NEW TEMPLE MISSIONARY BAPTIST CHURCH 8730-8736 South Broadway; 247-259 West 87Th Place CHC-2019-4225-HCM ENV-2019-4226-CE

Home , Chuck Rainey, Clara Ward, Cornell Dupree, James Cleveland, Jerry Wexler, Sparkle (soundtrack)

NEW TEMPLE MISSIONARY BAPTIST CHURCH 8730-8736 South Broadway; 247-259 West 87th Place CHC-2019-4225-HCM ENV-2019-4226-CE

Agenda packet includes:

1. Final Determination Staff Recommendation Report

2. City Council Motion 19-0310

3. Commission/ Staff Site Inspection Photos—June 27, 2019

4. Staff Site Inspection Photos—March 27, 2019

5. Categorical Exemption

6. Historic-Cultural Monument Application

7. Letter of Support from Owner

Please click on each document to be directly taken to the corresponding page of the PDF. Los Angeles Department of City Planning RECOMMENDATION REPORT

CULTURAL HERITAGE COMMISSION CASE NO.: CHC-2019-4225-HCM ENV-2019-4226-CE

HEARING DATE: August 1, 2019 Location: 8730-8736 South Broadway; TIME: 10:00 AM 247-259 West 87th Place PLACE: City Hall, Room 1010 Council District: 8 – Harris-Dawson 200 N. Spring Street Community Plan Area: Southeast Los Angeles Los Angeles, CA 90012 Area Planning Commission: South Los Angeles Neighborhood Council: Empowerment Congress EXPIRATION DATE: August 5, 2019 Southeast Area Legal Description: Tract 337, Lots FR 2, 4, and 6

PROJECT: Historic-Cultural Monument Application for the NEW TEMPLE MISSIONARY BAPTIST CHURCH

REQUEST: Declare the property an Historic-Cultural Monument

OWNER: New Temple Missionary Baptist Church 8734 South Broadway Los Angeles, CA 90003

APPLICANT: City of Los Angeles 221 North Figueroa Street, Suite 1350 Los Angeles, CA 90012

RECOMMENDATION That the Cultural Heritage Commission:

1. Declare the subject property an Historic-Cultural Monument per Los Angeles Administrative Code Chapter 9, Division 22, Article 1, Section 22.171.7.

2. Adopt the staff report and findings.

VINCENT P. BERTONI, AICP Director of Planning

[SIGNED ORIGINAL IN FILE] [SIGNED ORIGINAL IN FILE]

Ken Bernstein, AICP, Manager Lambert M. Giessinger, Preservation Architect Office of Historic Resources Office of Historic Resources

[SIGNED ORIGINAL IN FILE]

Melissa Jones, City Planning Associate Office of Historic Resources

Attachments: City Council Motion 19-0310 Historic-Cultural Monument Application Staff Site Inspection Photos—March 27, 2019 Commission/Staff Site Inspection Photos—June 27, 2019

CHC-2019-4225-HCM 8730-8736 South Broadway; 247-259 West 87th Place Page 2 of 5

FINDINGS

• The New Temple Missionary Baptist Church is “identified with important events of national, state, or local history” as the site of the recording of Aretha Franklin’s seminal 1972 gospel album, Amazing Grace, the best-selling record of her career, and the highest-selling live gospel music album of all time.

CRITERIA

The criterion is the Cultural Heritage Ordinance which defines a historical or cultural monument as any site (including significant trees or other plant life located thereon), building or structure of particular historic or cultural significance to the City of Los Angeles if it meets at least one of the following criteria:

1. Is identified with important events of national, state, or local history, or exemplifies significant contributions to the broad cultural, economic or social history of the nation, state, city or community; 2. Is associated with the lives of historic personages important to national, state, city, or local history; or 3. Embodies the distinctive characteristics of a style, type, period, or method of construction; or represents a notable work of a master designer, builder, or architect whose individual genius influenced his or her age.

SUMMARY

The New Temple Missionary Baptist Church is a 1932 one-story church building located in Southeast Los Angeles. Constructed as a movie theater by architect Clarence E. Noerenberg (1895-1957), the property was extensively remodeled by Los Angeles master architect Paul Revere Williams (1894-1980) in 1944. The building was converted to a church in 1956 and has been occupied by the New Temple Missionary Baptist Church since the 1960s. In 1972, singer Aretha Franklin (1942-2018) recorded her bestselling album, Amazing Grace, as part of a live event at the church.

Rectangular in plan, the subject property is of wood-frame and brick construction with textured stucco and stone veneer cladding. The west portion of the roof is flat and the remainder of the building has a barrel-vaulted roof. The primary, west-facing elevation is symmetrically composed into three bays. The center bay features two primary entrances that flank a decorative cross inlaid in the stone veneer. The entrances each consist of two wood paneled doors. The northern and southern bays have openings that feature informational posters protected by glass. Security gates cover the doorways and the openings. A stringcourse separates the lower, stone-clad portion of the elevation from the upper portion clad in textured stucco. A marquee supported by two rounded columns features signage that reads “THE NEW TEMPLE MISSIONARY BAPTIST CHURCH.” The sidewalk in front of the building consists of terrazzo arranged in a geometric design radiating from the entrance. The south-facing elevation fronts West 87th Place and abuts the parking lot. It is a painted brick wall with no fenestration that features painted signage bearing the name of the church. The east-facing and north-facing elevations abut the neighboring buildings. The primary interior space of the building is the large sanctuary that features rows of wooden pews, a central pulpit, choir seats, chandeliers, an organ, and a baptistery that is shrouded behind a large painting. There is a second floor above CHC-2019-4225-HCM 8730-8736 South Broadway; 247-259 West 87th Place Page 3 of 5

the entrance lobby that was previously occupied by a projection booth. The original porthole window used for the projector is extant.

Over two nights in January 1972, Aretha Franklin performed a live gospel concert at the New Temple Missionary Baptist Church. The recording of the event was released the following summer as a double album titled Amazing Grace. During the concert, Franklin was joined by gospel performer Reverend James Cleveland, a former minister of music at the New Bethel Baptist Church in Detroit, Michigan and one of Franklin’s childhood mentors, and the Southern California Community Choir, as well as her father C.L. Franklin. In addition to classic gospel hymns, Franklin performed renditions of Marvin Gaye’s “Wholy Holy” and Carole King’s “You’ve Got a Friend” before an audience of congregants. Musicians Clara Ward, Mick Jagger, and Charlie Watts also attended the performance. Director Sydney Pollack captured the event on film for a concert documentary that was set to be released in 1972 but was shelved due to technical complications. After completing the film in 2011, producer Alan Elliott was prevented from releasing due to litigation initiated by Franklin. Following Franklin’s death in 2018, the film premiered to the public on April 5, 2019.

Clarence E. Noerenberg was born in Illinois between 1895 and 1896 and lived in Chicago after serving in World War I. He relocated to Los Angeles in 1919 and established his architectural practice. In 1920, Noerenberg formed a partnership with architect H.S. Johnson that lasted until 1925. Noerenberg and Johnson built a number of commercial buildings in downtown Los Angeles, including the Los Angeles Railway Building (1922), the Illinois Electric Company Building (1923), the Citizens Mortgage Company Building (1923), and the Wayside Press Building (1924). In 1932, Albert Mellinkoff commissioned Noerenberg to construct a movie theater at 8734 South Broadway. Noerenberg belonged to the American Institute of Architects from 1921-1931. He died in Los Angeles on February 12, 1957.

Paul Revere Williams was born in Los Angeles in 1894. He studied at the Polytechnic High School, then Los Angeles School of Art and Design, and the University of Southern California. Williams received his architectural license in 1921, making him the only licensed African- American architect west of the Mississippi. He worked for several noted, local architects from 1914-1924. In the early 1920s, he won national awards for his small house designs, and in 1957, Williams was inducted as the AIA’s first African-American fellow. He became well known for his modern interpretations of the period revival styles that were popular at the time. Williams had a prolific architectural career, spanning from about 1915 until his retirement in 1974, during which time he designed many large estates throughout Los Angeles. Currently, there are 17 Historic-Cultural Monuments that were designed in whole or in part by Williams that include Villa Manola (1923, HCM #1084), 28th St YMCA (1926, HCM #851), Second Baptist Church (1926, HCM #200), Blackburn Residence (1927, HCM #913), Sunset Plaza (1934, HCM #233), Angelus Funeral Home (1934, HCM #774), Oakridge Estate (1937, HCM #484), Golden State Mutual Life (1949, HCM #1000), Paul R. Williams Residence (1952, HCM #170), and the Airport Theme Building (1961, HCM #570).

The subject property has experienced some alterations that include the removal of the original storefronts, a remodel of the lobby, and the addition of seating and restrooms in 1944; the construction of a baptistery and choir platform in 1969; exterior re-stuccoing and replacement of doors in 1981; seismic work in 1982; repair to water damage on interior drywall in 1996; the addition of steel beams and supporting columns under the trusses in the sanctuary in 1999; reroofing in 2000; and the removal of theater seating, installation of pews, and addition of a sound booth at unknown dates.

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DISCUSSION

The New Temple Missionary Baptist Church meets one of the Historic-Cultural Monument criteria: it is “identified with important events of national, state, or local history” as the site of the recording of Aretha Franklin’s seminal 1972 gospel album, Amazing Grace, the best-selling record of her career, and the highest-selling live gospel music album of all time.

The daughter of well-known Baptist minister Reverend C.L. Franklin, Aretha began her musical career singing gospel hymns at her father’s church. After signing with Columbia Records in 1960, Aretha’s career evolved as she shifted away from gospel performance and began recording blues and soul. By 1971, she had won five Grammy Awards, including the awards for Best Rhythm & Blues Recording for “Respect” and Female Rhythm & Blues Singer of the Year.

