bits of interest - infoschnipsel ...

[edoep]

hmmm, ich stolpere alle naselang ueber irgendwelche kleine infoschnipsel elvis betreffend, fuer die sich ein jeweils eigener thread nicht wirklich lohnt, die jedoch so am rande das bild abrunden.

daher starte ich mal den 'infoschnipsel' thread . versteht sich, dass immer die uebersetzungen dazu geliefert werden.

fangen wir an mit elvis garderobenschloss im LV hilton ...

das original:

This lock was acquired from the chief engineer of the Hilton Las Vegas where Elvis Presley performed regularly. Elvis did not think that the lock on his dressing room was decorative enough and demanded something special. This Schlage custom line hand forged series was the only Schlage lock at the hotel and thus not on any of the hotel masterkey systems. The key is not the original Elvis used.

quelle:'lock museum in orange county'

http://www.hillslock.com/elvis.htm

die uebersetzung:

dieses schloss wurde erworben vom chefingenieur des las vegas hilton, wo elvis presley regelmaessig auftrat. elvis befand, das schloss an seiner garderobe sei nicht dekorativ genug und verlangte etwas besonderes. dieses ‘schlage'-schloss aus der serie ‘handgefertigt nach kundenwunsch' war das einzige schloss der marke ‘schlage' im ganzen hotel und daher auch nicht mit irgendeinem hauptschluessel der diversen schluesselsysteme des hotels zu oeffnen. der schluessel ist nicht der originale, den elvis benutzte.

[gast-20110321]

gute idee

[Tschabo]

Sehr gute Idee mit dem Thread!

elvis befand, das schloss an seiner garderobe sei nicht dekorativ genug...

Ja ja, jeder hat so seine Problme im Leben!

[Girlhappy]

[TheKing]

Hmm, naja es gehört wohl zu dem Stolz der Entertainer wie aufwendig eine Gaderobe auf ihn zugeschnitten ist, die Stars haben da so ihre eigene Welt, ob da jetzt ein goldener Stern an der Gaderobe ist (Star) oder nicht, ob der Name dort steht, ob es am Set einen Stuhl mit dem Namen gibt usw. Ich denke die Künstler sind da sensibel und haben da eine Eitelkeit, die man als Normalotto garnicht nachvollziehen kann ersteinmal. Aber für solch einen Tinneff war unser Kingchen ja eh sehr anfällig, wie mir scheint...er mochte sowas...ein wahrer König halt...

[edoep]

das music gate in graceland

in der 'tribune star' vom 29. juli 2006 steht ein bericht ueber einen architekten aus memphis, jack schaffer, der eben ein neues hilton hotel in 'terre haute' fertigstellte.

jack schaffer kannte nicht nur elvis noch aus dessen high school zeit und hatte ihm allererste auftritte in einem veteranenhospital verschafft, sein vater - ein kunstschmied - hatte auch das beruehmte 'music gate' von graceland geschaffen, wie schon zuvor das tor am audubon drive.

hat jemand von euch ein gutes bild des tors am audubon drive? offensichtlich scheint dieses nunmehr schwarz zu sein, entweder es wurde gestrichen oder ersetzt.

ich uebersetze hier nur die relevanten teile des artikels, der rest ist ohnehin von geringem interesse. dieser teil ist in normalgroesse und fettdruck, die uebersetzung gleich drunter in vanille.


Architect draws on vast experiences to meet design demands of new Hilton Garden Inn

By Stephanie Salter / The Tribune-Star

Over a career that spans a half-century, Memphis architect Jack Schaffer has designed thousands of buildings. Many are like the old slogan of Schaffer's first client, Holiday Inn of America — “The best surprise is no surprise at all” — they are attractive, functional and resemble scores of sister designs.

The Hilton Garden Inn at Seventh Street and Wabash Avenue is another story entirely.

To be built on the contested site of the former Terre Haute House in the heart of downtown, the six-story hotel presented design demands that were anything but boilerplate for Schaffer.

For one, the footprint of the site is small and oddly shaped. The surrounding area is urban, not near an interstate highway or airport. In addition, “there were certain requirements from the owners,” among them “that the building be compatible with adjacent areas of the neighborhood,” said Schaffer.

