A Word For Democrats About 2020

Posted on August 6, 2019 by Leslye Joy Allen (Ayọ)

I cannot really comment right now about the recent mass shootings because I am soul weary from it. I will write about it another day. I will only say we need to look very carefully at all candidates on this issue of gun control and the banishment of assault rifles. Democrats also better learn to really listen to young people, those Millennials who out-voted Baby Boomers in the 2018 national elections, if they want to win the Whitehouse and put a reasonable dent in the Republican-dominated Senate.

I watched political pundit Thomas Friedman talk about the possibility of Trump winning re-election on MSNBC, right after the publication of his New York Times op-ed “Trump’s Going to Get Re-elected, Isn’t He?”. It’s a chilling thought. Friedman noted that Democratic candidates for president produced some pretty radical ideas in the first debate: everything from advocating for open borders, to free healthcare for anyone who crossed our borders. He was right when he said most Americans, including many on the Left, are not going for any of this. So, after I listened to Friedman, and watched as much of the two Democratic presidential debates I could stomach, I saw several problems Democrats must overcome in order to win the White House in 2020 and possibly pick up more seats in the Senate.

Democrats must recognize that they are no match for our current president when it comes to spin. The current president is a damned reality TV star. He knows how to spin a story, create a repetitive slogan and throw his base enough raw meat to keep them snapping and cheering. If Trump (who already said as much) murdered a man in broad daylight for no reason, most of his supporters will still support him because they are, after all, frightened white people who are now forced to come to terms with what author James Baldwin tried to tell them a long time ago, mainly, that “the world is not white.” Europeans and White Americans are older than everyone else on the planet save the Japanese. Europe’s average age is 42 years old and that fact is coupled with a low birthrate. Of course we must also consider that 11 percent of Black American men who voted for the current president too. These are the Black ass, sexist and self-defeating Neanderthals who are scared to death of women being in any kind of control to the point where they would willingly throw their own people (and themselves) under the bus in the antiquated belief that only men, and only white men at that, can get anything done…But I have not the time to digress about the current Massa’s favorite Darkies…let me get back to the demographics that matter.

When you toss in the relative youth of the rest of the world, it gets even scarier for some folks. Across the entire African continent, the average age is around 20 years old. With the continent of Africa, South America, the Caribbean, India and much of Southeast Asia containing young fertile populations, the death knell of worldwide white supremacy is ringing in many white folks’ ears. We already know the kinds of fears our current president stokes among his supporters, but we cannot spend all of our energy responding to his spin and his lies; we have to use them as fuel for some other strategy to beat him because the Democrats are never going to be able to beat him at propaganda, which leads me to something one of my young friends said. His name is John Jordan, Jr. and he’s a Black, 29-year-old entrepreneur and Morehouse College graduate. We trade ideas often. As Joe Biden seems to be the frontrunner for the Democratic nomination for president, John said this:

“I’m a millenial and the one thing I know is the world has changed and will continue to change. Baby Boomers, especially politicians try to act like they know…Biden’s entire candidacy will rest on his ability to show that as an old, white man he can listen and adapt based on what he is learning.”

John, who was mentored by a Black woman, is right. Democrats are going to have to overcome the generational gap and the intra-party gender and racial biases that threaten the best work of our most activist and youngest Congress persons, namely Ilhan Omar, Alexandria Ocasio-Cortez, Rashida Tlaib and Ayanna Pressley. Our current president has continued to verbally beat up on these four women, not simply because they are people of color, but also because they are women, and young women at that. Tragically, many men of color and white men will not defend women of color whenever those men fear that such a defense will cost them their own personal connections and favor with powerful white men. Additionally, men of a certain age (along with women who’ve learned to adapt to their habits), even when they respect the abilities of women, still tend to expect to direct women. Many of the men I know well over the age of 50 (and I will exit my 50s at the end of 2020), don’t always know how to not place themselves at the center of attention or how to not always have to direct the proceedings.

In my experiences mentoring and/or doing business with well-educated Black men in their 20s to early 40s, I learned that most of them are not terrified of the word “feminist” and can accept direction from a woman, particularly if they think she has a great idea or a better idea. They do not flinch from matters that concern or affect LGBTQIA communities either, but, more often than not, recognize those concerns as inextricably tied to the fabric of our entire community. They tend to worry a whole, whole, whole lot less than their older counterparts about who is going to get the most credit and the most limelight and the most money. Importantly, they don’t see women as competition, and are rarely as defensive as some of their older counterparts when a woman offers an honest critique. In fact, they welcome these critiques as a way to brainstorm and look for new and better ideas. While I cannot speak for other people’s experiences, I can say the young, college-educated Black men I’ve been privileged to meet and mentor are a breath of fresh air.