The 1972 concert at the New Temple Missionary Baptist Church represented a return to her gospel roots after achieving international acclaim as a soul performer and recording artist. The recording of the event sold over two million copies in the United States and earned Franklin the 1973 Grammy Award for Best Soul Gospel Performance. The live album remains one of Aretha’s bestselling records and the bestselling live gospel music album of all time.

The main sanctuary space generally looks the same as it did during Franklin’s 1972 live album recording, including the presence of the organ utilized during the concert. Despite some exterior and interior alterations over the years, the subject property retains sufficient integrity of location, design, setting, materials, workmanship, feeling, and association to convey its significance.

CALIFORNIA ENVIRONMENTAL QUALITY ACT (“CEQA”) FINDINGS

State of California CEQA Guidelines, Article 19, Section 15308, Class 8 “consists of actions taken by regulatory agencies, as authorized by state or local ordinance, to assure the maintenance, restoration, enhancement, or protection of the environment where the regulatory process involves procedures for protection of the environment.”

State of California CEQA Guidelines Article 19, Section 15331, Class 31 “consists of projects limited to maintenance, repair, stabilization, rehabilitation, restoration, preservation, conservation or reconstruction of historical resources in a manner consistent with the Secretary of the Interior’s Standards for the Treatment of Historic Properties with Guidelines for Preserving, Rehabilitating, Restoring, and Reconstructing Historic buildings.”

The designation of the New Temple Missionary Baptist Church as an Historic-Cultural Monument in accordance with Chapter 9, Article 1, of The City of Los Angeles Administrative Code (“LAAC”) will ensure that future construction activities involving the subject property are regulated in accordance with Section 22.171.14 of the LAAC. The purpose of the designation is to prevent significant impacts to a Historic-Cultural Monument through the application of the standards set forth in the LAAC. Without the regulation imposed by way of the pending designation, the historic significance and integrity of the subject property could be lost through incompatible alterations and new construction and the demolition of an irreplaceable historic site/open space. The Secretary of the Interior’s Standards for Rehabilitation are expressly incorporated into the LAAC and provide standards concerning the historically appropriate construction activities which will ensure the continued preservation of the subject property.

CHC-2019-4225-HCM 8730-8736 South Broadway; 247-259 West 87th Place Page 5 of 5

The use of Categorical Exemption Class 8 in connection with the proposed designation is consistent with the goals of maintaining, restoring, enhancing, and protecting the environment through the imposition of regulations designed to prevent the degradation of Historic-Cultural Monuments.

The use of Categorical Exemption Class 31 in connection with the proposed designation is consistent with the goals relating to the preservation, rehabilitation, restoration and reconstruction of historic buildings and sites in a manner consistent with the Secretary of the Interior’s Standards for the Treatment of Historic Properties.

Categorical Exemption ENV-2019-4226-CE was prepared on July 12, 2019.

BACKGROUND

On May 22, 2019, the Los Angeles City Council, acting upon a motion introduced by Councilmember Marqueece Harris-Dawson, initiated consideration of the subject property as a potential Historic-Cultural Monument. On June 27, 2019, a subcommittee of the Commission consisting of Commissioners Barron and Kennard visited the property, accompanied by staff from the Office of Historic Resources.

HOLLY L. WOLCOTT City of Los Angeles OFFICE OF THE CITY CLERK CALIFORNIA CITY CLERK ______SHANNON D. HOPPES Council and Public Services Division EXECUTIVE OFFICER 200 N. SPRING STREET, ROOM 395 LOS ANGELES, CA 90012 GENERAL INFORMATION - (213) 978-1133 FAX: (213) 978-1040 ______When making inquiries relative to ERIC GARCETTI PATRICE Y. LATTIMORE this matter, please refer to the MAYOR DIVISION MANAGER Council File No.: 19-0310

CLERK.LACITY.ORG

OFFICIAL ACTION OF THE LOS ANGELES CITY COUNCIL

May 23, 2019 Council File No.: 19-0310

Council Meeting Date: May 22, 2019

Agenda Item No.: 18 Agenda Description: PLANNING AND LAND USE MANAGEMENT COMMITTEE REPORT relative to initiating consideration of the property located at 8734 South Broadway, Los Angeles, California 90003, as a City Historic-Cultural Monument.

Council Action: PLANNING AND LAND USE MANAGEMENT COMMITTEE REPORT - ADOPTED FORTHWITH

Council Vote: YES BOB BLUMENFIELD YES MIKE BONIN ABSENT JOE BUSCAINO ABSENT GILBERT A. CEDILLO ABSENT MARQUEECE HARRIS-DAWSON ABSENT JOSE HUIZAR YES PAUL KORETZ ABSENT PAUL KREKORIAN YES NURY MARTINEZ YES MITCH O'FARRELL YES CURREN D. PRICE YES MONICA RODRIGUEZ YES DAVID RYU YES GREIG SMITH YES HERB WESSON

HOLLY L. WOLCOTT CITY CLERK

AN EQUAL EMPLOYMENT OPPORTUNITY - AFFIRMATIVE ACTION EMPLOYER

Adopted Report(s)

Title Date Report from Planning and Land Use Management Committee 05/14/2019 File No. 19-0310 PLANNING AND LAND USE MANAGEMENT COMMITTEE REPORT relative to initiating consideration of the property located at 8734 South Broadway, Los Angeles, California 90003, as a City Historic-Cultural Monument.

Recommendations for Council action, as initiated by Motion (Harris-Dawson - Wesson):

1. INITIATE consideration of the property located at 8734 South Broadway, Los Angeles, California 90003, as a City Historic-Cultural Monument, under the procedures set forth in Section 22.170.10 of the Los Angeles Administrative Code.

2. REQUEST the Cultural Heritage Commission, after reviewing the application, to submit its report and recommendation to the Council regarding the inclusion of the property located at 8734 South Broadway, Los Angeles, California 90003, in the City's list of Historic-Cultural Monuments.

Fiscal Impact Statement: Neither the City Administrative Officer nor the Chief Legislative Analyst has completed a financial analysis of this report.

Community Impact Statement: None submitted.

Summary: At a regular meeting held on May 14, 2019, the PLUM Committee considered a Motion (Harris- Dawson - Wesson) to initiate the process for the consideration of the property located at 8734 South Broadway, Los Angeles, California 90003, as a City Historic-Cultural Monument. Staff from the DCP provided an overview of the matter and a Representative of Council District Eight provided comments. After an opportunity for public comment, the Committee recommended approving the Motion. This matter is now submitted to the Council for consideration.

Respectfully Submitted,

PLANNING AND LAND USE MANAGEMENT COMMITTEE

MEMBER VOTE HARRIS-DAWSON YES BLUMENFIELD YES PRICE YES CEDILLO YES SMITH ABSENT

-NOT OFFICIAL UNTIL COUNCIL ACTS- l' MOTION

Section 22.171,10 of the Administrative Code provides that the City Council, the Cultural Heritage Commission, or the Director of Planning may initiate consideration of a proposed site, building, or structure as a Historic-Cultural Monument. The Cultural Heritage Commission, after reviewing and investigating any such Council initiated designation, shall approve or disapprove in whole or in part the proposed inclusion and submit a report upon such action to the City Council. In addition, Section 22.171.12 of the Administrative Code provides that there shall be a temporary stay of demolition, substilntial alteration or removal of any such proposed location or structuring pending designation.

The property located at 8734 S. Broadway, Los Angeles, CA 90003 was developed as a theater and stores in 1932. The structure underwent several alterations, including an addition in 1944 that was designed by African American architect Paul R. Williams. The structure was converted to a church on or about January 20, 1958. It was at this church, New Temple Missionary Baptist Church, that in January 1972 Aretha Franklin recorded her live album "Amazing Grace".

The release of the documentary "Amazing Grace" has brought renewed focus on Los Angeles, and South Los Angeles in particular. The New Temple Missionary Baptist Church is a historic icon to be celebrated in African American and Los Angeles history and its association with two noteworthy figures in the arts and entertainment should be recognized.

I THEREFORE MOVE that the Council initiate consideration of the property located at 8734 S. Broadway, Los Angeles, CA 90003 as a City Historic-Cultural Monument under the procedures set forth in Section 22.170.10 of the Administrative Code, and instruct the Department of City Planning to prepare the Historic Cultural Monument application for review and consideration of the Cultural Heritage Commission.

I FURTHER MOVE that after reviewing the application, the Cultural Heritage Commission submit its report and recommendation to the Council regarding the inclusion of the property located at 8734 S. Broadway, Los Angeles, CA 90003, in the City's list of Historic-Cultural Monuments.

