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“Follow That Dream”

To paraphrase John Lennon’s rearview summary of rock-and-roll history, “Before Elvis, there was nothing” — before Graceland opened as a tourist attraction, there was no Beale Street tourism, no Sun Studios tours, or Stax or Rock ‘n’ Soul museums. Elvis Presley would have turned 73 on January 8th, and it might be said that he means more to Memphis dead than alive. Music heritage, and Elvis in particular, anchors the tourism industry that generates an estimated $2.4 billion annually in Memphis. Mixed into the print-news coverage of Graceland’s opening in 1982 are ads for Memphis tourist attractions that include Confederate Park, Mud Island, and the Magevney House. With all due respect to those attractions, it’s hard to imagine a half-million visitors flocking to Memphis to experience them.

To say that the area surrounding Graceland at 3734 Elvis Presley Boulevard has fallen on hard times overlooks an important fact: It didn’t have to fall on hard times. Graceland has been there for 25 years. That Graceland manages to attract 600,000 visitors each year to this strip of used-car lots, fleabag motels, and hot-wing stands testifies to the drawing power of its late owner.

But now a transformation unlike any the city has seen since the gentrification of Beale Street is afoot, with a $250 million investment to redevelop Elvis Presley Boulevard. The investor, CKX, Inc. chairman and chief executive officer Robert F.X. Sillerman, summarized the plan, saying, “It’s going to be ‘Oh, wow,’ I can tell you that.”

CKX, owner of the American Idol and British Idol TV programs, paid over $100 million for an 85 percent interest in Elvis Presley Enterprises (EPE) and the commercial rights to the Elvis image nearly three years ago. Lisa Marie Presley retains a 15 percent share of EPE and ownership of the Graceland mansion. Her mother, Elvis’ ex-wife Priscilla Presley, sits on the CKX board of directors. The transaction represented Graceland’s arrival from locally owned cottage industry to New York media conglomerate. The artist who, in life, symbolized what writer Stanley Booth called “a certain personal freedom that’s in the best of the American tradition,” has become a corporate icon.

CKX hopes that the city will kick in to support a revitalization of Whitehaven, the neighborhood that strikes many visitors as an unlikely host for the residence of the world’s most recognized entertainer. (CKX is merging with another company and cannot discuss its projects with media due to U.S. Securities and Exchange Commission regulations barring such communication because of the pending merger.)

State and local governments have begun the necessary legislative actions to get the project under way. Last year, the Tennessee legislature passed a bill authorizing a tourism development zone (TDZ) in the area. Among the first orders of business for the new Memphis City Council will be the consideration of motions to approve zoning changes necessary to break ground on the Graceland redevelopment.

“I can’t speak to the specifics as to what we’re looking for from the state,” explains Kevin Kern, media relations manager for EPE. “It’s going to be first-class and this is going to be a catalyst for revitalization in this neighborhood.”

The “Oh, wow” plan includes an 80,000-square-foot visitor’s center and a convention-sized hotel. Though the blueprints remain undisclosed, the power of Elvis to revitalize Whitehaven may yet rival the King’s own ascent from rags to riches. While the plans should benefit the neighborhood and the local economy, they also represent a gamble for CKX. Can Sillerman, a New York media mogul, maintain the connection between Elvis and his fans and bring a new generation into the fold?

“We obviously want to attract more people here as we grow our attraction. We want to make Graceland a destination where they’ll spend more than just a day touring the mansion,” Kern says. “Whether it’s a retail component or a new restaurant, getting people to stay here longer is part of the formula. Live entertainment could very well be a component.”

Humble Beginnings

The Elvis image wasn’t always a ticket to prosperity on the Graceland corridor. The first two Elvis souvenir shops opened in the shadow of Graceland during the months following the King’s death on August 16, 1977. The Graceland Gift Shop shared space with a turquoise jewelry store at 3771 Elvis Presley Boulevard, and Elvis Presley Souvenirs and Boutique opened in a former record shop and recording studio at 3787 Elvis Presley. The first shop had gone back to its old name, the Wooden Indian, by the next year. The latter held on for five years before closing.

Presley fans flocked to the June 7, 1982, opening of Graceland from as far away as Tokyo, London, and Australia. The first tours of the mansion began at 8:30 that morning. By noon, an overflow crowd had packed the staging area across the street, a scene repeated thousands of times since. While the event demonstrated the King’s magnetic pull on fans, the opening drew no recognition from local officials. Then city mayor Wyeth Chandler and county mayor William Morris skipped it. Despite the civic snub, Graceland sold 3,000 tickets that day at $5 apiece and turned many more pilgrims away.

One visitor that day told The Commercial Appeal, “I predict this will be closed in two years. The tourists will kill it. They’ll steal everything in sight.” Presley’s fans shrieked through entire concerts and tore at the King’s clothes and hair if they could get close enough. Why would anyone think his lawn, shag carpet, or rhinestone belt buckles would fare better when subjected to 3,000 visitors a day? But fans channeled that fanaticism into reverence, as once screaming fans turned out by the thousands for solemn candlelight vigils every August and awed strolls through the King’s halls.

