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News The Fly-By

If at First You Don’t Succeed

He’s back! The art thief who tried to scam several Memphis galleries out of thousands of dollars in paintings last summer has reappeared and is back to his old ways.

Earlier this month, the man showed up at Etched Art gallery, 505 S. Main, attempting his latest scam. As in past incidents, he fabricated a story about purchasing art for his business office as well as a piece for his personal use.

“He wanted his company logo etched on a large piece of glass,” said business owner Ryan Hamlin. “He said his interior designer had been in and selected pieces for his review.” The man then picked out two pieces costing about $1,800 and a third piece for his beach house. When the total came to $4,750, the man offered to pay for the pieces in cash but requested an additional $425 granite piece be released to him in good faith. He promised to return for the remaining three pieces.

“I asked him for his ID, but he refused to give it to me,” said Hamlin. “When I told him no [about leaving with the granite piece], he got a temper, started walking out, and said, ‘This is the same Memphis bullshit.'” During the transaction, the suspect also told Hamlin he was employed by British Petroleum but never produced a business card. Hamlin followed the man outside and was able to record a partial license plate number.

Sgt. Denise Jones with the MPD Economic Crimes Bureau, who has covered the art thefts since August 2003, said the Etched Art incident is the fourth in a series by the same suspect. While no culprit has been identified, the police have released a description. Police are searching for a white male, 35 to 40 years old, weighing 180 to 215 pounds, with short blond/gray hair. In some instances, the man has used a British or Australian accent. He has also been known to drive a 1990s four-door Jeep Cherokee with Tennessee plates.

The suspect made off with a painting valued at $1,500 from the DCI Gallery in East Memphis last year. In that case, the man claimed to be a new doctor in town decorating his Germantown home. He used the name Greg Michaels and claimed to be a member of the DeBeers diamond family. Unlike the Etched Art incident, where he never provided a name, the suspect also gave a phony address and phone number for future contact from DCI. He attempted similar scams at Fountain Gallery, also in East Memphis, and at Rivertown Gallery downtown.

“We thought this was the guy from a similar case years ago, but that guy is deceased,” said Jones. Unfortunately, the partial plate number provided by Hamlin does not do much to narrow the search. According to Jones, that partial number matches as many as 2,000 cars.

E-mail: jdavis@memphisflyer.com

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News The Fly-By

Temporary Victory

Two weeks after being consecrated as “presiding bishop and chief apostle” of the new Church of God in Christ (New Day) denomination, Bishop David Grayson temporarily lost the right to use the COGIC name in Chancery Court proceedings.

Chancellor Arnold Goldin issued a temporary injunction February 9th in front of a capacity crowd, barring the new group from using the name, citing confusion with their name and the COGIC mother church headquartered here in Memphis.

No court date has yet been set in the case.

Litigation began an hour after its original 1:30 p.m. start time when a discrepancy arose regarding each side’s 19 allowable representatives in the courtroom, while throngs of supporters filed the hallways.

New Day, represented by Kathleen Caldwell, argued its right to the name based on its use by several other churches not affiliated with the one led by presiding bishop G.E. Patterson. “We contend that COGIC is generic and not covered by trademark laws,” said Caldwell. “We can prove that in other states and in Memphis there are churches and organizations that use the name and have no affiliation with the mother church.” Caldwell even included COGIC Pastors, Inc., started by Bishop Patterson in 1970, as an example. (State records show that organization is currently inactive.)

COGIC’s attorney, Allan Wade, who has represented the church for almost 25 years, contended that the name was connected to the church, whose history in Memphis has spanned almost 100 years, and would constitute unfair competition.

“This case is not about preventing Bishop Grayson from starting his own church … preaching whatever doctrines he wishes … and having whatever members he chooses. It’s about the use of the name,” said Wade.

After the proceedings, both bishops declined comment on the case. When questioned by the Flyer, Patterson said, “I don’t talk to the media anymore after they relentlessly got together and supported [Grayson].” When leaving the courtroom, Patterson declined to shake the hand of New Day spokesman Pat Rogers, saying, “I don’t shake hands with my known enemies.”

COGIC had filed a restraining order against New Day on January 23rd. When court documents were delivered to Grayson, he issued a statement saying that he would go ahead with his ordination ceremony. He has been joined in the denomination by about 40 churches in Memphis, Alabama, Mississippi, and New York.