MARQUEECE HARRIS-DAWSON Councilmember, 8th District

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Staff Site Inspection Photos--March 27, 2019 Page 29 of 29 COUNTY CLERK’S USE CITY OF LOS ANGELES CITY CLERK’S USE OFFICE OF THE CITY CLERK 200 NORTH SPRING STREET, ROOM 360 LOS ANGELES, CALIFORNIA 90012 CALIFORNIA ENVIRONMENTAL QUALITY ACT NOTICE OF EXEMPTION (California Environmental Quality Act Section 15062)

Filing of this form is optional. If filed, the form shall be filed with the County Clerk, 12400 E. Imperial Highway, Norwalk, CA 90650, pursuant to Public Resources Code Section 21152 (b). Pursuant to Public Resources Code Section 21167 (d), the filing of this notice starts a 35-day statute of limitations on court challenges to the approval of the project. Failure to file this notice with the County Clerk results in the statute of limitations being extended to 180 days. LEAD CITY AGENCY COUNCIL DISTRICT City of Los Angeles Department of City Planning 8 PROJECT TITLE LOG REFERENCE New Temple Missionary Baptist Church ENV-2019-4226-CE CHC-2019-4225-HCM PROJECT LOCATION 8730-8736 South Broadway; 247-259 West 87th Place, Los Angeles, CA 90003 DESCRIPTION OF NATURE, PURPOSE, AND BENEFICIARIES OF PROJECT: Designation of the New Temple Missionary Baptist Church as an Historic-Cultural Monument. NAME OF PERSON OR AGENCY CARRYING OUT PROJECT, IF OTHER THAN LEAD CITY AGENCY:

CONTACT PERSON AREA CODE | TELEPHONE NUMBER | EXT. Melissa Jones 213 847-3679 EXEMPT STATUS: (Check One)

STATE CEQA GUIDELINES CITY CEQA GUIDELINES

MINISTERIAL Sec. 15268 Art. II, Sec. 2b

DECLARED EMERGENCY Sec. 15269 Art. II, Sec. 2a (1)

EMERGENCY PROJECT Sec. 15269 (b) & (c) Art. II, Sec. 2a (2) & (3)

× CATEGORICAL EXEMPTION Sec. 15300 et seq. Art. III, Sec. 1

Class _____ 8 & 31______Category (City CEQA Guidelines)

OTHER (See Public Resources Code Sec. 21080 (b) and set forth state and City guideline provision. JUSTIFICATION FOR PROJECT EXEMPTION: Article 19, Section 15308, Class 8 of the State’s Guidelines applies to where project’s consists of “actions taken by regulatory agencies, as authorized by state or local ordinance, to assure the maintenance, restoration, enhancement, or protection of the environment where the regulatory process involves procedures for protection of the environment.” Class 31 applies “to maintenance, repair, stabilization, rehabilitation, restoration, preservation, or reconstruction of historical resources in a manner consistent with the Secretary of Interior’s Standards for the Treatment of Historic Buildings.” Designation of the New Temple Missionary Baptist Church as an Historic-Cultural Monument will assure the protection of the environment by the enactment of project review regulations based on the Secretary of Interior’s Standards to maintain and preserve the historic site. IF FILED BY APPLICANT, ATTACH CERTIFIED DOCUMENT ISSUED BY THE CITY PLANNING DEPARTMENT STATING THAT THE DEPARTMENT HAS FOUND THE PROJECT TO BE EXEMPT. SIGNATURE TITLE DATE [SIGNED COPY IN FILE] City Planning Associate July 12, 2019 FEE: RECEIPT NO. REC’D. BY DATE

DISTRIBUTION: (1) County Clerk, (2) City Clerk, (3) Agency Record

IF FILED BY THE APPLICANT:

NAME (PRINTED) SIGNATURE

DATE CITY OF LOS ANGELES HISTORIC-CULTURAL MONUMENT NOMINATION FORM

1. PROPERTY IDENTIFICATION

Proposed Monument Name:

Other Associated Names:

Street Address: Zip: Council District:

Range of Addresses on Property: Community Name:

Assessor Parcel Number: Tract: Block: Lot:

Proposed Monument Natural Site/Open Space Property Type: Building Structure Object Feature Describe anesources located on the property to be included in the nominae:

2. CONSTRUCTION HISTORY & CURRENT STATUS

Year built: Factual E Threatened?

Architect/Designer: Contractor:

Original Use: Present Use:

Is the Proposed Monument on its Original Site? Yes No (explain i7) Unknown (explain in 7)

3. STYLE & MATERIALS

Architectural Style: Stories: Plan Shape:

FEATURE PRIMARY SECONDARY

CONSTRUCTION Type: Type:

CLADDING Material: Material:

Type: Type: ROOF Material: Material:

Type: Type: WINDOWS Material: Material:

ENTRY Style: Style:

DOOR Type: Type: CITY OF LOS ANGELES HISTORIC-CULTURAL MONUMENT NOMINATION FORM

4. ALTERATION HISTORY List date and write a brief descrip of any major altera or addi. Thimay also be completed on a separate document. Include copies of permits in the nominapacket. Make sure to list any major altera for which there are no permits, as well.

5. EXISTING HISTORIC RESOURCE IDENTIFICATION (if known)

ListRegister of Historic Places

Listed in the California Register of Historical Resources

Formally determined eligible for the Nal and/or California Registers

Contring feature Located in an Historic PreservaOverlay Zone (HPOZ) Non-conng feature

Survey Name(s): Determined eligible state, or local landmark status by an historic resources survey(s)

Other historical or cultural resource designa

6. APPLICABLE HISTORIC-CULTURAL MONUMENT CRITERIA

The proposed monument exempliﬁes the following Cultural Heritage Ordinance Crite22.171.7):

2. Is associated with the lives of historic personages important to national, state, city, or local history.

3. Embodies the distinctive characteristics of a style, type, period, or method of construction; or represents a notable work of a master designer, builder, or architect whose individual genius influenced his or her age. CITY OF LOS ANGELES HISTORIC-CULTURAL MONUMENT NOMINATION FORM

7. WRITTEN STATEMENTS a

Describe the proposed monument’s physical characteris relao its surrounding environmene detailed descrip- onsalteratory in detail if that is necessary to explain the proposed monument’s current form. Ideny and describe any character- deﬁning elements, structures, interior spaces, or landscape features.

Address the proposed monument’s historic, cultural, and/or architectural significance by discussing how it safies the HCM criteria you selectou must support your argument with substanvidence and analysis. The Statement of Significance is your main argument for designaant to substante any claims you mak documentaesearch.

8. CONTACT INFORMATION

Applicant

Name: Company:

Street Address: City: State:

Zip: Phone Number: Email:

Is the owner in support of the nomina Yes No Unknown

Name: Company:

Street Address: City: State:

Zip: Phone Number: Email:

Name: Company:

Street Address: City: State:

Zip: Phone Number: Email:

NEW TEMPLE MISSIONARY BAPTIST CHURCH 8734 South Broadway

A. Property Description

The property located at 8734 South Broadway, Los Angeles, CA 90003 is a one-story church building originally constructed in 1932 as a picture theatre and store. It occupies a rectangular parcel of 14,079 feet that is located on South Broadway between West 87th Street and West 87th Place in Southeast Los Angeles. The northern portion of the parcel is occupied by the subject building. The rest of the parcel is occupied by a gated surface parking lot.

Exterior

The south-facing elevation fronts West 87th Place and abuts the parking lot. It is a painted brick wall with no fenestration that features painted signage bearing the name of the church. The east- facing and north-facing elevations abut the neighboring buildings.

Interior

The primary interior space of the building is the large sanctuary that features rows of wooden pews, a central pulpit, choir seats, chandeliers, an organ, and a baptistery that is shrouded behind a large painting. There is a second floor above the entrance lobby that was previously occupied by a projection booth. The original porthole window used for the projector is extant.

Alterations

Based on permit records, the property appears to have experienced some alterations that include the removal of the original storefronts, a remodel of the lobby, and the addition of seating and restrooms in 1944; the construction of a baptistery and choir platform in 1969; exterior re- stuccoing and replacement of doors in 1981; seismic work in 1982; repair to water damage on interior drywall in 1996; the addition of steel beams and supporting columns under the trusses in the sanctuary in 1999; reroofing in 2000; and the removal of theater seating and installation of pews at an unknown date.

Historic-Cultural Monument Application Page 1 of 5 B. Statement of Significance

The New Temple Missionary Baptist Church meets one of the Historic-Cultural Monument criteria:

It is “identified with important events of national, state, or local history” as the site of the recording of Aretha Franklin’s seminal 1972 gospel album, Amazing Grace, the best-selling record of her career, and the highest-selling live gospel music album of all time.

Built in 1932 as a movie theater and store by architect Clarence E. Noerenberg (1895-1957), the property was extensively remodeled by master architect Paul Revere Williams (1894-1980) in 1944. The building was converted to a church in 1956 and has been occupied by the New Temple Missionary Baptist Church since the 1960s. In 1972, the church hosted a two-night live recording session with singer Aretha Franklin (1942-2018) which was a pivotal point in her musical career that returned her to her gospel roots and resulted in her most successful album.

Development of Southeast Los Angeles

Southeast Los Angeles developed in a southward pattern beginning in the late 19th century, as the city’s growing network of streetcars allowed for development outside the historic city center. Though the area north of Slauson Boulevard was largely built out by the late 1910s, at this time the land to the south was still largely undeveloped and relatively remote.

During the first half of the 20th century, Southeast Los Angeles became the center of the city’s African American community. The African American community in Los Angeles was first concentrated in the historic city center, around the neighborhood that is now Little Tokyo. As the community grew, it began moving south after the turn of the 20th century. Central Avenue was the primary thoroughfare around which this movement and development was centered, and African Americans created a vibrant community in the surrounding area. By the late 1920s, the region had become home to jazz clubs, a lively social scene and nightlife, as well as African American-owned businesses.

Up until the 1930s, the area remained racially and ethnically diverse with African Americans remaining in the minority. Starting in the late 1920s, a significant number of African Americans moved to Los Angeles drawn by the promise of jobs and homeownership. Prevented from moving farther west by racially restrictive covenants, they moved into the neighborhoods of Southeast Los Angeles. Racial covenants became enforced more fiercely as African Americans became a more noticeable presence in the city and they became restricted to the area between Alameda Street on the east, San Pedro Street on the west, and Slauson Avenue on the south. Those who attempted to move outside this prescribed area were met with resistance, at times intimidating and violent.