Justin Fox Burks

While Presley pilgrims flocked to Graceland from day one, their presence wasn’t enough to support satellite enterprises. An Elvis Presley Museum opened a few blocks south of Graceland shortly after the mansion opened to tourists. In addition to an official Elvis memorabilia shop across the street from Graceland, two other Presley swag stores opened nearby. The museum and both unofficial gift shops closed within a year. About the only unlicensed business bearing the King’s name that made it was Floyd’s Elvis Presley Amoco, a block north of Graceland.

Priscilla Presley retained attorney Jack Soden to guide Graceland’s 1982 opening. He stayed on board, and today he is chief executive officer of EPE. Graceland owes much of its high profile as a tourist attraction — it’s the most visited private residence in the world — to Soden’s management, and CKX hasn’t disturbed EPE’s structure, ensuring local continuity.

David Meets Goliath on the Boulevard

One of the more compelling subplots of the redevelopment story sits smack in the middle of Graceland’s plans. Literally. Boulevard Souvenirs, a retailer of licensed Presley memorabilia, is located next door to Graceland. According to an October Memphis Daily News report, EPE offered Rick Roberts, the shop owner, $350,000 for his inventory. Roberts declined. EPE didn’t take the rejection well and changed its licensing agreement with official Elvis memorabilia vendors to prevent them from doing business with “unauthorized” vendors within five miles of Graceland. This would include Boulevard Souvenirs, though a recent perusal of their shelves found nothing but official Elvis gear save for a few exceptions in the book aisle.

Both EPE and the Roberts family have chosen to remain mum on the subject of their disagreement, since the litigation is pending.

The dispute may run deeper. The shop and its one-third-acre lot is the only property on either side of the boulevard for nearly a half-mile around Graceland that EPE doesn’t own.

Justin Fox Burks

Pulling the available information together, one could surmise that Boulevard Souvenirs stands in the way of the proposed new hotel. The AP report about the redevelopment announcement, endorsed by EPE, says that the hotel will share the east side of the boulevard with Graceland. Eight and a half acres of EPE-owned, undeveloped land virtually surrounds the souvenir shop and runs to the border of the Graceland property and into the back of the Boulevard Souvenirs lot.

Though the Roberts own the Boulevard Souvenirs shop and inventory, a St. Louis company, Commercial Development, Inc., owns the property. They did not respond to a request to discuss the future of the property for this story.

If He Builds It, Will They Come?

The success of the new Graceland development depends on fan response. From that overwhelming turnout to see Graceland on its opening day in June 1982 to the phenomena of velvet Elvis paintings, tribute artists, and the death day vigil, Elvismania has been a grassroots affair.

No Memphian not employed by Graceland spends more time with Elvis tourists than Sherman Willmott. His Ultimate Rock-and Roll tours run visitors to music heritage sites popular and obscure, and Willmott does most of his business with Presley pilgrims. He says that he favors the expansion plan and sees it helping more businesses in general. “Elvis fans would love an improved experience around their pilgrimages,” Willmott says. “Elvis fans are the biggest driver of tourism to Memphis, and any improvements to the amenities … will only benefit Graceland as well as the whole area.”

Stanley Booth, author of the Memphis music classic Rythm Oil and the definitive account of the Rolling Stones’ ill-fated 1970 tour, is uniquely qualified to ponder the cultural significance of Elvis’ image and its resonance with fans. By phone from his home in Georgia, Booth says that he sees a certain irony in an independent spirit such as Elvis becoming corporatized.

“I’m not really surprised to see Elvis’ image become corporate, because that’s the American way,” he says. “That’s not to say that I approve of it, but it’s to be expected. It’s easy to deplore the way that he’s become a tourist attraction, but Elvis loved his fans and loved being Elvis and occupying that position in the public mind.”

“Elvis fans are coming right now without the improvements,” Willmott says. “If the whole experience is improved, people will come in larger numbers and stay in that area (as well as Memphis) longer. The thing to remember is that people are coming from all over the world for this experience, and anything that is substandard reflects poorly on their visit and word of mouth for future visits.”

A small sampling of visitors from around the world to Graceland on a cold January day provided mixed reactions to the key points Willmott raises.

A couple from Utrecht, Netherlands, who hopped the direct flight from Amsterdam to Memphis on Northwest Airlines, said, “The neighborhood’s very nice.” They came specifically for the Elvis experience.

Glen Berry stopped his car outside Graceland’s stone wall to take a picture. Berry, passing through town on his way to Las Vegas from Toronto, came out of curiosity more than devotion to the King.

“Why did Elvis want to live here?” Berry wondered, referring to the bustling highway that chugs past Graceland. “I would’ve figured with all his money he’d go out in the country where the beauty is.”

Willmott says that it’s not unusual for first-time visitors to be surprised by Graceland’s location and surroundings. “Everyone wonders why Elvis would have built Graceland amongst the strip malls, fast food joints, and used car dealerships. I explain how the street was when Elvis bought Graceland in the ’50s — it was a [two-lane] highway — and that the suburb built up around it. I also explain that a billionaire bought the rights to Graceland and Elvis’ image and intends to fix the area up.”

According to Kern, “Elvis does a lot of the work [of attracting new fans]. He’s the rock star — 34 percent of our visitors each year are [under 35 years old]. Elvis continues to appeal to fans of a younger generation. Elvis is the icon. Seventy-six percent of our 600,000 visitors are first-time visitors.”