All of which created the sort of challenge Schaffer says he has come to enjoy.

“I love these kind of projects,” he said during a lengthy telephone interview from his office at Bounds & Gillespie Architects, PLLC in Tennessee.

City officials and Tim Dora of Dora Bros. Hospitality Corp., which will own and operate the hotel, broke ground Monday on the Schaffer-designed Hilton Garden Inn Terre Haute House. The 109-room lodging is scheduled for completion and occupancy sometime next summer.

His end of the creative process finished, Schaffer did not attend the shovel ceremony in Terre Haute. Now 70, he has embarked on “a three-year plan in which I want to wind down and retire,” he said. He is choosing his projects judiciously and refers to himself already as “semi-retired.”

Schaffer (pronounced “SHAY-fer”) has known Tim and Robert Dora Jr. since the early 1990s when he designed a hotel for the brothers in Fishers. They are among a handful of clients for whom he's chosen to stay available for consultation and advice.

“They're just wonderful people to have as clients and friends, and I treasure the relationship,” the architect said.

Memphis born and raised, Schaffer's interest in design began in early adolescence when he realized he was curious about “how things got built.” New homes were being constructed in his neighborhood and he liked watching general contractors at work.

His parents subscribed to home magazines, which young Jack pored over, studying floor plans of houses and architects' renderings.

“I thought, I'd love to be able to paint like that and draw buildings. So I went out and got a little watercolor set. It kind of grew from there,” he said.

Through high school, taking every course even remotely related to construction and design, Schaffer found he was drawn more and more to the latter. He studied architecture textbooks and, like many in his and future generations, admired the innovative and organic work of Frank Lloyd Wright.

He learned “the business of design” during the same period, hanging out among artists and draftsmen in his father's ornamental iron works operation. A few years down the line, a family would hire the firm to create white wrought-iron gates with a musical note motif for the entrance to its new home on Audubon Drive in Memphis.

The family's name was Presley.

“I'd actually gotten to know Elvis a little when I was in high school,” Schaffer recalled. “A group of us were in charge of getting entertainment for the Veterans Hospital once a month on Friday night. There was this guitar player in town. Nobody really knew him outside the area, but we had him come in every two or three months to perform.

“Elvis was still in high school himself. Then he started doing local recordings and making a name for himself. One night, we had him booked at the VA and he was about 45 minutes late. He comes driving up in a black pickup with his girlfriend. He says, ‘Sorry, I'm late, boys. I just signed a contract to go to Shreveport and do “Louisiana Hayride.” I probably won't be able to come over here again.' He was right. He never performed for us again.”

Schaffer said he and Presley would run into each other in Memphis once in awhile — “before fame and fortune separated us” — and talk over old times. Schaffer's father would reprise his musical note motif in the wrought iron gates of Graceland.

To this day, Schaffer remembers his legendary contemporary as “a nice young man.”

er (jack schaffer) erlernte ‘das designer-handwerk' in jener zeit, als er mit kuenstlern und konstruktionszeichnern in der kunstschmiedewerkstatt seines vaters herumhing. ein paar jahre spaeter sollte eine familie dessen firma beauftragen, ein weisses kunstschmiede-eisentor mit einem noten-motiv fuer den eingang ihres neuen hauses am audubon drive in memphis anzufertigen.

der name der familie war presley.

‘tatsaechlich hatte ich elvis schon ein wenig in der high school kennengelernt', erinnert sich schaffer. ‘einige von uns hatten die aufgabe, fuer ein veteranen-krankenhaus einmal im monate fuer einen freitagabend fuer unterhaltung zu sorgen. da gab es dieses gitarrenspieler in der stadt. ausserhalb dieser gegend kannte ihn nicht wirklich jemand, aber wir engagierten ihn alle 2 oder 3 monate fuer einen auftritt.