The boundaries of the area around Central Avenue remained enforced by restrictive covenants up until 1948, when they were struck down by the Supreme Court. Following this legal action, middle-class African Americans began moving out of the area, and the center of the prosperous African American community shifted westward. While the population continued to grow, and African Americans became the majority, the businesses and institutions that had existed along Central Avenue also moved westward, leaving the community around Central Avenue underserved and lacking in businesses and institutions—a trend that plagued the region throughout the 1950s and 1960s.

Historic-Cultural Monument Application Page 2 of 5 Religion and Spirituality in African-American History of Los Angeles

Churches such as the New Temple Missionary Baptist Church were crucial anchors of the African American community. They represented spaces of racial autonomy and freedom, where African Americans came together by choice and strengthened ties of mutuality. They were sanctuaries of spiritual freedom, places where people could freely express themselves unfettered by the expectations or pressures of white society. They also represented springboards for community leadership, as well as centers of social life, business networks, and civil rights activism. Churches, too, reflected the diversity of the African American community by class, background, and cultural proclivities. They played a vital role in allowing African American congregants to express their individuality, while tying them to the broader community. Since the days of slavery, African Americans embraced the Christian faith, particularly its message of liberation and deliverance, and for them the church represented a space of black autonomy – spiritual, social, political – and as such it became a powerful institution.

African American churches not only provided important spiritual sustenance, but also played an array of social, economic, and political functions. They provided aid to newly arrived migrants to the city, publicized job information, spawned several key social organizations, and provided meeting space for community activities. The New Temple Missionary Baptist Church, which moved to its current location at 8734 South Broadway in the 1960s, served as a community center for its neighborhood and for the greater Los Angeles area. In 1970, the church hosted a conference for Evangelical religious organizations based throughout the five southern counties of California. Speakers included pastors from around the region, as well as a former member of the Black Panther Party. Two years later, the church was selected as the site for another special event: a two-night live gospel performance by singer Aretha Franklin and the Southern California Community Choir.

Aretha Franklin

Aretha Franklin was born on March 25, 1942 in Memphis, Tennessee to parents Barbara and Clarence LaVaughn “C.L.” Franklin. The fourth of five children, her father was a well-known Baptist preacher and her mother sang gospel professionally. By the time Aretha Franklin was age five, her family had settled in Detroit, Michigan, where her father became the pastor of the New Bethel Baptist Church. Franklin began her musical career singing gospel hymns in the church’s choir and eventually performing with her father on his evangelistic tours.

After signing with Columbia Records in 1960, Franklin’s career evolved as she shifted away from gospel performance and began recording blues and soul. In 1966, Franklin moved to Atlantic Records and found commercial success with singles such as “(You Make Me Feel Like) A Natural Woman” and “Respect.” By 1971, she had won five Grammy Awards, including the awards for Best Rhythm & Blues Recording for “Respect” and Female Rhythm & Blues Singer of the Year.

In collaboration with her producer, Jerry Wexler, Franklin made a return to gospel performance in 1972 when she recorded her live album Amazing Grace. The album sold over two million copies in the United States and earned Franklin the 1973 Grammy Award for Best Soul Gospel Performance. It remains Franklin’s bestselling record of her entire more-than-fifty year career and the bestselling live gospel music album of all time.

Franklin recorded several albums with Atlantic, including Spirit in the Dark (1970), Young, Gifted and Black (1972), and Sparkle (1976), before leaving to sign with Arista Records in 1979. She remained active throughout the 1980s and 90s, releasing her final Arista album, So Damn Happy,

Historic-Cultural Monument Application Page 3 of 5 in 2003. Franklin received a number of honors throughout her life. In 1987, she became the first female performer inducted into the Rock and Roll Hall of Fame. She was awarded the National Medal of the Arts in 1999 and the Presidential Medal of Freedom in 2005. Her final public performance was on November 7, 2017, at the annual gala for the Elton John AIDS Foundation in New York City. After falling ill with a pancreatic disease, Franklin passed away on August 16, 2018 at her home in Detroit.

The Recording of Amazing Grace

Franklin’s bestselling album, Amazing Grace, was recorded over two nights in January 1972. Franklin, with support from her label, Atlantic Records, intended to record a live gospel double album while visiting Los Angeles. The New Temple Missionary Baptist Church was chosen as the location for the concert, in part for its size and ability to accommodate a recording and film crew. Gospel performer Reverend James Cleveland, a former minister of music at the New Bethel Baptist Church in Detroit and one of Franklin’s childhood mentors, worked with her to organize the performance. The singer would be backed by several members of the Southern California Community Choir, a group of local singers directed by Cleveland. Franklin selected the rhythm section, which consisted of drummer Bernard Purdie, bassist Chuck Rainey, and guitarist Cornell Dupree. Cleveland would accompany Franklin on piano, and he hired a young composer named Alexander Hamilton to direct the choir and provide hymnal arrangements.

Despite the minimal publicity for the event, congregants filled the pews both nights of the performance. At the time, the church had not been fully renovated from its days as a movie theater and still featured flip-up theater seats. In addition to classic gospel hymns, Franklin performed renditions of Marvin Gaye’s “Wholy Holy” and Carole King’s “You’ve Got a Friend” before the audience. Gospel musician Clara Ward, another mentor of Franklin, attended the performance and sat in the front row alongside Franklin’s father, C.L. Franklin. Mick Jagger and Charlie Watts of the Rolling Stones, who were in Los Angeles recording the album Exile on Main Street, were also in attendance.

Many consider the decision to record Amazing Grace at a church to represent a return to Franklin’s musical roots. In a profile of the singer published in the Los Angeles Sentinel on the day of the concert, entertainment editor Gertrude Gipson describes the event as Franklin’s “chance to return to first love, that of gospel singing.” Sabrina Owens, Franklin’s niece, told an interviewer that Franklin approached the performance as a true church service rather than a live recording session. “The way she conducted herself was totally different than what you would see at one of her pop concerts,” Owens said. “She was focused entirely on something higher.”

In addition to being recorded for a live album, the two nights of performances were also captured by a film crew. Director Sydney Pollack filmed the event for a concert documentary that was set to be released in 1972. However, because Pollack failed to use a clapperboard during shooting, he was unable to synchronize the audio and video during the editing process and the footage was shelved indefinitely. After Pollack’s death in 2008, producer Alan Elliott purchased the film from Warner Brothers. Advancements in digital editing technology enabled Elliott to resolve the synchronization issues and complete a version of the film in 2011. Elliott planned to premiere the film at the Telluride Film Festival in 2015 but was prevented due to litigation initiated by Franklin. Although Franklin stated publicly that she loved the content of the film, she blocked its premiere multiple times. It is unknown why Franklin objected to the project. After her death in 2018, her estate allowed Elliott to proceed with the film’s release. On March 31, 2019, the film, titled Amazing Grace, had its official premiere at the very location of its recording 47 years prior, with several original members of the Southern California Community Choir in attendance.

Historic-Cultural Monument Application Page 4 of 5 Clarence Eugene Noerenberg

Paul R. Williams

Paul Revere Williams was born in Los Angeles in 1894. He studied at the Polytechnic High School, then Los Angeles School of Art and Design, and the University of Southern California. Williams received his architectural license in 1921, making him the only licensed African-American architect west of the Mississippi. He worked for several noted, local architects from 1914-1924. In the early 1920s, he won national awards for his small house designs, and in 1957, Williams was inducted as the AIA’s first African-American fellow. He became well known for his modern interpretations of the period revival styles that were popular at the time. Williams had a prolific architectural career, spanning from about 1915 until his retirement in 1974, during which time he designed many large estates throughout Los Angeles. He passed away in 1980 at the age of 85. Currently, there are 17 Historic-Cultural Monuments that were designed in whole or in part by Williams that include Villa Manola (1923, HCM #1084), 28th St YMCA (1926, HCM #851), Second Baptist Church (1926, HCM #200), Blackburn Residence (1927, HCM #913), Sunset Plaza (1934, HCM #233), Angelus Funeral Home (1934, HCM #774), Oakridge Estate (1937, HCM #484), Golden State Mutual Life (1949, HCM #1000), Paul R. Williams Residence (1952, HCM #170), and the Airport Theme Building (1961, HCM #570).

Historic-Cultural Monument Application Page 5 of 5 ARCHIVES

Ancestry.com. 1940 United States Federal Census [database on-line]. Provo, UT, USA: Ancestry.com Operations, Inc., 2012. Building Permit Records. City of Los Angeles Department of Building and Safety. HistoricPlacesLA.org. City of Los Angeles Department of City Planning. Pacific Coast Architecture Database (PCAD).

PRIMARY AND SECONDARY SOURCES

Amazing Grace. Produced by Alan Elliott, directed by Sydney Pollack. 2018; New York: Neon. Bego, Mark. Aretha Franklin: The Queen of Soul. Skyhorse Publishing, Inc., 2012. Cohen, Aaron. Amazing Grace. Bloomsbury Publishing, Inc., 2011. "Conference Slated at New Temple." Los Angeles Sentinel (1934-2005), Nov 26, 1970. Farber, Jim. “Amazing Grace: the story behind the electrifying Aretha Franklin movie.” Guardian, Apr 8, 2019. Gipson, Gertrude. "Aretha Franklin has Paid Her Dues." Los Angeles Sentinel (1934 2005), January 13, 1972. Lewis, Randy. “The long journey of ‘Amazing Grace,’ the film document of Aretha Franklin’s 1972 gospel recording sessions.” Los Angeles Times, Dec 24, 2018. Rinn, Natalie. “How ‘Amazing Grace’ Was Born, Buried, and Resurrected.” New York Times, April 9, 2019. Ritz, David. Respect: The Life of Aretha Franklin. Little, Brown & Company, 2015. “SurveyLA Los Angeles Citywide Historic Context Statement: African American History of Los Angeles.” Prepared for the City of Los Angeles Department of City Planning Office of Historic Resources, February 2018. “SurveyLA Historic Resources Survey Report: Southeast Los Angeles Community Plan Area.” Prepared for the City of Los Angeles Department of City Planning Office of Historic Resources by Galvin Preservation Associates, March 2012.