Alan Sullivan and his wife Linda made their fourth visit to Memphis from Warwick, England. “I hope Sillerman doesn’t plan on changing any of this,” Alan said, gesturing toward the mansion grounds.

The couple planned a nine-day stay around Elvis’ birthday. “Memphis could do more to help itself,” Alan said, noting the unreliable public transportation and outdated and incomplete tourist information he found at the Heartbreak Hotel.

“No one comes to Memphis and says out, ‘Oh, if the signage on [Elvis Presley] Boulevard weren’t so bad, I’d stay another day,'” Willmott says. “The truth is that a better overall experience with the proposed amenities implemented would have an immediate and long-term impact on Elvis’ fans’ vacations. People are coming from the ends of the earth and save their money to come to Memphis, so a better experience [equals] longer and more visits.”

“I don’t admire the corporatization of Elvis, but I think his fans can handle it,” Booth says.

CKX hopes so. And that’s the $250 million question. Booth reflects philosophically when asked about Presley’s power to transform his old neighborhood now. “Elvis had a great faith in the future,” he says.

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Sports Sports Feature

Tigers-Georgetown Wrapup …

If University of Memphis fans felt hung over after their football team’s loss Friday night in the New Orleans Bowl, they didn’t sound like it Saturday morning as the second-ranked men’s basketball Tigers overwhelmed the number 5 Georgetown Hoyas in FedExForum with a little help from the sixth man.

The first top-5 college basketball match-up in the city’s history excited and delighted the announced crowd of 18,864.

Georgetown players appeared unfazed by the huge, loud crowd early on. Hoyas senior forward Patrick Ewing Jr., was seen bopping his head along to the beat of the catchy U of M fight song as the Mighty Sound of the South thundered through a chorus during pre-game warm-ups.

Tigers head coach John Calipari enjoyed a laugh and a handshake with Georgetown coach John Thompson III. In game action, each team’s style of play reflected their coach’s sideline demeanor. The frenetic Calipari stomped, paced, and hollered at his squad from the Memphis bench, while Thompson gestured for his side to take it slow and remain calm.

The patient Hoyas picked the Tiger defense apart for first half leads as large as 8 points.

A specter of a Hoya upset seemed imminent at the 12:08 mark of the first half, when Tigers forward Joey Dorsey hit the bench with two quick personal fouls. While Dorsey smacked his gum on the sidelines, though, the Tigers stormed even with the Hoyas, and then pulled ahead 43-40 by halftime with a late flurry forwards Chris Douglass-Roberts and Robert Dozier.

The second half belonged to the Tigers as Douglas-Roberts put them ahead 54-46 with a breakaway slam-dunk at the 12:16 mark. Tiger athleticism kept the Hoyas at arm’s length the rest of the way. Dorsey pulled down 11 second-half rebounds and scored 9 points, including a follow-up slam of an air ball at the shot clock buzzer with about 10 minutes to go.

The crowd poured it on the Hoyas throughout. The visitors appeared increasingly rattled as the volume and points escalated.

Calipari unleashed the Tigers full court press, and the Hoyas might have thought someone kicked a beehive with defenders flying across the floor and buzzing around the ball. Georgetown’s All-American center Roy Hibbert finished with a mere six points as the Tigers swarmed and double-teamed the big man, forcing him into poor shots and awkward passes.

Conversely, Calipari’s killer D’s, Derrick Rose, Dorsey, Douglas-Roberts, and Dozier all scored in double figures. The final score of 85-71 reflected more than a homecourt advantage. Thompson admitted after the game that, “you have to look at them as one of the best, if not the best team in the country…because they can hurt you in so many ways.”

At least for today, the Tigers are the toast of college basketball.

–Preston Lauterbach

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Music Music Features

Re-creating the Blues

Scott Barretta felt skeptical when he was cold-called May 1st to share ideas for a film project. The former editor of esteemed Swedish blues magazine Jefferson and Oxford, Mississippi’s Living Blues had grown accustomed to such queries. “Having worked in blues, I’m used to getting milked for information by people making documentary films,” Barretta says. The drill is quite simple. “They’ll say they’d like to work with me, I tell them everything I know, and they never call me back.”

G. Marq Roswell, who contacted Barretta, proved to be more than a purist on a shoestring budget. Roswell has over 50 credits as music supervisor in motion pictures including Wild at Heart, The Commitments, and Baadasssss!.

Two-time Oscar winner Denzel Washington hired Roswell to re-create African-American blues, jazz, and gospel from the mid-1930s — without the crack and hiss of the surviving sounds of those days on 78 rpm records — as the aural backdrop for The Great Debaters, the story of a small black college in Texas taking the national debate championship in 1935 against rather long odds. Washington directed, produced, and starred in the film, and his fingerprints are all over the soundtrack, for which Barretta facilitated recording sessions and wrote liner notes.

The soundtrack bridges different genres and generations of black music practitioners to make old music in original combinations that include Memphis musicians Alvin “Youngblood” Hart, Teenie and Leroy Hodges, and Billy Rivers and the Angelic Voices of Faith choir.

Hart bristles at the thought of himself as a revivalist. “As far as being the preservation society — that’s not me,” he says. Nevertheless, Hart and the African-American string band the Carolina Chocolate Drops immediately came to mind when Roswell asked Barretta to recommend musicians for a juke-joint scene.