When questioned about other organizations using the COGIC name, Wade vowed to look into the matter and, if warranted, prosecute them as well. Although the case is not over, Rogers said New Day’s plans for its own convention in July are still on schedule.

E-mail: jdavis@memphisflyer.com

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Film Features Film/TV

Sitting-In History

As Black History Month continues, so do the stories of Rosa Parks’ ride on the bus, Martin Luther King’s marches, and Malcom X’s famous “by any means necessary” statement. But it’s a lesser-known segment of black history that will be featured when the Memphis chapter of the National Black MBA Association hosts its second annual Black Film Festival.

The festival’s main film is February One, a documentary chronicling the events of February 1, 1960, in Greensboro, North Carolina, when four freshmen at North Carolina Agricultural and Technical University helped jump-start the civil rights movement.

Disenfranchised by the segregationist rules of the Jim Crow South, the Greensboro Four — Joseph McNeil, David Richmond, Franklin McCain, and Jibreel Khazan (formerly Ezell Blair Jr.) — took seats at a Woolworth’s lunch counter and asked to be served. The store management allowed black people to purchase school supplies and toiletries but forbade them to eat at the counter.

Although the four were unsuccessful (they remained at the counter without food until closing), their resolve intensified. They returned the next day with more students, and the act sparked a sweeping, nonviolent protest. Hundreds of students staged sit-ins in more than 35 Southern cities. And while the Greensboro incident was the first of its kind, it hasn’t received the recognition of sit-ins in other cities, including Nashville.

“I believed it was a story worth telling,” says Rebecca Cerese, a producer of February One. Cerese will be speaking about the film at the festival.

“It’s unbelievable, even in North Carolina, how little people know about it,” she says. “We felt it was a really important, North Carolina story and one that impacted an entire nation.”

Cerese and colleagues at the Durham-based production company Video Dialog worked on the film over a five-year period and released the documentary in 2002. Executive producer Steven Channing originally developed the project as a historical drama, which was picked up by Showtime. After that project was shelved, Cerese suggested remaking the film as a documentary.

Cerese did most of the research and interviews for the 61-minute film, includes interviews with three of the Greensboro Four (Richmond died in 1990) on their decision to rebel and the impact it had on their lives. Narration and interviews with historians are included only to provide context, making February One more personal. According to Cerese, “That’s one of the reasons it resonates with people, because it’s just these ordinary folks talking about their extraordinary experience. I’m proud and humbled that they entrusted us with their story, and I think we did right by them.”

 

The 1960 sit-in at Woolworth’s in Greensboro, North Carolina

During and since the production, Cerese has noticed a new appreciation of the Greensboro Four sit-in. The men’s alma mater erected a statue of the four activists and hosts campus-wide conferences each year. In a city that once rejected the sit-in as part of its history, the Greensboro Four have become heroes.

In selecting films for its festival, MBA members wanted to highlight African Americans during the month, but content was also key. “Diversity is important and inclusion is important, and this film is about both,” said association president Ann Strong-Jenkins. “We wanted to get the message out that the more we know about each other, the more we can begin to embrace different cultures.” To push this idea along, the organization is inviting middle-school students to the screenings as a black-history field trip.

February One was screened at last year’s IndieMemphis Film Festival but received limited interest. IndieMemphis organizers, however, were taken with the subject matter and put Cerese in contact with the MBA.

The film implies a call to action. “I really believe that folks need to start participating in our democracy and let their voice be heard,” says Cerese. “And that’s what these guys were doing. There’s a line in the film that says [the four] were teaching America how people deserved to be treated. I think it’s that simple.”

In addition to February One, the festival will include the 1996 film Soul of the Game, a documentary/drama about the rivalry among three Negro League baseball players and their shot at playing major-league. Cerese will be joined by retired major leaguer and Memphis native Reggie Williams for a discussion on race relations and black history.

The Black Film Festival runs Tues.-Wed., February 17th-18th, at the Malco Paradiso.

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News The Fly-By

Looks Like They Qualify

Last week Shelby County came one step closer to benefiting from health initiatives under a Bush administration plan designed to assist medical facilities serving the poor and uninsured.