Aretha Franklin Has Paid Her Dues GERTRUDE GIPSON Entertainment Editor Los Angeles Sentinel (1934-2005); Jan 13, 1972; ProQuest Historical Newspapers: Los Angeles Sentinel pg. B

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Conference Slated at New Temple Los Angeles Sentinel (1934-2005); Nov 26, 1970; ProQuest Historical Newspapers: Los Angeles Sentinel pg. C9

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.

7/12/2019 Amazing Grace: the story behind the electrifying Aretha Franklin movie | Music | The Guardian

Amazing Grace: the story behind the electrifying Aretha Franklin movie The late singer’s niece and the ﬁlm’s producer talk about the troubled process of bringing a deﬁning 1972 performance to the big screen

A still from Amazing Grace. Photograph: AP Jim Farber Mon 8 Apr 2019 10.27 EDT

n Aretha Franklin’s revelatory concert film Amazing Grace, she barely speaks a word. Aside from one muffled request for water and a hushed discussion with her musical director, there’s not a peep out of her. Instead, she focuses her concentration wholly on the spirit of the gospel music she came to perform during the film’s historic two-day shoot, which took place in January 1972 at the New Temple Baptist Mission church in Los Angeles. “She came for a church service,” the late singer’s niece Sabrina I Owens, who controls the estate, said to the Guardian. “The way she conducted herself was totally different than what you would see at one of her pop concerts. Her eyes were closed. Her head was thrown back. She was focused entirely on something higher.”

To witness the whiplash contrast between that self-effacement, and the star power of her vocal performance, is just one element which greatly distinguishes watching the Amazing Grace film from listening to the album of the same name, which came out late in 1972. That double-set became Franklin’s biggest-selling album, as well as the top-grossing gospel collection of all time. Meanwhile, the film lay uncompleted in the vaults for another 38 years, hobbled by gobsmacking mistakes, poor planning and, eventually, by Franklin’s health issues. After a complex, fraught and dragged-out series of events, the movie was finally completed by the producer Alan Elliott last fall, allowing for fleeting runs in two US cities in December. Amazing Grace has just started a broader release, followed by a full, international roll-out on 19 April.

While Elliott finished the film, he had no connection to the original shoot (he was seven at the time). His initial connection came in the early 90s, when he was a staff producer for Atlantic Records. Jerry Wexler, who had co-produced many of Franklin’s greatest hits for the label, mentioned the languishing footage to Elliott, who had long been a fan of the Amazing Grace album. The two had brief https://www.theguardian.com/music/2019/apr/08/aretha-franklin-amazing-grace-movie-backstory 1/3 7/12/2019 Amazing Grace: the story behind the electrifying Aretha Franklin movie | Music | The Guardian talks at the time with the man who directed the film back in 1972, Sydney Pollack. However, a full decade and a half passed before Elliott began to nudge Wexler again about the film, leading to a reconnection with Pollack. By that time, the director was gravely ill with cancer, a disease that would take his life the next year, in 2008. According to Elliott, Pollack told him at the time: “You know this movie better than I do. You finish it.”

Soon, he discovered what a daunting task that would be. The reason the film hadn’t been completed was because Pollack neglected to take the most rudimentary step in synchronizing the sound of the music to the images in the film. All that would have been required to accomplish that was to employ a most common filmic device: a clapperboard, which snaps open at the start of a piece of film and shuts at the end of it, thus marking the visual segment to be connected to its sonic corollary. In this case, “the camera guys kept turning their cameras off and on, and off and on”, Elliott said. “So, there were, like, 15 or 20 different start points on a given piece of film. It’s just unfathomable.”

The result left about 2,000 pieces of film bits without sync points. Such a colossal screw-up might never have happened had the film studio hired the original guy they would considered to helm the project – James Signorelli, who served as cinematographer on Super Fly, a film which achieved the tricky feat of matching its dialogue to live music created by Curtis Mayfield. But because Pollack’s previous movie, They Shoot Horses Don’t They, earned him an Oscar nomination for best director, the studio went with the bigger name. According to Elliott, Pollack did no pre-production work for Amazing Grace, and, afterwards, didn’t even write down the names of the songs.

While the clapperboard oversight may have scotched the original release, Elliott feels it created a secondary gain. “All of those cameras moving in and out, and turning on and oﬀ, gave this energy to the footage, and it also allowed them to take these beautiful pictures,” he said.

The tedious work of finding the connecting points between the film’s image and sound fell to a special technical team in 2008. “They spent three weeks to get all 13 or 14 hours of film synced,” said Elliott.

Even so, another 10 years would pass before lingering legal issues involving the singer and the movie would be worked out. For a long time, no one could locate a signed contract from Franklin to approve the film’s release. Once they finally did, in 2013, she challenged it, preventing planned screenings at several film festivals at that time. Franklin’s niece says she doesn’t know why the singer held things up. “She never talked about the film,” Owen said, adding that she does know that her aunt cherished the original performance.

In the past, Elliott has said that Franklin asked for $5m to grant final approval of the film, but he now believes the main issue that affected things at the end was her worsening health. “This was a slow, slow death that she had to go through,” he said. “If she had to do a tour, or do press around this movie, I understand her decision. If she had been healthy, I believe the movie would have come out.”

Owens said she had no second thoughts about approving the film’s release several months after her aunt’s death. “Everybody in the family had the same feeling,” she said. “There’s nothing offensive in the film. If she was that opposed, she would have let somebody know. That didn’t happen.”

For Elliott, the film has great value apart from the album. For the recording, Franklin added instruments in the studio, such as a celesta, and also overdubbed some of her vocals. By contrast, the film “is just the stuff that was in the room”, he said. “It’s more truthful.”

The visuals also allow viewers to see the striking eﬀect Franklin’s music had on the churchgoers who made up most of the audience, as well as on the Southern California Community Choir, the 30-member group who backed her. “They’re the characters in the ﬁlm,” said Elliott. “They’re the people urging her on, making sure she goes farther and deeper into Amazing Grace.”

It’s stirring, as well, to see Franklin work with her band, including Cornell Dupree, Chuck Rainey and Bernard Purdie. “Those guys are what Jerry Wexler called ‘the Profane Rhythm Section’,” Elliott said. “He had them rehearse with her for 30 Alan Elliott, Sabrina Owens and Tirrell Whittley attend the premiere of Amazing Grace. days in the church, and with the choir, to get what he called ‘the Photograph: Rachel Luna/Getty Images cadence back’.”

It’s telling, too, to see the singer at such a young age. At 29, we see her clear deference for her father, the Reverend CL Franklin, who, on the second day, came in to declaim in one segment. We also see Franklin’s awe for her mentor, gospel star Clara Ward, who was in the audience for the second show. Hanging out in the back of the church are Mick Jagger and Charlie Watts, who were in Los Angeles at the time to record Exile on Main Street. Like everyone present, they got whipped up in the ecstatic devotion of performances like Wholy Holy, God Will Take Care of You and Amazing Grace. Each ambled on for seven to 11 minutes, elaborated by Franklin’s enraptured whoops, cries and ﬁlls. Her impassioned ﬁligrees invited empathic responses from the choir, and found stalwart support https://www.theguardian.com/music/2019/apr/08/aretha-franklin-amazing-grace-movie-backstory 2/3 7/12/2019 Amazing Grace: the story behind the electrifying Aretha Franklin movie | Music | The Guardian from the event’s MC, the Rev James Cleveland. At the core of it all stood a singer aloof from the crowd but connected, fundamentally, to the eternal. “Jerry Wexler used to call her ‘Our Lady of Mysterious Sorrow’,” Elliott said. “But this shows her to be ‘Our Lady of Mysterious Joy’. She becomes a tabula rasa of a woman. We can read into her whatever we want. It’s something very human and unique at the core. It’s Aretha.”

Amazing Grace is out in the US now and in the UK on 10 May

https://www.theguardian.com/music/2019/apr/08/aretha-franklin-amazing-grace-movie-backstory 3/3 7/12/2019 The long journey of ‘Amazing Grace,’ the film document of Aretha Franklin’s 1972 gospel recording sessions - Los Angeles Times

MUSIC ENTERTAINMENT The long journey of ‘Amazing Grace,’ the ﬁlm document of Aretha Franklin’s 1972 gospel recording sessions

By RANDY LEWIS    DEC 24, 2018 | 10:45 AM

Aretha Franklin in a scene from the movie "Amazing Grace." (Sundial Pictures)

https://www.latimes.com/entertainment/music/la-et-ms-amazing-grace-movie-20181224-story.html 1/9 7/12/2019 The long journey of ‘Amazing Grace,’ the film document of Aretha Franklin’s 1972 gospel recording sessions - Los Angeles Times Mick Jagger talks about a certain Aretha Franklin performance that’s indelibly etched in his memory as if it happened last week, not 46-plus years ago.