“Alvin’s simply the best person alive playing that style of acoustic blues,” Barretta says. “I’d just seen the Carolina Chocolate Drops, and it became clear to me that if you hooked them up with Alvin, it’d be great, so I suggested that to Roswell. He liked the mp3s I sent and asked where we should record. I said, ‘Why don’t we do it in Memphis?'”

“It” required three two-day recording sessions at Ardent studio. Atlantic Records released the soundtrack, with 13 songs made in Memphis, on December 11th.

The youngest of the featured artists, the 30-and-under Carolina Chocolate Drops, play the oldest style. They represent a black string-band tradition that “has always been there, it’s just hidden,” explains Dom Flemons, a 25-year-old multi-instrumentalist who joins Rhiannon Giddons and Justin Robinson to round out the Chocolate Drops’ lineup. “We might be the first black string band in a major motion picture,” Flemons adds.

“Working with the Carolina Chocolate Drops was fun because they’re years younger than me,” Hart explains. “Looking back when I was their age, I was wondering if there was anybody else into this stuff. This was something I’ve been waiting for.”

Washington wanted a modern-day Bessie Smith, the prototype blues queen who died following a wreck on a Mississippi highway in 1937. He found her in Sharon Jones, the soul singer from Brooklyn who, along with her Dap-Kings, has released the year’s soul revival hit album 100 Days, 100 Nights. Despite her historical leanings as an artist, Jones says she wasn’t fully aware of the Memphis music legacy until she arrived at Ardent studio to cut tracks for The Great Debaters.

“I was standing there where Booker T. & the MG’s had recorded, playing with Alvin and Teenie [Hodges],” Jones explains. “I wasn’t familiar with Memphis’ reputation when I got there, but being there was an education.” Hart, the guitarist whom Taj Mahal once described as possessing “thunder in his hands,” knew to expect the unexpected at the Ardent sessions.

“The funny thing about recording in Memphis is that you never know who’s going to show up,” Hart says. “I’d worked with the Hodges brothers maybe 10 years ago. They showed up. Then somehow we started working with Billy Rivers and the Angelic Voices of Faith choir. I’m glad that the soundtrack work was done here and the producers of the film kept coming back and getting more local people involved.”

It’s a treat to hear Teenie Hodges, whose name is synonymous with the plush sound of the 1970s, pluck his acoustic on the foot-stomping Piedmont blues duet “Step It Up and Go” with Hart. “Teenie’s certainly not known as an acoustic blues player, but that’s what he did, and when he and Alvin played together, it was seamless,” Barretta says.

Barretta explains that Washington wanted to begin and conclude the film with musical prayers. Memphis got Jones in the mood.

“I go to church, and I know what it’s like when the Holy Ghost comes through. People get to shouting,” Jones says. “During the recording, I could literally feel it. Some kind of something came over me in that studio while I was singing ‘My Soul Is a Witness.’ It was like I was in church, and I got happy.”

Jones’ happiness has yet to wear off. “I know I’m not dreaming,” she says. “I know it’s for real, and I know it’s done. This is something I’ll tell stories about for a long time.”

The project left the performers with a sense of unique accomplishment, as Hart explains: “If you’d have told me when I was a 15-year-old wannabe guitar player in the garage that I was going to be working with Denzel Washington, I would have said, ‘What?'”

The Great Debaters opens at movie theaters on Christmas day.

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News The Fly-By

Q&A: Warren Lewis

Seventy-five-year-old Warren Lewis made his reputation as a grassroots civil rights activist in the 1960s. He founded neighborhood organizations that distributed food to impoverished citizens in North Memphis, put street kids to work, and pushed elected officials to enforce equal rights for African Americans throughout the city.

Today, Lewis’ barbershop at 887 N. Thomas Street serves as a hub for local news that seldom reaches the paper and a stumping ground for politicians. Lewis offers a unique perspective on the local role of the National Civil Rights Museum in light of the December 8th demonstration against the current museum board of directors.

“I was involved with marches in the ’60s,” Lewis says, explaining his choice to sit this one out. “I don’t hardly go to marches anymore.” — Preston Lauterbach

Flyer: Are folks in North Memphis talking about the controversy over who controls the Civil Rights Museum?

Lewis: No, not much. They don’t know about the museum. They’re not informed. I’d like to see the museum open up to them and show them the things we’ve been through. Local people should be able to go through there for free to [learn about] the struggle. Maybe it would open their eyes to certain things. I talk to a lot of young people who aren’t informed about their history, and the museum might be able to help that.

Are you satisfied with the way the Civil Rights Museum tells the story of the movement?

I’m pretty satisfied with it. I had a flashback seeing pictures of the riots and the police siccing dogs on people.

How could the museum function as a civil rights organization?

If I was over there, I’d make contact with the people here in the ghetto and inform them about what’s going on. There should be more laymen involved with the museum [board of directors], people who have direct contact with what’s going on in the community. They’re not connected with the grassroots people. The civil rights movement included ordinary people. They can help the direction of the museum. It’s too top-heavy the way it is.

What do you think about Al Sharpton’s decision to protest the way the museum is run?

He opens the eyes of a lot of people, but I don’t see the [long-term] results.