The governing board of the Regional Medical Center at Memphis (The Med) named a committee to proceed with the application process which, if approved, would designate the county’s 10 Loop Primary Care Clinics as “look-alikes” of federally qualified health centers (FQHCs). The changeover means the clinics would receive reimbursement for TennCare and Medicare patients and participate in the federal drug pricing program for medication discounts.

“The [‘look-alike’ designation] is good because there are so many people who just don’t have the money, and with our limited funding we can’t continue to endlessly provide care to people who can’t afford to pay,” said loop clinic executive director Elizabeth Bradshaw. “If Bush provides the resources, it would make sense that we would take advantage of it.”

Health centers applying for the look-alike distinction must meet a variety of requirements including being a nonprofit entity, serving underserved areas, and being overseen by a governing board consisting of a majority of consumers of the clinics’ services.

The majority of a center’s nine- to 25-member board makes decisions on funding and programs, which initially concerned members of The Med board, who questioned the consumers’ knowledge of health policy.

Since applying for their “look-alike” status in 2001, the Christ Community Medical clinic, serving 20,000 patients yearly, became a full-fledged FQHC last year, making them eligible to receive additional grants and other funding. Although the Christ Community system already had a board in place similar to look-alike requirements governing its two clinics, community outreach location, and mobile unit, executive director Burt Waller still addressed the issues raised by The Med.

“If you’re thinking about structuring a board, those are reasonable concerns to have,” he said. “A board needs to be composed of concerned, interested, knowledgeable people. If [the distinction] strengthens [the loop clinics], that’s good for the community, because if we weren’t out there in those communities, there would be no one else to provide care.”

Bradshaw wasn’t sure about the possible savings from look-alike status but said the reimbursement funds would help underwrite the $2 million paid to them by The Med. Since their designation three years ago, Waller estimated that Christ Community medical clinics have saved about 25 percent in drug costs.

Bradshaw hoped to have the application process completed by April. Members of the governing board have not been named but are due at the time of application submission.

E-mail: jdavis@memphisflyer.com

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News The Fly-By

Rebuilding the Hard Way

For store manager Craig Carter, the most difficult part of reopening his grocery store has been getting the word out.

“We’re just trying to let people know that we’re back and they can come down here again. With us being closed for about a month, people still don’t know we’re open,” he said.

Easy Way Food Store at 80 N. Main, a downtown landmark since 1932, reopened last Friday, 26 days after undergoing smoke and water damage from a predawn fire that destroyed Jack’s Food Store next door. The owner of the Jack’s building said he has not decided whether to rebuild.

Although no structural damage occurred to the Easy Way location, the store lost all of its merchandise. What was originally estimated as a five- to 10-day closing while fire officials inspected the area became an opportunity for the store to revamp its interior, said Easy Way vice president David Carter.

“We had a salvage crew come in, insurance adjustments were done, the entire store was repainted, and all the ceiling tiles were replaced,” he said. “We lost the three days before Christmas [in sales]. Those are the biggest days of the year, and we probably lost $75,000 in revenue.”

During remodeling, the 30 employees at the downtown location were transferred to the company’s seven other family-owned stores.

“We felt that we had to get back open for our customers,” said David Carter. “For some of them, we are their grocery store, for others we’re their bank, and for others we’re their meeting place. We’re one big family for our customers here.”

E-mail: jdavis@memphis-flyer.com

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News The Fly-By

A New Day?

Can’t they all just get along? If the subject is the Church of God in Christ (COGIC), the answer is no.

When COGIC bishop David Grayson announced his plans last week for an elevation and consecration ceremony for the title of presiding bishop and chief apostle of his new denomination, all hell broke loose. In an unlikely break from the mother church, which is under the jurisdiction of presiding bishop G.E. Patterson, Grayson launched the Church of God in Christ (New Day). He explained the significance of the name (“It is a new day in the COGIC”) during the ceremony before a capacity crowd at Greater Harvest Church.

The established church rushed to block the use of the COGIC name and has filed a restraining order against Grayson and New Day in Chancery Court. Besides demanding that the new church refrain from “advertising, describing, representing themselves, or from utilizing the words ‘Church of God in Christ,’ the order also prohibits them from “using, taking, converting, or diverting any real or personal property” belonging to COGIC.