‘elvis ging damals selbst noch zur high school. dann begann er, in unserer gegend auftzutreten und sich einen namen zu machen. einmal hatten wir ihn fuer einen abend im VA gebucht, und er kam 45 minuten zu spaet. er kam mit seiner freundin in einem schwarzen lastwagen angefahren. ‘tut mir leid, dass ich zu spaet bin', meinte er. ‘ich habe eben einen vertrag unterschrieben fuer auftritte in shreveport fuer den dortigen ‘louisiana hayride. vermutlich kann ich kuenftig nicht mehr bei euch auftreten.' er hatte recht. er sollte nie wieder bei uns spielen.'

schaffer erzaehlt, er und presley begegneten sich eine zeitlang noch gelegentlich zufaellig in memphis und unterhielten sich ueber alte zeiten – ‘bevor der ruhm und reichtum uns trennten'. schaffer's vater sollte das notenmotiv im eisernen eingangstor von graceland wiederholen.

bis heute erinnert sich schaffer an seinen legendaeren zeitgenossen als ‘netten jungen mann'.

Another legend of sorts came into Schaffer's life as the 1950s drew to a close.

Married, with only a couple of years of junior college under his belt, Schaffer was eager to earn a living at design. But with no formal training in architecture, “I couldn't get a job anywhere.”

He wangled an interview at the firm of William Bond Jr. and Associates, and his timing could not have been better. A Memphis developer named Kemmons Wilson had asked the company to “draw up a little concept for a chain of hotels he had.” He called the hotels “Holiday Inns.”

Wilson liked what Bond's architects envisioned. Suddenly the firm needed lots of people at the drafting boards to get the Holiday Inn work out. Schaffer was hired. He spent 18 years at Bond, eventually becoming its president.

After Bond closed in 1975, Schaffer co-created another firm, Archeon Inc., and piloted it until 2000, when he and his partner decided to “phase out” of owning and running a business. By then, he estimates, he had been in on the design of some 3,000 hotels. Many of them were Holiday Inns, which had become part of the Intercontinental Hotels empire.

His partner retired and Schaffer joined another lodging and hospitality specialist, Bounds & Gillespie. Paul Gillespie had interned for Schaffer at Bonds when Gillespie was in college.

The Terre Haute Hilton project is one of the last Schaffer will do with Bounds & Gillespie and probably the last for the Dora brothers. He liked the creative stretch this hotel presented, the process of “breaking away from the typical Hilton Garden Inn” design while maintaining the chain's identity and brand.

The site's “tight” size, L-shape and parking needs dictated a taller, more compact structure, Schaffer said, with frontage confined mainly to the Wabash Avenue side of the hotel. All meeting rooms, totaling 3,000 square feet, are on the second floor.

Originally, the Doras and Greg Gibson, who acquired the property from the Hulman Family, hoped some large limestone pieces from the demolished Terre Haute House could be used in the new building.

That turned out to be unworkable: The stone was “not in great shape,” Schaffer said. However, his subtly retro design is more than a respectful nod to the 77-year-old building that long stood at Seventh and Wabash — and to the era in which it was born.

“It was designed at a time when that building was groundbreaking for that particular tradition,” he said. “It included some new things that were eye-catching, like the combination of brick and limestone. It was very handsome.”

From the beginning, Schaffer said, the architects were aware, not only of the protracted controversy over the fate of the old hotel, but of “all the emotional attachments people had for it,” and its important role for generations in Terre Haute's civic life.

They were determined to retain some of the past without compromising the elements necessary for an efficient, 21st-century hotel.

“We knew the existing hotel had a lot of character and tradition,” he said. “We didn't want to replicate it, but we wanted to integrate some of that character and feel. We wanted something other than a sleek, contemporary hotel.”

Despite the volume of commercial structures Schaffer has designed over 50 years, he never has lost his sense that a building is alive — with the energy of its creators and of the people who live, work, play or stay in it.

Of the old and new Terre Haute Houses, he said:

“There is so much heart in something like this. We wanted to make it stay in the heart, not in the head.”

Stephanie Salter can be reached at (812) 231-4229 or stephanie.salter@tribstar.com.

quelle: 'tribune star'

http://www.tribstar.com/local/local_story_210223013.html

rein der ordnung halber das beruehmte musicgate in GL



das tor am audubon drive heute

[gast-20070202]

Elli..Super ! Sehr interessant !