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We Recommend We Recommend

Remembering Otis

An exhibit displaying rare photos and personal belongings of soul singer Otis Redding opened Monday, December 10th, and runs through April at the Stax Museum of American Soul Music. The opening of the exhibit commemorated the 40th anniversary of Redding’s death at age 26 in a plane crash near Madison, Wisconsin.

Redding recorded several classic songs, including “(Sittin’ on) The Dock of the Bay,” in the studio that stood at the present site of the Stax Museum.

The exhibit features mementos from Redding’s family, many on display for the first time. They range from pictures taken at Redding’s “Big O” Ranch near his hometown of Macon, Georgia, to a poster advertising the show he never made it to.

In addition to the artifacts on loan from Redding’s widow Zelma Redding and daughter Karla Redding-Andrews, the exhibit contains several items from private collector Bob Grady and never-before-shown objects from the Stax Museum archives.

“Stax Records was like a second home for Otis,” Zelma Redding said. “We are pleased to be able to share some of our personal family moments in this exhibit.”

“Otis Redding: From Macon to Memphis,” Stax Museum of American Soul Music. Through April 30th, 2008. $10

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News The Fly-By

Q&A: Jerry Collins

Willie W. Herenton kicked off his fifth term as mayor with a surprise, announcing his decision to forego a national search for a new Memphis Light, Gas, and Water division president and to nominate interim MLGW head and director of public works Jerry Collins instead. The City Council approved Collins, 53, a longtime city employee, November 6th.

Collins was born and raised in Memphis, graduating from White Station High School and the University of Memphis. An engineer by training, Collins began his service to the city 28 years ago.

At the time, the city’s “two wastewater treatment plants were fairly new,” Collins says, “but on many days, the effluent leaving the plants was dirtier than the influent coming into the plants. EPA was having a fit. They threatened to put Mayor Wyeth Chandler in jail.” Public works hired the then-25-year-old Collins to run the facilities.

— Preston Lauterbach

Flyer: Do you see similarities between your start at public works and at mlgw?

Jerry Collins: The public perception [of the utility company] may not be what we want it to be. Finishing last or next to last in the J.D. Power [2007 electric utility residential customer satisfaction] poll is not good. In a sense, there may be a parallel.

How do you restore public confidence in MLGW?

We have to take care of problems on the first call. We have to make sure that MLGW is not the subject of headlines and TV news pieces. We’re preaching that we want to be dull and boring. If we’re doing what we’re supposed to be doing, there’s no reason that MLGW should be in the limelight.

What have you learned in going from public works to MLGW?

It’s more similar than you might think. The same factors that affect wastewater rates affect electric rates, gas rates, and water rates. … They’re all basic public services that rely on a web of in-place infrastructure and charge a dedicated fee for those services.

What lessons can you take from your predecessors?

We want to enlarge our role in the community, and build our relationship with the union that represents MLGW employees, which Joseph Lee did. Cost control was important during Herman Morris’ tenure, and cost control is something I value at public works and will continue to value at MLGW.

Will you maintain a VIP list?

There is no list. I have no intention for there to be a list. Every customer is of equal value to MLGW.

One last thing: knowing what you know, would you purchase gas or electric appliances for your home?

I would probably purchase electric. It’s more likely that, long-term, the price of gas will escalate faster than the price of electricity.

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Cover Feature News

Church of God in Changeover

The annual holy convocation of the Church of God in Christ, Inc., commonly called COGIC, in Memphis this week holds heightened significance for members of the “world’s fastest growing denomination.” It is the 100th anniversary of the gathering and the first for a new presiding bishop, Charles E. Blake.

Blake pastors the mega West Angeles COGIC, the so-called church of the stars — Magic Johnson, Denzel Washington, and Angela Bassett are members — in Los Angeles. He assumed the dual role of presiding bishop and COGIC chief executive officer following the death of Bishop G.E. Patterson in Memphis on March 20th.

Blake’s first convocation as presiding bishop could also be his last depending on the outcome of a referendum among the church’s delegates on November 12th to decide whether or not a special election should be held to fill the denomination’s top position. Though Blake or any other candidate would only serve out the last year of Patterson’s term until next year’s regularly scheduled election, even such a brief stay atop COGIC could include life-changing opportunities.

Blake already is the focus of some controversy. He earns a $900,000 salary and owns a 10,000-square-foot mansion in Beverly Hills while most of his congregation lives in impoverished South Central Los Angeles. And critics say his position on gay issues has changed from progressive to conservative in recent years, perhaps as a result of his elevation in the church hierarchy.

And they were all filled with the Holy Ghost, and began to speak with other tongues, as the Spirit gave them utterance.

Acts 2:4

Despite the importance of the city to the denomination — “Memphis is our Mecca,” Blake told the Flyer — COGIC remains misunderstood by many outsiders.

There’s no misunderstanding of the annual convocation’s economic importance to Memphis, however. The Memphis Convention & Visitors Bureau estimates that the event generates $25 million to $30 million for the local economy. This year’s centennial celebration and the election year of church leadership in 2008 could bring in even more.

Local economic impact aside, COGIC is one of the driving forces behind the global Pentecostal movement. “We are, in many ways, the mother organization of Pentecostalism,” Blake says, “which is the fastest-growing religious movement in the world.”