So, when Democratic presidential candidate Joe Biden got blind-sided by Kamala Harris in the first Democratic debate about the subject of bussing, it was largely due to his underestimating Harris’s abilities at debate, and it was also due to his walking into that debate with a set of assumptions, which are, thank Goddess, becoming obsolete. The second Democratic debate became, unfortunately, one where the candidates spent far too much time critiquing Obama’s policies than expressing in clear language what they would do as president and how they would reverse much of the damage done by the current occupant of 1600 Pennsylvania Avenue. I really do not care much for Democrats savaging each other, but Harris’ one-two punch in the first debate exposed some of Biden’s weaknesses.

Young adults of all genders, women, and Black women in particular, are underestimated by a lot of Baby Boomers and older folks ALL THE TIME. It dawned on me that Biden could easily have his ass handed to him in a debate with the incoming first-year classes of all-women Agnes Scott College or all-women and historically Black Spelman College with ease. Biden wouldn’t fare too well with the students of all-men and historically Black Morehouse College either. If you don’t believe me, go visit those campuses. Go listen to them. Go sit and answer their tough questions. Better yet, go unprepared with the same old weak assumptions about what you think you don’t have to know in order to persuade these brilliant young women and men to vote for you. See what happens to you.

If Biden remains the frontrunner, and eventually the Democratic nominee for president, and the best choice for beating our current president, then there are two things he needs to correct ASAP. First, he cannot dig in his heels and shrug off complaints about something he said simply because he feels like he didn’t do or say anything wrong or potentially offensive. I understood what Biden meant when he said he worked with segregationists because I was born in 1960 during a period when civil rights legislation was being passed, and there was no choice but to work with those segregationists. A young man or woman born in the 80s, 90s or early 2000s would not/will not interpret his comments the same way I do. So, he needs to get over himself enough to listen to and respond effectively to younger voters who he needs to win.

Second, Black women of all ages vote more consistently and solidly Democrat, more often, and in higher numbers than any other voting bloc. In the last election, this group voted 8 percentage points higher than the national average. Black women’s interests cannot be ignored and will be central to most Democratic victories. Black women, along with Millennials helped usher in a massive wave of Democrats in the House of Representatives with over 100 Congresswomen whose ideas and talents have been muted for far too long. Most of these newly-elected women are Millennials, with enough stamina to weather this current hate-filled political climate and most of them, if they wish to do so, will still be here 40 years from now.

I’ve lived long enough to become an elder. I relish my conversations with young Black men and women all the time. And as one told me, “We respect you because you respect us.” Whoever is the Democratic nominee for president better understand that the overwhelmingly young, Black and women voters that turned the House of Representatives BLUE in 2018 need to be listened to, not talked at. Democrats will not, cannot win without them.

This blog was written by Leslye Joy Allen and is protected by U. S. Copyright Law and licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives-4.0 International License. Any partial or total reference to this or any blog authored by Leslye Joy Allen, or any total or partial excerpt of this or any blog by Leslye Joy Allen must contain a direct reference to this hyperlink: https://leslyejoyallen.com with Leslye Joy Allen clearly stated as the author. All Rights Reserved.

No Ordinary Man

Posted on October 27, 2016 by Leslye Joy Allen (Ayọ)

By Leslye Joy Allen

Left to Right: Actor & Cultural Architect Charles Reese, Historian Leslye Joy Allen, and Actor-Director-Drama Professor Keith Arthur Bolden (Copyright © 2016 by Leslye Joy Allen. All Rights Reserved.)

When I learned that Mrs. Margarette Bolden passed on to the ancestors on Wednesday, October 26, 2016, I immediately thought of her son, my friend Keith Arthur Bolden. I never met Keith Arthur’s Mama, but I knew her through him. He spoke of her lovingly and often. But then, that is Keith Arthur’s nature. (I call him by his first and middle name.)