[Girlhappy]

Wenn Ellie nichts dagegen hat, dann schreibe ich auch mal ein paar Geschichten.



Juwelier erinnert sich an Elvis
Jeder bewunderte seine Gabe

John Knott - Deutsche Übersetzung: Bettina Giebler

Der folgende Artikel erschien am 8. Februar 1986 in der Ausgabe des "Commercial Appeal" in Memphis Tennessee:


Eine familiäre Stimme forderte Harry Levitch auf, in dieser kalten, eisigen Nacht nach Graceland zu kommen: "Mr. Levitch, haben sie einige hübsche Eheringe?" fragte Elvis.

Levitch, der diesen Monat nach 40 Jahren im Juweliergeschäft in den Ruhestand getreten ist, erinnert sich staunend: "Elvis wird sich verheiratet haben. Es war vor Priscilla. Ich sagte 'Ja' zu ihm, und er bat mich, ein Bündel mit zum Haus zu bringen. Weiterhin erstaunt, nahm ich mir einen Haufen Eheringe und fuhr die vereiste Straße nach Whitehaven runter und den vereisten, sich windenden Fahrweg rauf.

Elvis selbst begrüßte mich an der Türe. Wir gaben uns die Hände und ich fragte: 'Elvis, wer ist das glückliche Mädchen und wie lange kennst du sie?'

Er antwortete: 'Ich möchte diesen Ehering nicht für ein Mädchen oder für mich um zu heiraten. Ich will diesen Ehering für meine Großmutter, die ihren heute verloren hatte, und ich möchte nicht, dass sie ohne Trauring herumläuft.'"

Über zehn Jahre danach, am 1. Mai 1967, war es ein Ring von Harry Levitch, den Elvis auf Priscilla Beaulieu's Finger steckte, als das Paar in Las Vegas heiratete. Levitch und seine Frau, Frances, waren unter den wenigen Gästen, die nicht zur unmittelbaren Familie gehörten.

Ein Foto von der Hochzeit der Presleys hängt an der Wand seines Büros von seinem Geschäft in Clark Tower, welches er zum letzten Mal am 22. Februar verlassen wird.

Levitch verbrachte 18 Jahre am 'The Peabody', 6 Jahre bei 'Perkins' und 6 Jahre am 'Clark Tower.' Davor war er an der 'South Main.' Eine weitere Erinnerung, die er von Elvis besitzt, den er übrigens "die großzügigste, liebende Seele, die ich jemals gekannt habe" nennt, gehört den Jahren an, als sein Geschäft auf der South Main war.

"Elvis lebte noch immer im öffentlichen Wohnprojekt, doch er hatte angefangen zu singen und machte etwas Geld. Er rief mich an und fragte mich: 'Mr. Levitch, können Sie mir einen elektrischen Mixer besorgen?' Ich sagte sicher und fragte, wofür er sein sollte. 'Für meine Mutter zu Weihnachten.' Nicht lange danach rief Elvis mich wieder an und fragte nach einem weiteren elektrischen Mixer. 'Für wen ist der?' fragte ich. 'Er ist auch für meine Mutter. Ich möchte einen für jedes Ende der Küche, so dass sie nicht zuviel zu laufen braucht, wenn sie einen benutzt.'"

Wie hat er denn seinen bekanntesten Kunden kennen gelernt?

"Meine Frau und ich haben über die Jahre eine Art inoffiziellen Studenten-Hilfsfonds geleitet. Eines Tages rief mich der Rektor der Humes an und sagte mir, dass er ein Kind hat, welches zerrissene Kleider hat und abgelaufene Schuhe und keine Stelle mehr, wo er hätte etwas herbekommen können. So besorgte ich dem Kind mehrere Gebrauchsgegenstände und Kleidungsstücke. Er wohnte in Hurt Village.