“I told [Patterson] in November 2001 of my intentions to request a Tennessee jurisdiction. I met with him again in November 2002,” said Grayson. “I didn’t expect him to endorse it, but he said that he would not block [the plan], remain neutral, and let the board vote on it.”

The vote never came before the COGIC delegates at the 2003 convention. In December, Grayson sent Patterson a letter of resignation after serving 35 years as a COGIC pastor. Tennessee Secretary of State databases show that the Church of God in Christ (New Day) received a certificate of authority with a name change on January 23rd.

“Everyone thinks that my desire to ordain women [as pastors] was the reason for the church’s actions, but I don’t think that had anything to do with it,” Grayson said. Maybe not. In addition to that break from tradition, Grayson also plans to extend membership to non-COGIC churches. “As long as [other denominations] believe in all of the full-gospel teachings of the COGIC church, they can be included,” he said. His denomination will host its own proceedings in July as the United Saints Convention.

So what makes the new church so appealing? “Bishop Grayson is inclusive, not exclusive,” said COGIC minister Darrin Young. “In the [mother church], if you’re not on the top shelf or if your church isn’t very large, you’re kind of left out. That’s not the way it is here. Thank God for a New Day.”

Patterson and COGIC have kept mum about the matter, choosing to present their case in court, but others have not been as quiet.

When serving court documents to Grayson last Friday, process server Rik Anderson said he saw the “not so Godly side” of COGIC (New Day). After attempts to contact Grayson for a “discreet” drop-off failed, Anderson said he arrived 10 minutes before the 7 p.m. jubilee service.

“I have no doubt that [Grayson] and his [public relations manager] Patricia Rogers had news crews alerted to come film the poor bishop as he was only trying to pray with his people and then was attacked by a mean ole process server,” said Anderson. “I wish the cameras had gotten her threatening me with bodily harm too.”

Both Rogers and Grayson denied that Anderson was threatened, but Rogers said she did alert the media.

Whether COGIC is successful in its case against the New Day church will be determined when the two sides meet in court February 9th. Either way, Grayson is not worried. “This too shall pass,” he said.

E-mail: jdavis@Memphisflyer.com

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News The Fly-By

Teaching Nurses to CARE

Just days after celebrating the birth of civil- and human-rights leader Dr. Martin Luther King Jr., a national organization is confronting health-care disparities with training for front-line caregivers.

The new Cultural Awareness, Respect and Empowerment (CARE) program offers cultural training for nurses and nursing students and is sponsored by the National Conference for Community and Justice (NCCJ). The program, organized in response to a survey conducted by Aetna and NCCJ and funded through an Aetna grant, begins next week at St. Francis Hospital.

The survey found that the largest gap in perceptions of care were in terms of quality, with 28 percent of Americans saying that minorities receive lower-quality care than their white counterparts. Also, more than 40 percent of those surveyed cited a person’s race as affecting their ability to get health insurance. CARE classes are designed to not only raise awareness of actual and perceived biases but to develop management, advocacy, and leadership skills to combat the problem.

“The nursing community was chosen because these are the frontline caregivers, and they are playing increasingly larger roles,” said local NCCJ president Jim Foreman. “If we can help nurses understand, like everyone else in America, they have biases, they can have a more positive impact.”

The initial class will be followed by two additional classes at St. Francis and will be offered at Baptist and Methodist hospitals in the future. The local NCCJ organized a committee of hospital administrators, physicians, and nurses to design the curriculum, and two of its members will teach the sessions.

“It was my suggestion to broaden the selection field [from newly graduated nurses] to include seasoned nurses,” said St. Francis nurse manager Sherri Butler. “They have a broader base of experiences that they can build off … and may be able to assess the situations differently from experience.”

Nurses at St. Francis Hospital were chosen by managers and committed to follow-up questionnaires. The program will also track the nurses for five years to test its effectiveness.

E-mail: jdavis@memphisflyer.com

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News The Fly-By

Finally, a Happy Ending

Almost 16 years had to pass before Memphis police officer Cham Payne received his promotion from patrolman to sergeant.

City officials, including Mayor Willie Herenton and city attorney Robert Spence, approved Payne’s promotion, which stemmed from a 1988 incident in which the policeman passed a promotion test but was denied the advancement.

