews in years. It would be his last No. 1 album. The next week, Parker signed a seven-year deal for Presley to remain with RCA.

Aloha From Hawaii also temporarily quieted demands for Presley to tour overseas, something Parker was reticent to do.

 

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Original “Aloha from Hawaii” full-length cape for Auction: Elvis Presley’s original full-length “Aloha from Hawaii” cape is up for auction this Saturday, May 18th, 2013 at Juliens.

The floor-length cape, designed by Bill Belew, has an eagle design across the back composed of prong-set studs in red, blue and gold on a white ground. The cape is lined in blue satin.

Presley worked closely with Belew to design a motif for the cape that represented America for the 1973 concert that was broadcast via satellite. Presley reportedly wanted to use the cape to hide behind during the Aloha intro and then drop the cape to reveal himself to the audience.

The completed cape was found in rehearsals to be too heavy for the actual performance. Belew created a shorter version for the actual performance.

Accompanied by a certificate of authenticity from Greg Howell of Elvis Presley Enterprises, Graceland.

Cape measures: 63 1/2 inches from collar to hem; 62 inches from cuff to cuff
Weight, approximately 12 1/2 pounds

It is expected to sell for $120,000 – $140,000.

 

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5 Responses to Aloha Elvis…. Aloha

  1. Pingback: ElvisWorld: Aloha Marty Pasetta | dyke writer

  2. Pingback: Sub-Blog: Our Daily Elvis | Nina's Soap Bubble Box

  3. Pingback: The Aloha Elvis TV Special 1973 | Our Daily Elvis

  4. Pingback: Daily Elvis May 13 | Our Daily Elvis

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