Nicht lange danach kam dieser große, gutaussehende junge Mann, schüttelte meine Hand und sagte: 'Mr. Levitch, sie kennen micht nicht. Mein Name ist Elvis Presley, und eines Tages werde ich berühmt sein. Und wenn ich das bin, werden sie mein Juwelier; denn sie haben meinem Freund Red West geholfen.'"

[edoep]

Wenn Ellie nichts dagegen hat, dann schreibe ich auch mal ein paar Geschichten.

nette geschichte, mehr davon!

du bist ein scherzkeks - meinst du im ernst, ich will diese threads alleine fuellen, bloss weil ich sie angefangen habe!

her mit deinen geschichten. und fuer laengere angelegenheiten, wenn es vom thema her passt: der bereich reports / interviews etc. - da tummle ich mich viel zu oft ganz alleine.






PS: die rechnung pro beitrag, den du in 'meinem' thread schreibt, schicke ich dir dann am monatsende per email *

[edoep]

pfauen-buntglas fenster / graceland wohnzimmer

in den 'memphis daily news' war letzthin ein bericht ueber kleingewerbe in memphis - darunter auch ueber die firma 'laukhuff', die die beruehmten pfauen-buntglasfenster fuer graceland's wohnzimmer entworfen und gefertigt hatten. replikate dieser fenster finden sich auch im 'heartbreak hotel'.



unnoetig zu erwaehnen, dass elvis der beruehmteste kunde der firma ' laukhuff' war ... und ist .



Small Business Spotlight
Stained Glass Business Relies on Word of Mouth For New and Repeat Customers

ERIC SMITH | The Daily News
FOCUS / Wednesday August 23, 2006

GLASS ACT: Connie Raby watches as Ronald McCoach glazes a window at Laukhuff Stained Glass, 2585 Summer Ave. McCoach has worked at Laukhuff for 35 years, and Raby is part owner of the business, along with her mother and brothers. -- PHOTOGRAPH BY ERIC SMITH



The client list at Laukhuff Stained Glass reads like a Who's Who of venerable Memphis institutions.

From St. Jude Children's Research Hospital to Rhodes College, from Graceland to a multitude of churches, Laukhuff has designed or restored thousands of stained glass windows locally and beyond.

And each window is as unique as the client who commissions it.

"Every design is different," said Connie Raby, one of the company's family owners. "There are no carbon copies."


Honing their craft

Laukhuff (www.laukhuff.com) orders its glass from different manufacturers around the country, including Kokomo Opalescent Glass Co. Inc. in Indiana and Wissmach Glass Co. in West Virginia. The glass comes in all colors, and Laukhuff's craftsmen can cut and fit it into any type of design imaginable.

The process from concept to completion can be long - and expensive - depending on the project's scope. Some take a year to complete, and the price depends on the time, intricacy of design and quality of glass.

Laukhuff, which also installs the windows, has designed simple stained glass panes that cost $1,000 and richly detailed masterpieces that cost $300,000 - but it could conceivably go even higher than that.

"The sky's the limit," Raby said.

Typically, a client will tell Laukhuff what type of window is needed. One of Laukhuff's artists then draws a sketch of the design that must be approved by the client. Each glass section is cut to specification and pieced together with lead according to the sketch. The window is weatherproofed and reinforced with rebar, a steel reinforcing bar, on the outside to stabilize it.
Laukhuff, a 10-employee company, prides itself as a veteran shop with skilled, experienced craftsmen. Laukhuff employs two artists, two glazers, two installers and one person who waterproofs the windows.

"Most of them have been doing it over 25 years," Raby said. "It's very important to have master craftsmen with that much experience."

The company also performs restoration projects for damaged windows. That entails removing the entire stained glass window and painstakingly repairing each of the damaged sections.


Name is everything

Laukhuff's origins date back to 1950 when founder Mickey Laukhuff was working for Binswanger Glass in Memphis. Binswanger had just stopped producing stained glass, so Laukhuff left to form her own studio.

She ran her eponymous company for 36 years, eventually selling it in 1986 to Jack Raby, who had once worked at Binswanger alongside her. Within a year of buying the company, Raby died and the business went to his wife, Barbara Raby, who has been running it ever since.

"I want to make a success of it," Barbara said. "That's what Jack Raby left me to do."