“I’m satisfied,” said Payne. “It was an oversight on the city’s part that they corrected. Thanks to the mayor, [Memphis Police Department] Director Bolden, and especially to city councilwoman [Barbara Swearengen] Holt. The city did the right thing morally, and I’m very happy with the final agreement.”

Payne had previously asked for “the same good-faith effort” years after four other officers who had taken the same test filed a lawsuit against the city in 1992 and were rewarded their rightful positions. At that time, Payne was unaware of the test oversight.

Payne said the city never admitted to any problems administering the test, and officials were under no legal obligation to correct the error, with the issue expiring under statute-of-limitation guidelines. The promotion gives the officer an additional $4,300 each year.

To make the reward even sweeter, Payne will receive a promotion for 30 years of service in June. With that distinction comes the new title of captain and an annual pay increase of about $15,000.

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Dream Weaver

Beale Street is going to be a festival in the heart of the city every day — a Memphis in May atmosphere all

year round, where people of every description can gather and feel good about themselves and their community.

There will be no barriers to blacks or whites, real or imagined, and we’re going to make it apparent to both.”— John Elkington, 1982

Performa Entertainment Real Estate offices are a music lover’s dream. Memorabilia from artists of every possible genre line the walls and adorn tabletops. An eerie bust of soul legend Rufus Thomas, complete with red eyes, greets visitors at the door. The decor isn’t that surprising, really. You’d expect the offices of the company that manages “The Crossroads of America’s Music” to look a little hip and trendy.

Don’t expect hip and trendy from John Elkington, who looks more like, well, a real estate agent. The 54-year-old entrepreneur has made a career out of turning nothing into a lot of something.

With Performa, Elkington has managed to not only reenergize Beale Street (which now surpasses Graceland as the state’s top tourist attraction, according to Convention and Visitors Bureau numbers) but also package the formula for other cities around the country. City leaders have come from as far as Spokane, Washington, to partake of the business voodoo used to put Memphis on the map. Mention his name in development circles and the most common response is simply “John Elkington is a dreamer.”

As 2003 comes to a close, with the partially completed FedExForum looming at Beale Street’s back door, Elkington and company are doing what they do best: changing with the times. As the area makes ready for an influx of fans and visitors, Performa is devising plans to capitalize on the expansion. “Our legacy to Beale Street will not only be that we started it but we finished it,” said Elkington. “But the work is never finished. We spent this whole year working on our next 20 years.”

Devising the Plan

When Elkington first decided to take on the task of redeveloping Beale Street in 1983, everyone told him he was crazy. Others had tried, unsuccessfully, to redevelop the once-thriving area, which had dwindled to boarded buildings and piles of rubble after the Martin Luther King Jr. assassination in 1968. The Elkington and Keltner Company took over management of the street from the Beale Street Development Corporation and became responsible for everything — securing tenants, collecting rents, maintaining buildings, and advertising and scheduling events.

“I was 32 years old and thought I could do anything at the time,” he said. “When you’re younger you don’t know as much, and you get involved in projects that you really don’t have the qualifications for. So, what happened? I had no plan, no marketing money, and I almost went bankrupt, twice.”

Elkington estimates he spent more than $3 million of his own money, in addition to federal grants, to renovate the district.

The perseverance paid off. This year marks the 20th anniversary of Beale’s redevelopment, a year in which Beale Street businesses grossed more than $24 million, according to Performa CFO Joe Calabretta. In the intervening years, an Olympic torch has been carried down the street, President Bill Clinton ate at Blues City Cafe, and more famous bands than you could possibly name have played in its clubs.

Vice president of operations Al James has been with Performa for 20 years and worked with the Beale Street Development Corporation before that. Although Elkington gets most of the credit for turning the street around, James actually maintains it, working with the Beale Street Merchants Association, spearheading security, and patrolling the area during nighttime events. His day begins at 6 a.m. and sometimes ends well after midnight. “I’m the last person from the original team,” he said.

The energetic 49-year-old admits to having doubts about Elkington in the beginning. “I have to give John his props. He has weathered some storms. I followed him here and businesses followed him too. He has proven a lot of people wrong. The street has proven itself. We can’t lose on this.”