“It was a really electrifying performance she gave, it raised the hair on the back of your neck,” the Rolling Stones co- founder and lead singer told The Times recently of the session he and the Stones’ drummer Charlie Watts dropped in on while visiting Los Angeles to work on the group’s 1972 album, “Exile on Main Street.” “It was a super-charged performance, a different Aretha on that day than I had experienced before.”

ADVETISEMENT

He’s remembering the historic gospel sessions Franklin delivered in collaboration with gospel music titan Rev. James Cleveland that were recorded and released in 1972 on her album “Amazing Grace,” a project that was simultaneously filmed by Sydney Pollack, who’d been nominated in 1970 for an Academy Award for his direction of “They Shoot Horses, Don’t They?” Astonishingly, the film sat on the shelf for decades, unfinished.

In November, it screened in one-week theatrical engagements in Los Angeles and New York for Academy Awards consideration, but now having secured a distributor is on track for additional screen time in 2019. That’s thanks to the years-long efforts by producer Alan Elliott, who bought the raw footage in 2007 and ultimately figured out how to overcome the technical and contractual hurdles that kept it out of the public eye for so long.

“One of the things that made it really interesting,” Jagger said, “is that you were there, you were involved. Being there in a church, you’re part of the experience — you’re not just a member of an audience somehow. You’re not in a posh seat sitting down, where you’ve paid your money and you’re like ‘OK, entertain me.’ It was not that feeling. It was a very different vibe than a normal concert … I think I was singing along.”

In fact, Jagger can be seen briefly on screen not only mouthing words to some of the songs, but moving his body in rhythm to the music as well.

“I’m really glad it’s finally coming out to the world,” he said.

The biggest hurdle technically was the absence of one crucial element of filmmaking: the clapboards used at the start and end of scenes that allow filmmakers to synchronize the visuals with the audio. Lacking that, finishing “Amazing Grace” became a technical nightmare.

Additionally, for reasons that were never entirely clear, Franklin herself didn’t want the film released. Even after Elliott and his collaborators solved the synchronization problem several years ago and made attempts to screen it at film festivals, Franklin objected. She famously sued in 2015 to halt planned exhibitions of the movie at Telluride and Toronto.

Since Franklin’s death in August, however, Elliott has continued working with her estate, and members of her family who have supported the film’s release. https://www.latimes.com/entertainment/music/la-et-ms-amazing-grace-movie-20181224-story.html 2/9 7/12/2019 The long journey of ‘Amazing Grace,’ the film document of Aretha Franklin’s 1972 gospel recording sessions - Los Angeles Times family who have supported the film s release.

Like Jagger, others involved with the recording sessions, which took place at Cleveland’s recently opened New Temple Baptist Missionary Church in Watts, recall the experience vividly and, for the most part, fondly.

“It was 1972, Aretha was at the top of her game,” said Alexander Hamilton, then the choir director working under Cleveland to rehearse and then lead the sings chosen to support Franklin during the recording sessions. “The fact that we were going to do anything with Aretha was a big deal — we just didn’t know how big a deal it was going to become.”

In fact, Hamilton emerges on screen as something of a costar to Franklin, Cleveland and the choir itself — something that wasn’t readily apparent on the audio recording. The film brings a long overdue validation of his role in the proceedings.

“I’m so glad this is finally out,” Hamilton said. “You hear the choir on the album, but you can’t see me. All I could say [for years] is that I was on the album, but I stopped because it would sound like I was trying to use this for name-dropping.”

https://www.latimes.com/entertainment/music/la-et-ms-amazing-grace-movie-20181224-story.html 3/9 7/12/2019 The long journey of ‘Amazing Grace,’ the film document of Aretha Franklin’s 1972 gospel recording sessions - Los Angeles Times

Alexander Hamilton, in 2018, is seen in the documentary "Amazing Grace" leading the choir that backs singer Aretha Franklin in 1972 in Los Angeles. (Mathieu Bitton)

Hamilton also helped shape the arrangements Franklin used on numerous gospel standards, going back to influential gospel composer Thomas A. Dorsey’s “Precious Lord, Take My Hand,” as well as the more contemporary secular material that Franklin sang to keep things current.

Among those were Carole King’s “You’ve Got a Friend,” (which she segues into from the Dorsey song) and Marvin Gaye’s “Wholy Holy,” with which she opens the proceedings with an instantly galvanizing vocal.

For choir member Bobby Washington, who still sings regularly in the L.A. area as a member of three different gospel groups, the experience remains not just a career highlight, but a peak life moment.

“We rehearsed for almost a month prior to when she got here so we could have it down pat,” Washington said. “When she came to rehearse, we knew our parts.

“After Aretha died, one of the TV stations came out to interview me, and I had a chance to go back to the church,” he said. “This chill just came over me and ran through my body like it just happened yesterday. I showed them, ‘This is

where I was standing,’ and I remembered having this feeling [at the time] that this place will never be the same again because of the intensity of the music. Aretha just turned it upside down.” https://www.latimes.com/entertainment/music/la-et-ms-amazing-grace-movie-20181224-story.html 4/9 7/12/2019g The long journey ofy ‘Amazing Grace,’ the film documentj of Arethap Franklin’s 1972 gospel recording sessions - Los Angeles Times

Various aspects of “Amazing Grace” have been the subject of debate over the years, not the least among them whose decision it was to bring in the rhythm section that always accompanied Franklin at her secular shows for this gospel performance.

Aretha Franklin in a scene from the movie "Amazing Grace." (Sundial Pictures)

In David Ritz’s 2014 biography “Respect — the Life of Aretha Franklin,” Jerry Wexler, Franklin’s longtime producer at Atlantic Records, said: “I was determined to sneak the devil’s rhythm section into church.

“It was fine for Aretha to pick the choir,” Wexler told Ritz. “She loved James Cleveland, and James was a great choice. But I needed my guys — Bernard Purdie on drums, Chuck Rainey on bass, Cornell Dupree on guitar and Pancho Morales on congas — to keep the rhythm right.”

When Ritz put the question to Franklin, she said it was all her doing. “She saw no contradiction in using secular musicians in a sacred service and said that Wexler’s notion of sneaking in the devil’s rhythm section was absurd,” Ritz wrote. “She wanted the best players, the best choir and the best songs.”

Rainey said he and his fellow musicians can’t necessarily resolve that question. “We were sidemen, we were her band, and we usually weren’t involved in a lot of the stuff that went on behind the scenes,” he told The Times in a separate interview last week.

What he could say with certainty, however, was that, “We were her band, and where she went in those days, we went.”

https://www.latimes.com/entertainment/music/la-et-ms-amazing-grace-movie-20181224-story.html 5/9 7/12/2019 The long journey of ‘Amazing Grace,’ the film document of Aretha Franklin’s 1972 gospel recording sessions - Los Angeles Times

Rainey speculated that part of the reason Franklin might have resisted allowing the film to be screened despite all the effort Elliott and his team put into completing it may have been some of those backstage dynamics.

“Everything outside the music itself was a little bit Hollywood, production-wise,” Rainey said. “As I viewed the film, I felt it was more about James Cleveland, [gospel singer] Clara Ward and Aretha’s father, Rev. C.L. Franklin, than it was about her. But as side musicians, all you know is you’re there, playing with Aretha, and all the songs were perfect for her because it was a gospel album. Working with Aretha was always a pleasure.

“She was fantastic,” Rainey said. “Definitely what she did with her voice at those sessions was amazing.”

He flatly rejected the theory that her objection had anything to do with quibbles over how much she would be paid for her appearance in the film.

“Money had nothing to do with it,” he said. “She was wealthy, she was already a millionaire, and she was signed to Atlantic.”

Elliott has his own feeling about what troubled the film’s star.

“I know why she was mad,” he said. “I only met her once, for about eight seconds. But can you imagine being Aretha Franklin, who was legendarily a very exacting artist who has 11 No. 1 records in a row? She goes and makes what I think is one of the finest albums ever in popular music and is told by Warner [Bros.] Films they’re going to make it into this masterpiece. They hire Sydney Pollack [to direct] — and then they screw it all up?

“I don’t think she’s angry at a 7-year-old Alan Elliott,” he said referring to his age at the time the project unfolded. “She’s angry at Warner Bros. for not giving her her chance to be a movie star.”

Her attitude toward the project notwithstanding, the restored film has been drawing rave reviews. On Rotten Tomatoes, it has received a 95% positive rating from critics based on 22 reviews.

“The movie is an unmitigated joy,” Times film critic Justin Chang wrote in his review. “It’s also a captivating artifact, the rare making-of documentary that doesn’t just comment on but completely merges with its subject. The lift-you-to-the-rafters intensity of Franklin’s voice remains so pure and galvanic that ‘Amazing Grace’ is one of the few movies you could watch with your eyes closed, though you would hardly want to.”

In the New York Times, Wesley Morris wrote, “You get both the most lovely gaze a professional camera's ever laid upon Aretha Franklin and some of the mightiest singing she's ever laid on you.”

And in the New Yorker, Richard Brody called it, “A triumph of timeless artistry over transitory obstacles; its very existence is a secular miracle.”

Entertainment Newsletter https://www.latimes.com/entertainment/music/la-et-ms-amazing-grace-movie-20181224-story.html 6/9 7/12/2019 How ‘Amazing Grace’ Was Born, Buried and Resurrected - The New York Times

How ʻAmazing Graceʼ Was Born, Buried and Resurrected

By Natalie Rinn

April 9, 2019

Late in 1971, some unlikely news spread among the Southern California Community Choir in Los Angeles. Aretha Franklin was coming to town to record a live gospel album in January, and 25 of its members would be backing her up.

The group was led by one of the most famous gospel ﬁgures of the era, the Rev. James Cleveland, but its singers were local churchgoing Angelenos. Mary Hall, an alto, was 22.