Barbara, who owns Laukhuff with daughter Connie, 47, and son Van, 38, decided to keep the company's name instead of changing it to reflect the new ownership.

"Every little town knows this name," Barbara Raby said. "The name was the most valuable part of this business. We wouldn't ever want to change it."

There was one thing Barbara wanted to change. In 1993, about six years after inheriting the company, she moved Laukhuff from its original locale on Central Avenue to its current 11,000-square-foot facility at 2585 Summer Ave.

Passersby might notice the stained glass that adorns the company's storefront, but to truly understand the stamp Laukhuff has made on Memphis, they should drive past some of the city's numerous churches.


A holy money-maker

Raby estimates that Laukhuff has created or restored about 5,000 stained glass windows since its inception 56 years ago. Most of those are in the Mid-South, but Laukhuff has created and restored windows from coast to coast.

Local clients include Baron Hirsch Synagogue at 400 S. Yates Road, Christ the King Lutheran Church at 5296 Park Ave. and Lindenwood Christian Church at 2400 Union Ave., just to name a few.

One new client is St. Stephen Baptist Church on Chelsea Avenue. Dr. James Adams, the church's pastor, has commissioned Laukhuff to create a stained glass window for his congregation's new sanctuary at 4245 Singleton Parkway in North Memphis. He loves knowing that the design in his church will be one-of-a-kind.

"They sold me on the idea of this being the first one done in the city," Adams said.

The design even will include a likeness of the pastor himself, something Connie said is common among churches, which like to pay tribute to ministers past and present.

On a recent afternoon, Adams brought in a portrait that Laukhuff's artists will use to render his likeness onto the window. He has no doubts that they will create the perfect stained glass accompaniment for his church.

"I'm well-pleased with the professionalism they have shown our project," he said.


Word travels

Stained glass isn't just for churches anymore. Laukhuff custom designs windows of all kinds for businesses and even private residences.

Connie said homeowners like adding a touch of class and individuality to their houses, and business owners also enjoy personalizing their buildings. She said one local veterinarian wanted a stained glass representation of Mississippi State University's mascot, a bulldog.

Executives at the Heartbreak Hotel across the street from Elvis Presley's Graceland mansion on Elvis Presley Boulevard commissioned Laukhuff to replicate the famed peacock stained glass found inside Graceland. That's fitting since Mickey Laukhuff herself designed the original peacock stained glass inside Presley's home.

The company also made windows for Rhodes College's recently completed Paul Barret Jr. Library, a 136,000-square-foot building that opened in August 2005.

Though Laukhuff has launched a Web site, Connie said she doesn't see a need for marketing. The company instead relies on word-of-mouth, knowing that someone in some small-town church or home or office will tell someone else that Laukhuff is the studio to commission for any and all types of stained glass windows.

"That's how this business has been here this long," Connie Raby said.



die uebersetzung des markierten textes:

die kundenliste der firma ‘laukhuff stained glass' liest sich wie das ‘who is who' ehrwuerdiger institutionen aus memphis.

laukhuff hat tausende von buntglasfenstern restauriert, sowohl im ort wie in der umgebung, vom st. jude children's research hospital zum rhodes college, von graceland bis zu einer vielzahl von kirchen.

und jedes fenster ist so einzigartig wie der beauftragende kunde.

‘jeder entwurf ist anders', sagt connie raby, eine der inhaberinnen des familienunternehmens. ‘es gibt keine kopien.'
...
buntglas gibt es nicht mehr nur in kirchen. laukhuff entwirft glasfenster fuer alle arten von firmen und sogar fuer private wohnhaeuser.
...
das management des ‘heartbreak hotel' auf der gegenueberliegenden strassenseite von elvis presley's ‘graceland mansion' beauftragten laukhuff, den beruehmten buntglas-pfau von graceland nachzubilden. das passt insofern, als mickey laukhuff (die firmengruenderin, a.d.ue.) selbst den originalen buntglas-pfau fuer presley's residenz entworfen hatte.

das fenster in nahaufnahme:



die webseite: www.laukhuff.com