The street posted its first profitable year in 1990, with sales of $5.6 million. In 1996 the street was removed from the U.S. Department of Interior’s list of endangered historic buildings, following the openings of Silky O’Sullivan’s, Alfred’s, and Rum Boogie Cafe.

Elkington then took his development/management formula on the road — to Shreveport, Louisiana, Cincinnati, Ohio, Winston-Salem, North Carolina, and elsewhere. The results have been mixed.

Spread Thin

Elkington came before the Shelby County Commission earlier this fall for what should have been a routine approval vote for his reappointment to a seat on the Center City Commission (CCC). Somewhat surprisingly, he received a dissenting vote from Commissioner Linda Rendtorff.

Although Elkington had served on the CCC before, Rendtorff questioned his commitment to the position and its requirements. “The [CCC] post has to deal with a lot of issues dealing with money and tax freezes, and these things need to be scrutinized very carefully,” said Rendtorff. “And here you’ve got somebody who doesn’t fill out forms like he’s asked, doesn’t fill out resumes, doesn’t show up for [his] committee [interview] and expects to be put on the board. These things need careful scrutiny, and I’m not sure he’s capable of that.”

Quite the contrary, said CCC president Jeff Sanford, who has known and worked with Elkington in various capacities dating back before Beale Street was redeveloped. “John has been very interactive and participatory on our board,” he said. “I was around when he was dreaming about creating the district, and I remember in the late 1970s he called and asked my opinion and I told him he was nuts. Now we have people calling the [CCC] because they’ve heard about the success of Beale Street and about John.”

Elkington contends Rendtorff’s concerns are unfounded. “When I was younger, that was the case. But people change, and as they get older, they mature,” he said. A second marriage (to Valerie Calhoun, a Fox-13 anchor), two grown sons, and an 18-month-old have mellowed Elkington. “People used to tell me that I was too busy and doing too much, and probably in those days I didn’t care. I just wanted everyone to like me,” he said. “Now, I don’t care who likes me, and I don’t feel bad about saying no anymore.”

Elkington was ultimately reappointed to the CCC and serves as the mayoral appointee on the group’s Downtown Parking Authority and on the Center City Development Corporation. “John’s been around a long time. He knows a lot of people, and sometimes just being around long enough will get you there,” said Rendtorff.

Even though Sanford may be in his corner, representatives of other cities where Elkington has taken his expertise have questioned his accountability, citing a lack of responsiveness, communication breakdowns, and unrealized promises. In what may have been Performa’s most public management failure, financial support for the Red River Entertainment District in Shreveport fell through in October when the primary creditor, Flint Industries, met with foreclosure.

Mayor Keith Hightower and city officials worked with Elkington for more than seven years. “We wanted restaurants, clubs, and shops. A little more commercial than Beale Street, but unique to Shreveport,” said Hightower. “The project got built, we funded it, and Performa never filled it up. When leases weren’t executed, a lot of names were thrown around and it never came into fruition.”

In interviews with the Shreveport Times, Hightower criticized Elkington for insufficient marketing of the area, particularly during tourism season. After the disintegration of his city’s relationship with Performa, a foreclosed project, and $15 million in losses, Hightower has tempered his criticism somewhat. “We’ve been contacted by some other cities [about Performa’s actions], but I’m not on a witch hunt to get John. I think he got spread too thin. He kept a dream alive for a long time. Unfortunately for us, it was a bad dream. But that’s in the past, and we’re trying to move on,” Hightower told the Flyer.

The mayor said his city has been able to obtain some tenants, but plenty of vacant space remains, largely due to negative publicity surrounding the district’s handling.

Elkington’s employees stand behind him. “The Shreveport deal really hurt him. It made him angry, and I don’t think I’ve ever seen John that angry before,” said Cato Walker, Performa senior vice president of development. “The whole story was never told. Part of the problem was the partnering and also circumstances caused by the city’s requests. Shreveport needed someone to blame, and because he was the face [of the project], they blamed him.”

Winston-Salem, North Carolina, downtown development director Jack Steelman speaks wistfully of his city’s planned Fourth Street entertainment district. “We still have banners up with that name, but now it’s become more of a restaurant row,” he said. Performa finished its work with the city in 2000. Though plans were drawn up for retail outlets as well, no projects were begun.