COGIC world headquarters is located at Mason Temple, just off E.H. Crump Boulevard, south of downtown Memphis. Mason Temple was the site of Dr. Martin Luther King Jr.’s final speech on April 3, 1968, and today holds the remains of COGIC founder and temple namesake, Charles Harrison Mason.

Blake’s Mecca reference to Memphis reflects the church’s humble beginnings. Mason staged the first national COGIC pilgrimage here in 1907, scheduled after the fall harvest, when time and money would allow far-flung “saints,” as COGIC members are called, to make the trip. A century later, the annual convocation draws around 50,000 visitors. Membership has swelled to an estimated 5 million members in the United States and 57 foreign countries.

COGIC practices Pentecostal-Holiness spirituality, which emphasizes a personal, physical relationship with God. Worshippers may spontaneously break out in glossolalia, also known as speaking in tongues, which confirms their one-on-one connection with the Holy Ghost. As one preacher bellowed on a recent Sunday morning, “If God wanted other people to know what he was talking to you about, then he wouldn’t put it in unknown tongues.”

COGIC also is socially conservative. For instance, controversy followed Blake in 2003, when he accepted the Harvard Foundation’s Humanitarian of the Year award for his African charitable works from the Rev. Peter Gomes and invited the openly gay Gomes to speak at his church. After Blake’s congregation complained about a “sinner” preaching in their pulpit, Blake claimed that he wasn’t aware of Gomes’ orientation. The church issued a proclamation against same-sex marriage the next year, calling the homosexual lifestyle “aberrant and deviant.”

Some COGIC members have said Blake knowingly took the progressive stand but recoiled from it following the backlash from church members.

Let us now praise famous men, and our fathers that begat us.

Ecclesiastes 44:1

COGIC founder Mason was an outcast who dared to preach a new version of the Bible in Baptist country. Mason and his band of dissenters also happened to be black in 19th-century Mississippi. Not surprisingly, they were persecuted.

Mason held revivals and preached itinerantly until settling into his first church — a cotton warehouse in the Delta town of Lexington, Mississippi — in 1897, where the congregation was fired upon with pistols and shotguns, according to church lore. A decade later, Mason attended a Pentecostal revival in Los Angeles, which became known as the “miracle on Azusa Street.” He came to believe that speaking in tongues was the sign of a true believer baptized in the Holy Spirit. The Pentecostal-Holiness movement officially went global through the Azusa Street revival, and the Church of God in Christ followed.

Mason came to Memphis, where he opened the first COGIC church at 392 Wellington. By 1907, there were nine other COGIC churches, mostly small and rural, scattered throughout the tri-state region.

No one better embodied the growth of COGIC than another Memphian, the late Gilbert Earl Patterson, who served as presiding bishop from 2001 to 2007. A member of the closest thing COGIC has to a royal family, Patterson possessed a disarming down-home wit, but he also had a talent for leadership behind his folksy facade. When former President Bill Clinton eulogized Patterson last March, he told the crowd, “His church grew vast and great because people could feel [Patterson] believed in a God of second chances. People could feel that they were loved and mattered and could start all over.”

Patterson built a media empire headquartered at his downtown Temple of Deliverance. Bountiful Blessings, Inc., airs over radio station WBBP 1480 AM and on Black Entertainment Television and Trinity Broadcasting Network. The broadcasts, along with sales of DVDs, CDs, cassettes, and VHS tapes, have elevated the COGIC presiding-bishop job to unprecedented visibility.

For whether is greater, the gold, or the temple that sanctifieth the gold?

Matthew 23:17

Courtesy Carter-Malone Group

Bishop Charles E. Blake

Every Sunday morning thousands of saints fill the Temple of Deliverance sanctuary with the sounds of singing and clapping. A 50-person choir and full orchestra lead the music. In a dark room above the sanctuary, a production crew records the service for radio and TV broadcasts.

On one wall, 20 monitors of various sizes, some black and white, others color, show what the six video cameras in the service are capturing. On screen, a woman leads “praise and worship,” the warm-up for the sermon. She praises “Hallelujah!” and speaks in tongues, improvising as she channels the Holy Spirit.

Behind this scene, at the control room’s nerve center, the director sits at her switchboard with a headset on as red buttons on the board light up. She tells the cameramen what to shoot and how to do it. There are no rehearsals, and though she knows the program, she still must stay on her toes, especially when the speaker welcomes guests to the sanctuary and asks them to stand.

Next to the director, a graphics engineer programs song titles, lyrics, and scripture for display on two screens in the sanctuary. Like so many other COGIC employees, the graphics engineer started by volunteering her help and eventually became a full-time employee as she learned the trade. She repeats the COGIC statement of faith as she displays it on the screen.

A videotape operator with a wall-high panel of recording machines cues and rolls pre-recorded announcements and records a VHS master of the service, as well as DVD copies for the broadcast on BET and TBN.

The production is managed in-house and staffed entirely by COGIC members. They sing along with “Just a Closer Walk With Thee” and sway in their seats like the congregation. As one of them explained, “This is Bishop Patterson’s thing.”

The call center adjacent to Patterson’s Temple of Deliverance rings like church bells on Sunday, with viewers of the broadcast ordering DVDs or CDs. Now, more than seven months after Patterson’s death, you can still see him preach on TV, though the conclusion of each program is only available to those who purchase the entire sermon.