“The reverend just said, ʻYou be at rehearsal, and you be at rehearsal,’” she said in an interview last month. “I couldn’t believe I was getting ready to sing with the Queen of Soul. It’s still one of the greatest moments in my life.”

That moment — an electrifying two-night session before live audiences at the New Temple Missionary Baptist Church in Watts — resulted in Franklin’s “Amazing Grace,” the best-selling gospel record in history, featuring now-canonical arrangements of gospel standards like “How I Got Over” and “What a Friend We Have in Jesus.”

Less known until recently was that the performances were also ﬁlmed: a collaboration as ambitious and as bungled as only Hollywood could manage, buried for decades by red tape and a monster technical error. But with last weekend’s wide theatrical release of “Amazing Grace,” fans can ﬁnally immerse themselves in the full cinematic experience.

[Read our review, in which Wesley Morris calls “Amazing Grace” “one of the great music ﬁlms.”]

The project sprouted at the conﬂuence of several cultural currents at the beginning of the 1970s. Edwin Hawkins’s R&B crossover hit “Oh Happy Day” had helped bring gospel into mainstream in 1969. And by 1971, Franklin, who had grown up as a touring gospel singer, was one of the biggest stars in pop music, with a list of hit singles including “Respect,” “Think” and “Chain of Fools.”

If anyone could capitalize on that moment, it was Franklin, then 29. Having signed a few years earlier with Atlantic Records, she teamed with one of the label’s star producers, Jerry Wexler, who had helped catapult the careers of artists like Ray Charles and Wilson Pickett. The plan was to make a double album.

“Jerry was smart enough to understand that it would be a statement as to her imprimatur as an artist,” said the producer Alan Elliott, who worked for years to resurrect the ﬁlm. “And he empowered her by making her his co- producer.”

https://www.nytimes.com/2019/04/09/movies/amazing-grace-aretha-franklin-sydney-pollack.html 1/4 7/12/2019 How ‘Amazing Grace’ Was Born, Buried and Resurrected - The New York Times

The producer Alan Elliott bought the raw materials for “Amazing Grace” in 2008, then spent the next decade struggling against technical and legal challenges. Rachel Murray/Getty Images

Plans for a concert ﬁlm were also underway: Documentaries like “Monterey Pop,” by D.A. Pennebaker (1968), and “Woodstock,” by Michael Wadleigh (1970), had become cultural phenomena. Executives at Warner Bros., which had purchased Atlantic in 1967, hoped an “Amazing Grace” documentary might help do for gospel what Woodstock had done for pop, Elliott said.

To ﬁlm it, Warner hired the director Sydney Pollack, a rising star still riding the success of his 1969 movie “They Shoot Horses, Don’t They?” Pollack was between projects and had campaigned with executives for the job.

Joe Boyd, who had been hired by Warner to pair Atlantic artists with Warner ﬁlm projects, had already been tasked with putting together a 16 mm ﬁlm crew. He shared his misgivings with executives about using Pollack.

“Shooting a concert ﬁlm is a very different kettle of ﬁsh from shooting a drama,” Boyd said in an interview, relating what he told Warner. “And it’s a very different skill.”

But Pollack’s star power won out. Boyd took his cue.

“I kind of stood back and let it happen,” he said.

[Read more about why the ﬁlm lay buried for nearly a half-century.]

Franklin and her team busied themselves with the music. Rehearsals started a month in advance at Cornerstone Institutional Baptist Church, in Los Angeles, where James Cleveland, a childhood mentor of Franklin’s, ran the show.

Franklin was to provide a rhythm section, ﬂown in from New York, many of whom had been members of King Curtis’s band, including the drummer Bernard Purdie, the bassist Chuck Rainey and the guitarist Cornell Dupree. Cleveland was to provide his choir and accompany Franklin on piano. He hired a charismatic 27-year- old named Alexander Hamilton to direct the choir.

Hamilton said that Cleveland had hired him in part for his “steel trap” memory.

https://www.nytimes.com/2019/04/09/movies/amazing-grace-aretha-franklin-sydney-pollack.html 2/4 7/12/2019 How ‘Amazing Grace’ Was Born, Buried and Resurrected - The New York Times “I would ask Aretha what she was deﬁnitely trying to get in the song — certain licks that she wanted to do,” he said. “She would say where she wanted the licks, and when, and I would make sure that it happened.”

Alexander Hamilton, left, with Franklin and the Southern California Community Choir, which he directed for the “Amazing Grace” sessions. Neon

The resulting performance was transporting, Pollack’s footage a visceral, unmediated document of a music freighted with suffering and bursting with joy. Sweat and tears stream down Franklin’s face. Cleveland sobs. Old women bolt from their seats, convulsing in the aisles.

As word of Franklin’s presence spread, the modestly sized audience of Night 1 swelled past capacity inside the sweltering church on Night 2, spilling into the aisles. The Rev. C.L. Franklin, her father, hurried to Los Angeles for a front-row seat — and to deliver a lengthy speech. The renowned gospel singer Clara Ward sat next to him in a sequin dress. Mick Jagger and Charlie Watts of the Rolling Stones, who shared a label with Aretha Franklin and were in town working on “Exile on Main Street,” also stopped by, inching their way toward the front as the session progressed.

But just as Boyd feared, Pollack and his crew made a critical error. They failed to use clapperboards, according to multiple people involved in the production, which meant the footage couldn’t be synchronized with the sound.

Pollack hired Hamilton to lip-read the footage in attempts to match it. But not even Hamilton could sync more than a small percentage. The team gave up after about six weeks, Hamilton said.

“They hadn’t prepared for it to be what it turned out to be,” he said. The session had simply become too chaotic. “The place became electric.”

Elliott, who had worked as a music producer under Wexler, ﬁrst learned about the footage from him in 1990 and had never forgotten about it. In search of a new project, Elliott acquired the assets from Warner Bros. Films in 2008, with Pollack’s blessing. Pollack, who died that same year, never saw the ﬁlm completed.

https://www.nytimes.com/2019/04/09/movies/amazing-grace-aretha-franklin-sydney-pollack.html 3/4 7/12/2019 How ‘Amazing Grace’ Was Born, Buried and Resurrected - The New York Times

Aretha Franklin with her father, the Rev. C.L. Franklin, who rushed to Los Angeles for Night 2 of the “Amazing Grace” sessions. Neon

With advances in digital technology, Elliott was soon able to synchronize the footage. But there was another roadblock: Franklin herself. Publicly, she said she loved the ﬁlm. But she sued multiple times to prevent its being seen.

Rainey, the bassist, who said that he talked to Franklin twice a year by phone until she died last year, said she told him that she didn’t like the ﬁlm at all. He thought her resistance derived from a feeling that the ﬁlm wound up being more about style and celebrity than about the music or the worship — or even about Franklin.

“The ﬁlm, to me, is all about James Cleveland, her father, Clara Ward,” he added. “It was like she was wallpaper.”

As the legal complications persisted, Elliott appealed to Franklin’s niece Sabrina Owens, the executor of Franklin’s estate, in search of support inside Franklin’s family. Owens was enthusiastic. After Franklin’s death, a path was cleared, and the ﬁlm received a limited release in late 2018.

“The moment I saw the ﬁlm for the ﬁrst time three years ago, I knew others needed to see it,” Owens said.

Hall, the choir singer, had always thought so.

“This shows how we sang in our churches,” she said. “And for young people that never got to hear Aretha and see Aretha — to know the quality of how masterful she was in her gift, and to know how she loved God — it’s very important for people to see that.”

Correction: April 10, 2019 Because of an editing error, an earlier version of this article misidentiﬁed a role of Alan Elliott’s in the ﬁlm “Amazing Grace.” He was a producer, not a co-director.

A version of this article appears in print on April 20, 2019, Section AR, Page 11 of the New York edition with the headline: It Once Was Lost, but Now Is Found

https://www.nytimes.com/2019/04/09/movies/amazing-grace-aretha-franklin-sydney-pollack.html 4/4

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3/26/2019 PARCEL PROFILE REPORT PROPERTY ADDRESSES Address/Legal Information 8730 S BROADWAY PIN Number 096A203 126 8734 S BROADWAY Lot/Parcel Area (Calculated) 3,378.5 (sq ft) 8736 S BROADWAY Thomas Brothers Grid PAGE 704 - GRID C3 259 W 87TH PL Assessor Parcel No. (APN) 6040018001 Tract TR 337 ZIP CODES Map Reference M B 14-85 90003 Block None Lot FR 2 RECENT ACTIVITY Arb (Lot Cut Reference) None None Map Sheet 096A203 Jurisdictional Information CASE NUMBERS Community Plan Area Southeast Los Angeles CPC-2010-2278-GPA Area Planning Commission South Los Angeles CPC-2008-1553-CPU Neighborhood Council Empowerment Congress Southeast Area CPC-2007-3827-ICO Council District CD 8 - Marqueece Harris-Dawson CPC-2004-2391-ICO Census Tract # 2402.00 CPC-1999-470-TOD LADBS District Office Los Angeles Metro CPC-1996-398 Planning and Zoning Information CPC-1990-346-CA Special Notes ZI-2476 Southeast Los Angeles Community Plan Adoption CPC-1986-827-GPC Zoning C2-1-CPIO CPC-1983-506 Zoning Information (ZI) ZI-2374 LOS ANGELES STATE ENTERPRISE ZONE ORD-185924-SA2870 ZI-2412 Fast Food Establishments ORD-180103 ZI-2427 Freeway Adjacent Advisory Notice for Sensitive Uses ORD-176589 ZI-2476 Southeast Los Angeles Community Plan Adoption ORD-174948-SA990 ZI-2452 Transit Priority Area in the City of Los Angeles ORD-171682 ZI-1924 Broadway / Manchester Recovery Redevelopment Project ORD-171681 ZI-1231 South Los Angeles Alcohol Sales ORD-167354-SA4372 General Plan Land Use Community Commercial ORD-162128 General Plan Note(s) Yes ENV-2017-2196-SE Hillside Area (Zoning Code) No ENV-2010-2279-CE Specific Plan Area South Los Angeles Alcohol Sales ENV-2008-1780-EIR Subarea None ENV-2004-2409-CE-ICO Special Land Use / Zoning None Design Review Board No Historic Preservation Review No Historic Preservation Overlay Zone None Other Historic Designations None Other Historic Survey Information None Mills Act Contract None CDO: Community Design Overlay None CPIO: Community Plan Imp. Overlay Southeast Los Angeles Subarea General CUGU: Clean Up-Green Up None HCR: Hillside Construction Regulation No NSO: Neighborhood Stabilization Overlay No POD: Pedestrian Oriented Districts None