“We were pleased with the outcome in terms of the plan itself, but we hoped he would bring more capital and deals to the table than he did. But we were pleased with the people that we met through him,” said Steelman.

Through Performa, the city was able to acquire funding to build $26 million in residential units. But it also fell victim to Elkington’s multitasking. “John is such a dreamer that sometimes people found him hard to believe,” Steelman added. “We’re a fairly conservative, mid-size Southern city that just didn’t see things that a dreamer like John would see. But it’s also fair to say that he was trying to evolve from consultant into developer at the same time within our project, and some unrealistic prices were put on land by private owners.”

Locally, Elkington has also had to fight some battles. Two years ago, then-Performa CFO and longtime friend Paul Gurley died. Since then, Elkington and Gurley’s widow, Mary Harvey, have been disputing unpaid bills stemming from a company credit card issued in Gurley’s name. Although Harvey did not pursue legal action and Performa paid the $13,000 bill in question, animosity still exists between the two.

Elkington has also been criticized for overcommercializing Beale Street, diluting — some would say eliminating — its uniquely Memphis characteristics. Three of the street’s largest venues, the Hard Rock CafÇ, Wet Willie’s, and Pat O’Brien’s, are franchise developments. “In the endeavor to make money, I don’t see how [Beale Street] could not have become commercial,” said Walker. “Beale Street has been a self-exploiting and commercialized street all its life. Rufus Thomas exploited Beale. B.B. King exploited Beale. Elvis Presley exploited Beale.”

Elkington maintains that the venues on the street remain unique to Memphis, and local management is sought for the franchises. In an attempt to continue the street’s African-American heritage, Performa has also instituted a 25 percent minority-ownership rule for new venues.

According to Performa’s management agreement with the city, any rental income above and beyond Performa’s expenses, which include security, insurance, and street maintenance costs, must be paid to the city. Elkington says there will be no surplus this year. Because of arena construction, access to parts of the street has been difficult, he said, adding that tenants have also dealt with extended pavement and sewer repairs, forced evacuation following July’s big storm, and security expenses of $180,000.

“From what’s being reported, sales on the street aren’t down compared to last year, but they are not up either,” said Calabretta. “It’s anybody’s guess as to what’s to happen with the arena. The businesses that I’ve talked to are looking for 12 to 20 percent increases during [Beale Street’s] off-season [between Thanksgiving and Mardi Gras].”

At press time, city officials had not responded to repeated requests for information regarding Performa’s dividend payments. According to Calabretta, more than 60 percent of Performa’s revenue comes from out-of-town projects. Through November, the company produced $325,000 in out-of-town billings compared to about $200,000 from Beale Street.

Elkington will manage entertainment districts in Cincinnati, Jackson, Mississippi, and Trenton, New Jersey, in the next two years. Plans for Jackson’s Farish Street district are complete, and properties are under construction. Trenton’s South Broad Street Village project will include more than 200 apartment units and 40,000 square feet of commercial space, developed by Performa. Plans for Cincinnati’s Over-the-Rhine district will be unveiled in January.

So far, Cincinnati city councilman John Cranley has been pleased with the progress. “John is in the process of working with local restaurants and local celebrities. We are also buying land and helping to land tenants,” he said. “The business aspect of the deal as well as the personal friendships that have developed from it have been good as well. We have never had an experience here with accountability or unreturned phone calls.”

In Progress

Elkington is working to bring a Chicago-based club, the District, to Beale Street. He also hopes to achieve a long-term goal by bringing the King Biscuit CafÇ as a breakfast venue to the street. “Memphis is changing, and we’re trying to get younger people here,” he said. “We have an urban crowd here, and you’ve got to address that.”

Elkington said he plans to transfer ownership of his management company to a minority owner within the next five years. The management deals, which require five to seven years of ongoing work, no longer hold an allure for Elkington. His primary interest lies in development and building ventures.

“Not many people get to take a dream from idea to reality,” said Walker. “John has developed a great product in Performa. … And he is not above getting out on the street and picking up paper. Back then [during the company’s founding], John was like a bull in a China shop. Now he realizes that you can’t do things with so much reckless abandon. He’s realized that he no longer has to be the whole crew.”

E-mail: jdavis@memphisflyer.com


Performa Business Projects

Illustrations of Jackson, Mississippi s, Farish

Street

entertainment district, scheduled to open in 2005.