Patterson’s stature as presiding bishop attracted huge audiences. His message caused new members and even entire congregations to join the church. Patterson’s visibility, his elevation of the bishop’s office to global relevance, and the financial windfall that accompanied the changes make the position even more attractive to prospective leaders.

Let no man seek his own, but every man another’s wealth.

Corinthians 10:24

Patterson’s Temple of Deliverance reaches toward the heavens from the middle of housing projects near Mississippi Boulevard and Danny Thomas Boulevard, looking like a diamond amidst pieces of a broken bottle.

Blake explains that the location of Patterson’s church reflects COGIC’s mission. “When other churches have moved to the suburbs, we have remained in the heart of the city, administering to the needs of inner-city dwellers,” he says.

Blake admits that the church’s impact on the inner city is hard to measure. “You might say it doesn’t seem to be very successful, and in many ways that may seem to be true,” he says. “On the other hand, we have to [consider] how much worse things could be. The millions of people who are involved in the church may do what the church is advocating, and if so, some of these problems are less intense were it not for the church.”

Critics, however, say COGIC’s growth has come at great expense to its more needy members. They fear that financial concerns overshadow ministerial priorities and that profits outweigh prophecy in certain of the church’s works.

One of the critics is a former saint and Blake employee at the West Angeles Church of God in Christ. Todd Talbott joined the church in 1992 and accepted a job as director of development and communications for Blake’s Save Africa’s Children charity in 2005. Talbott, who had behind-the-scenes access, says Blake’s affluent lifestyle contradicts the inner-city ministry so important to COGIC’s mission.

“There are members who are overextended with their credit because they’re told that if they give to the church, they’ll be blessed,” Talbott says. “[Blake] lives in a 10,000-square-foot mansion on Benedict Canyon in Beverly Hills. The rich members of the congregation know, because they’re invited over there, but most people in the church have no idea.”

The Flyer obtained West Angeles COGIC’s 2005 payroll summary, which shows Blake’s salary at just under $900,000. Aside from the few stars who attend West Angeles, Talbott explains, the people in Blake’s church are impoverished residents of South Central Los Angeles.

“The bottom line is,” Talbott says, “what pastor needs to be paying himself almost a million-dollar salary, living in a mansion in Beverly Hills off the tithes and offerings of a congregation from one of the low-income areas of Los Angeles? The money he makes could be going back into the community.”

Talbott claims that Blake bestows special recognition upon big donors and offers tithers a special prayer, asking them to stand at the end of service before inviting everyone else to rise and join the congregation in prayer.

“That’s where pastors have prostituted the Word,” says Talbott, who was raised a Southern Baptist. “They’ve made people believe that good things will come to their lives if they give money. Do you think that’s something Jesus would do? Jesus hung out with the destitute. The pastors today are the Sagacees and the Pharisees — the rich, opulent who believed Jesus couldn’t be the son of God because he was too simple and hung around with the unholy.”

Eric Slack, Blake’s assistant chief operating officer, says that Blake is a successful businessman who, “really hasn’t been that dependent on the church.” He adds, “We believe in supporting members through benevolence funds. We have a number of larger ministries that … encourage community development.”

Questions about pastors asking more financially than their flocks are able to give will likely continue as long as the plate is passed. Then again, with Matthew 19:24 in mind, perhaps pastors are doing right by their parishioners, ensuring that riches won’t burden their passage into the Kingdom.

The Future of COGIC in Memphis

Three years ago, then-presiding Bishop G.E. Patterson announced that the 100th annual holy convocation would be the last in Memphis. Detroit and Atlanta had offered more attractive packages for the event. Last year, the Memphis Convention & Visitors Bureau worked out a deal to keep the convocation in Memphis through 2010, prompting Jerry Maynard, former chief operating officer for COGIC, to tell the Memphis Business Journal, “One thing we’ll never do is threaten to go away to drive prices down.”

Maynard has since reported that COGIC has agreements with some Memphis hotels through 2012. Still, the long-term future of COGIC convocations in Memphis is an open question. When asked if the church will consider moving the convocation, Blake says, “Not at this time.”

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News The Fly-By

The Importance of Having Been Ernest

Mourners of Ernest Withers filled the Pentecostal Temple Institutional Church of God in Christ downtown Saturday afternoon to celebrate the homegoing of the world-renowned photographer.

Withers, who died October 15th at the age 85, left a vast body of work that chronicled the Beale Street blues and the birth of rock-and-roll in 1950s Memphis, and the Civil Rights movement across America.

At the service, friends, family members, and public officials eulogized Withers with a celebratory tone.

Afrocentric spiritualist Ekpe Abioto, dressed in ceremonial boubou, tapped a Congo drum and whistled through panpipes as he led the Withers family into church and down the aisle of the expansive, blue-carpeted sanctuary.

From the pulpit, Abioto delivered the libation, assuring the crowd that “death is only a fulfillment of life.” He asked that both the oldest and youngest people in the room — a COGIC minister in his 90s and a two-month-old baby — identify themselves and be recognized.

Trumpeter Mickey Gregory, a former Stax Records session player and Beale Street club entertainer, represented Withers’ ties to the music industry, performing the popular Thomas A. Dorsey gospel composition “Precious Lord, Take My Hand.”