This report is subject to the terms and conditions as set forth on the website. For more details, please refer to the terms and conditions at zimas.lacity.org (*) - APN Area is provided "as is" from the Los Angeles County's Public Works, Flood Control, Benefit Assessment.

zimas.lacity.org | planning.lacity.org RFA: Residential Floor Area District None RIO: River Implementation Overlay No SN: Sign District No Streetscape No Adaptive Reuse Incentive Area None Affordable Housing Linkage Fee Residential Market Area Low Non-Residential Market Area Low Transit Oriented Communities (TOC) Tier 3 CRA - Community Redevelopment Agency Broadway / Manchester Recovery Redevelopment Project Central City Parking No Downtown Parking No Building Line None 500 Ft School Zone No 500 Ft Park Zone No Assessor Information Assessor Parcel No. (APN) 6040018001 Ownership (Assessor) Owner1 NEW TEMPLE MISSIONARY BAPTIST CHURCH Address 8734 S BROADWAY LOS ANGELES CA 90003 Ownership (Bureau of Engineering, Land Records) Owner THE NEW TEMPLE MISSIONARY BAPTIST CHURCH Address 8734 S BROADWAY LOS ANGELES CA 90003 Owner THE NEW TEMPLE MISSIONARY BAPTIST CHURCH Address 8734 S BROADWAY ST. LOS ANGELES CA 90003 APN Area (Co. Public Works)* 0.324 (ac) Use Code 7100 - Institutional - Church - One Story Assessed Land Val. $80,856 Assessed Improvement Val. $79,196 Last Owner Change 02/25/1970 Last Sale Amount $47,000 Tax Rate Area 8832 Deed Ref No. (City Clerk) 4-188 0-847 Building 1 Year Built 1932 Building Class CX Number of Units 0 Number of Bedrooms 0 Number of Bathrooms 0 Building Square Footage 8,253.0 (sq ft) Building 2 No data for building 2 Building 3 No data for building 3 Building 4 No data for building 4 Building 5 No data for building 5 Additional Information Airport Hazard None Coastal Zone None Farmland Area Not Mapped Urban Agriculture Incentive Zone YES Very High Fire Hazard Severity Zone No Fire District No. 1 No

zimas.lacity.org | planning.lacity.org Flood Zone None Watercourse No Hazardous Waste / Border Zone Properties No Methane Hazard Site None High Wind Velocity Areas No Special Grading Area (BOE Basic Grid Map A- No 13372) Oil Wells None Seismic Hazards Active Fault Near-Source Zone Nearest Fault (Distance in km) 3.1580328 Nearest Fault (Name) Newport - Inglewood Fault Zone (Onshore) Region Transverse Ranges and Los Angeles Basin Fault Type B Slip Rate (mm/year) 1.00000000 Slip Geometry Right Lateral - Strike Slip Slip Type Poorly Constrained Down Dip Width (km) 13.00000000 Rupture Top 0.00000000 Rupture Bottom 13.00000000 Dip Angle (degrees) 90.00000000 Maximum Magnitude 7.10000000 Alquist-Priolo Fault Zone No Landslide No Liquefaction Yes Preliminary Fault Rupture Study Area No Tsunami Inundation Zone No Economic Development Areas Business Improvement District None Opportunity Zone No Promise Zone None Renewal Community No Revitalization Zone Central City State Enterprise Zone LOS ANGELES STATE ENTERPRISE ZONE Targeted Neighborhood Initiative None Housing Direct all Inquiries to Housing+Community Investment Department Telephone (866) 557-7368 Website http://hcidla.lacity.org Rent Stabilization Ordinance (RSO) No Ellis Act Property No Public Safety Police Information Bureau South Division / Station Southeast Reporting District 1802 Fire Information Bureau South Batallion 13 District / Fire Station 64 Red Flag Restricted Parking No

zimas.lacity.org | planning.lacity.org CASE SUMMARIES Note: Information for case summaries is retrieved from the Planning Department's Plan Case Tracking System (PCTS) database. Case Number: CPC-2010-2278-GPA Required Action(s): GPA-GENERAL PLAN AMENDMENT Project Descriptions(s): GENERAL PLAN AMENDMENT FOR EXISTING FAST FOOD INTERIM CONTROL ORDINANCE (ICO) TO CREATE A GENERAL PLANT FOOTNOTE FOR THE PROHIBITION OF CERTAIN PROJECTS. Case Number: CPC-2008-1553-CPU Required Action(s): CPU-COMMUNITY PLAN UPDATE Project Descriptions(s): SOUTHEAST LOS ANGELES COMMUNITY PLAN UPDATE Case Number: CPC-2007-3827-ICO Required Action(s): ICO-INTERIM CONTROL ORDINANCE Project Descriptions(s): ESTABLISHMENT OF AN ICO TO TEMPORARILY PROHIBIT THE ISSUANCE OF ALL PERMITS RELATED TO THE ESTABLISHMENT OF NEW FAST-FOOD RESTAURANTS LOCATED IN WHOLE OR IN PART WITHIN THE PROPOSED ICO BOUNDARY. Case Number: CPC-2004-2391-ICO Required Action(s): ICO-INTERIM CONTROL ORDINANCE Project Descriptions(s): INTERIM CONTROL ORDINANCE/ AUTOMOTIVE RELATED USES Case Number: CPC-1996-398 Required Action(s): Data Not Available Project Descriptions(s): Case Number: CPC-1990-346-CA Required Action(s): CA-CODE AMENDMENT Project Descriptions(s): AMENDMENT TO THE L.A.M.C. TO - DRAFT AN ORDINANCE TO PROHIBIT THE GRANTING OF A CONDITIONAL USE PERMIT FOR THE OFF-SITE SALE OF ALCOHOLIC BEVERAGES (LOURDES GREEN/KAREN HOO)\ Case Number: CPC-1986-827-GPC Required Action(s): GPC-GENERAL PLAN/ZONING CONSISTENCY (AB283) Project Descriptions(s): PLAN AMENDMENTS AND ZONE CHANGES FOR PROPERTIES WITHIN THE SOUTHEAST LOS ANGELES DISTRICT PLAN, IN CONNECTION WITH THE CITY'SGENERAL PLAN/ZONING CONSISTENCTY PROGRAM 1B283 Case Number: CPC-1983-506 Required Action(s): Data Not Available Project Descriptions(s): SPECIFIC PLN ORD FOR INTERIM CONDITIONAL USE APPRVL FOR ESTABLISHMENTS FOR THE SALE OF ALCOHOL WHICH ARE GENERALLY LOCATED INTHE SOUTH CENTRAL AREA OF THE CITY Case Number: ENV-2017-2196-SE Required Action(s): SE-STATUTORY EXEMPTIONS Project Descriptions(s): N/A: LADOT SIGN-OFF Case Number: ENV-2010-2279-CE Required Action(s): CE-CATEGORICAL EXEMPTION Project Descriptions(s): GENERAL PLAN AMENDMENT FOR EXISTING FAST FOOD INTERIM CONTROL ORDINANCE (ICO) TO CREATE A GENERAL PLANT FOOTNOTE FOR THE PROHIBITION OF CERTAIN PROJECTS. Case Number: ENV-2008-1780-EIR Required Action(s): EIR-ENVIRONMENTAL IMPACT REPORT Project Descriptions(s): SOUTHEAST LOS ANGELES COMMUNITY PLAN UPDATE Case Number: ENV-2004-2409-CE-ICO Required Action(s): CE-CATEGORICAL EXEMPTION ICO-INTERIM CONTROL ORDINANCE Project Descriptions(s): INTERIM CONTROL ORDINANCE/ AUTOMOTIVE RELATED USES

DATA NOT AVAILABLE CPC-1999-470-TOD ORD-185924-SA2870 ORD-180103 ORD-176589 ORD-174948-SA990 ORD-171682 ORD-171681 ORD-167354-SA4372

zimas.lacity.org | planning.lacity.org ORD-162128

zimas.lacity.org | planning.lacity.org City of Los Angeles ZIMAS INTRANET LARIAC5 2017 Color-Ortho 03/26/2019 Department of City Planning

Address: 8730 S BROADWAY Tract: TR 337 Zoning: C2-1-CPIO APN: 6040018001 Block: None General Plan: Community Commercial PIN #: 096A203 126 Lot: FR 2 Arb: None

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NEW TEMPLE MISSIONARY BAPTIST CHURCH 8730-8736 South Broadway; 247-259 West 87th Place CHC-2019-4225-HCM ENV-2019-4226-CE

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