?

Beale Street/Memphis

The District new Chicago-based restaurant/nightclub; opening spring 2004 in the former Have a Nice Day CafÇ space

Lee s Landing new development adjacent to FedExForum, consisting of a 420-car garage, 15,000 sq. ft. of retail space, a national steak house, and a Westin hotel

Blues Alley redesigned rear facades of existing businesses bordering FedExForum

New Police Museum

Midtown s Central Business District development 50,000 sq. ft. of retail space

Other Cities

Over-the-Rhine (Cincinnati) plans to be unveiled in January for 100,000-sq.-ft. development. Performa has received letter of intent to develop 40,000 sq. ft. of that area.

Farish Street (Jackson, Mississippi) plans completed; city is doing infrastructure; opening spring 2005

South Broad Street Village (Trenton, New Jersey) $24 million in state funds to develop the area; Performa will develop 232 apartment units, 100,000 sq. ft. of neighborhood commercial space, 30,000 sq. ft. of office space, and a 650-car garage.

Categories
Theater Theater Feature

The Other Lion King

In Disney’s The Lion King, currently playing on stage at The Orpheum, audiences are constantly reminded of the hierarchy of the animal kingdom. Mufasa is king, and son Simba will be his successor. There is no room for two kings.

Enter Scar, the lion who would be and should be king, at least in his own mind. He questions Mufasa’s rule by asking his subjects, the hyenas, “What does he have that I don’t have?”

For anyone who’s ever felt a twinge of envy and resentment toward an older sibling, better athlete, or smarter student, this line is relative — at least Scar hopes so. “The audience isn’t going to be rooting for me no matter what, but there’s something upsetting about what happens to Scar and what he does to other people,” says veteran actor Dan Donohue, who plays the role in the touring show. “My job is to let the audience step into his shoes a little bit … and when he gets torn apart by the hyenas at the end, hopefully the audience will say, ‘I don’t wish that on anybody.'”

Playing a villain is new for Donohue, who also auditioned for the much lighter role of Zazu the bird. His stage credits since joining the Oregon Shakespeare Festival in 1994 include parts in Julius Caesar and As You Like It. He has also had small roles in the television comedy The Drew Carey Show and the film The Contract.

Donohue calls the play “completely theatrical” because it doesn’t turn the story into a realistic representation but engages the audience to draw their own conclusions and form opinions. “The transformation to Scar was surprising to me, and when I first got cast, I couldn’t picture myself in the role,” he says. “But bit by bit through rehearsals, costume, and makeup, I slowly and surely thought, This is where Dan fits into this whole picture, but it’s been a slow process.”

That process: adjusting to a 45-pound costume (complete with leather pants, body armor, and mask), enduring 45 minutes of makeup application each night, and exercise to prepare for the rigors of the show. That’s just the physical part. Emotionally, he tries to soak up Scar’s traits, conveying danger balanced with relish for Scar’s bad behavior.

The Lion King already had fans, both children and adults, through the animated film. Success is pretty much guaranteed, so actors have to measure their performances by their own standards. Donohue rates his Scar experience as unique and educational, with daily lessons on acting in a musical. He measures this role each day, as he does all others, on whether he will ultimately be a better actor.

“There are very specific kinds of technical things that are in this show, but essentially they are in all shows. With the puppets and masks, all we need to do is find out what the character wants and how they go about getting what they want,” he says. “It does take a bit more imagination, but the work remains the same.”

Donohue is contracted with Disney through August 2004 and has no plans yet for his next role. While this show may be the largest of his career, he takes the attention and success in stride. A 1976 postcard from the Showtime version of The New Mickey Mouse Club is posted on the actor’s Web site. “Since Showtime will feature youngsters who have an exceptional singing, dancing, or musical ability, with a marked degree of performance experience, we regret that you do not qualify,” reads the postcard.

“Most of the time with acting, it’s about rejection,” says Donohue. “The things they say in the postcard … sometimes I feel that they are true because I really don’t see myself as a singer or dancer. But I’m fortunate to be able to do these things now without falling off the stage.”

The Lion King runs through January 4th, with performances each night except Monday and two matinees on weekends.

E-mail: jdavis@memphisflyer.com