Memphis mayor Willie Herenton called Withers a “giant and a genius,” expressing his gratitude to God “that I, Willie Herenton, had the privilege of kneeling at [Withers’] feet.

“They don’t put just anybody’s obituary in The New York Times,” he reminded the audience.

The Reverend Samuel Kyles also eulogized Withers: “It is said that a drop of water can knock holes in stone, not by violence, but by oft-falling.” Like that drop of water on the stone, Withers’ “camera knocked holes in the stones of ignorance one click at a time.”

Beale Street developer John Elkington promised “there will always be a Withers gallery on Beale.” He said he once asked Withers if he’d been afraid photographing civil rights-era riots and episodes of police brutality.

“No,” Withers told Elkington. “I was too busy working.”

Finally, family members evoked tender and personal memories of Withers playing on the floor and watching cartoons with his grandchildren. “He saw the world through our eyes,” Withers’ granddaughter, Esi Sawyer, recalled.

Those gathered, and the photographer’s many admirers, would agree that we’re better for having seen the world through his.

A procession down Beale Street, past the last of Withers’ six offices located on the strip over the years, and interment at Elmwood Cemetery followed. Dorothy, Withers’ wife of 65 years, four of their eight children, and numerous grandchildren survive him.

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News

Ernest Withers Goes Home: “He Saw the World Through Our Eyes”

Mourners of Ernest Withers filled the Pentecostal Temple Institutional Church of God in Christ downtown Saturday afternoon to celebrate the home-going of the world-renowned photographer who died Monday at age 85.

A celebratory tone prevailed among the many friends, family members, and public officials who spoke at the funeral. Eulogists represented the many facets of Withers’ life.

Afro-centric spiritualist Ekpe Abioto assured the crowd that “death is a fulfillment of life.� Trumpeter Mickey Gregory, a former Stax Records session player and Beale Street club entertainer represented Withers’ rhythm and blues associates, though he performed the popular gospel composition “Take My Hand Precious Lord.�

Mayor Willie Herenton called Withers a “giant and a genius,� expressing his gratitude to God “that I Willie Herenton had the privilege of kneeling at [Withers’] feet.

“They don’t put just anybody’s obituary in the New York Times,� he reminded the audience.

Reverend Samuel “Billy� Kyles, said that like the drop of water that knocks holes in stone by oft-falling, Withers “camera knocked holes in the stones of ignorance one click at a time.�

Beale Street developer John Elkington promised “there will always be a Withers gallery on Beale.� He added that he once asked Withers if he’d been afraid photographing civil rights era riots and episodes of police brutality.

“No,� Withers told Elkington. “I was too busy working.�

Finally, a family member evoked tender personal memories of Withers playing on the floor and watching cartoons with his grandchildren. “He saw the world through our eyes,� Withers’ granddaughter Esi Sawyer recalled.

Those gathered would agree that we’re better for having seen the world through his.

A procession down Beale Street and interment at Elmwood Cemetery followed.

###

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Cover Feature News

From the Victory Podium

The song “Ain’t No Stopping Us Now” blared over the public address system in a Cook Convention Center ballroom Thursday as supporters of Willie Herenton pushed toward the stage where the mayor delivered his victory speech.

The emcee barked “he shook the haters off” into the microphone, as the jubilant crowd roared its approval.

Campaign manager Charles Carpenter set, or at least reinforced, the celebration’s defiant tone in his introduction to Herenton’s comments. “Reporters ask me, ‘What’s the difference between this race and 2003?’ In 2003, the mayor, who had been doing an excellent job at that time, had business community support and white community support. But this election, he had little of either,” Carpenter said.

Herenton took the microphone on a stage crowded with familiar faces, including former Memphis Light, Gas & Water head Joseph Lee, blogger and former Herenton-hater Thaddeus Matthews, attorney Robert Spence, Memphis police director Larry Godwin, and former councilwoman TaJuan Stout Mitchell.

“I’m in a very serious mood,” he told the crowd, before thanking God for his favor. “It is out of this favor that we received this victory tonight. I now know who is for me and … who is against me. I thank God for discerning.”

Herenton thanked the friends who he said had supported him unconditionally. “I appreciate loyalty,” he said. “This election was hard for me. There were people [who] I thought were with me, and I found out, they weren’t.

“I’m going to be nice tonight,” Herenton continued, “but there are some mean, mean-spirited people in Memphis. These are the haters. I know how to shake them off,” he said, his next words lost in the applause.

“Memphis has some major decisions to make. Memphis has to decide whether or not we want to be one city, or … a divided city,” he continued.

He mocked the “haters,” anticipating their criticisms of him: “He didn’t get many white votes.”

The mayor recalled two incidents in which he perceived racism. He said that a “90 percent white” crowd at a University of Memphis basketball game booed his honoring DeAngelo Williams with a key to the city. “I know the haters are going to say I need to pull the races together — I didn’t separate us.”

He then told of his television appearance with Justin Timberlake, remembering the audience as “95 percent young white kids who booed me on national television. The white citizens of Memphis were not in outrage. Nobody wrote letters and said that was shameful.”

Herenton did single out his “few white brothers who have stuck with me,” including developer Rusty Hyneman and used-car salesman Mark Goodfellow.

Returning to whites other than those few, Herenton warned, “If you’re not careful, they’ll work a game on you. They have psychology.”