An actor, director, Professor of Drama, and director of the amazing Spriggs Burroughs Ensemble at Spelman College that contains actors from all-female Spelman and all-male Morehouse College, I am highly familiar with Keith Arthur’s phenomenal work with young actors. I had the good fortune to act as a Historical Consultant for him and this group; and the adventure was a lot of fun, and his asking me to do so was a supreme compliment. But on Wednesday, October 26, 2016, Keith Arthur lost his Mama. Yet…

In an act of unwavering devotion to his art and craft, he was up at 1:00 AM on October 27, 2016 for a late night/early morning rehearsal with his actors in the Spriggs Burroughs Ensemble. One day after his amazing mother passed away from her third bout with cancer, Keith Arthur stated that his Mama would want him to keep working and perfecting his art. This behavior might sound unreasonable to an ordinary man or woman, but Keith Arthur Bolden is not an ordinary man.

I have listened to him rave about how good his wife Tinashe Kajese is at acting. “If you want to know how to get into a scene, you watch my wife,” he has said on so many occasions. He could routinely brag about how beautiful his wife is (and she is a real beauty), but he praises her work all the time. In that respect he is quite different from a lot of men. Many men will praise a woman’s cooking and will talk about how pretty she is, or how supportive she is, but rarely do we women get praise for our professions unless the man has discovered some personal use of his own for our particular skills. Even more rare is the man or husband who brags about his wife’s abilities in her chosen profession. Keith Arthur Bolden is proud of his wife—as he should be, because Tinashe is a powerhouse of an actor. He doesn’t mind telling everybody how proud he is of her as a professional. In addition to that, he remains one of the most thoughtful men I have encountered…

When my cousin and theatre veteran Billie Allen passed to the ancestors in December of 2015, one of the first people to contact me was Keith Arthur. When I had no money to attend the theatre, Keith Arthur made sure I saw Tinashe Kajese in the phenomenal play “Serial Blackface” about Atlanta’s late 70s-early 80s missing and murdered child cases; and actor-playwright Terry Burrell in her one-woman show “Ethel” about the life of the late Ethel Waters. (I have to add that Atlanta actor Margo Moorer is also another one of my theatre angels. Margo came and picked me up and took me to the theatre to see Gabrielle Fulton’s “Uprising” and made me take some money.) Keith Arthur adds even more love and light to the best in the theatre tradition. He thought of me and got me tickets all while he managed and directed a college theatre group, while he taught classes, acted in a variety of television roles, while he had the regular duties of husband and father, and while he went back-and-forth to L. A. to check on his ailing mother. I WILL NEVER FORGET HIS THOUGHTFULNESS. So…

When I learned his mother passed away, I thought of the value of good parenting, the value of raising a boy to look for substance in a woman. Mrs. Margarette Bolden had to have been one hell of a woman and Keith Arthur’s dad was probably pretty smart for having married her…and now she has left the earthly plane to join the ancestors…

Keith Arthur would probably tell me that he has made some mistakes and that my compliments here are a bit over-the-top. I would have to disagree. Ordinary men rarely understand much about women, not always because women are that complicated, but often because ordinary men never really ask women any real questions, at least not any questions about what a woman wants to do for a living, particularly if what she wants to do professionally has nothing to do with the man asking the questions. Keith Arthur Bolden is not so self-absorbed and does not fit that description…

I suspect that his mother had a lot to do with his thoughtfulness and genuine respect for a woman’s ambitions and talents. I have little doubt that his tenacity and belief that “the show must go on” (which explains his early A.M. rehearsal) not only comes from the theatre tradition, but also from his mother who battled cancer like a champion, always with a smile and positive attitude. I looked at the photos Keith Arthur would post of her smiling, even though her health was declining. So I thank Mrs. Margarette Bolden for her shining example and also because she raised a man who is not ordinary by any definition of the word. One day at a time, Keith Arthur…Rest in Peace Mrs. Bolden. Àṣé.

This blog was written by Leslye Joy Allen and is protected by U. S. Copyright Law and licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License. Any partial or total reference to this or any blog authored by Leslye Joy Allen, or any total or partial excerpt of this or any blog by Leslye Joy Allen must contain a direct reference to this hyperlink: https://leslyejoyallen.com with Leslye Joy Allen clearly stated as the author. All Rights Reserved.

Guide My Feet…

Posted on June 22, 2015 by Leslye Joy Allen (Ayọ)

by Leslye Joy Allen

“Guide My Feet”
(Traditional Negro Spiritual)

I am grateful that my late Mama and Daddy taught me our old African tradition of ancestor worship. That worship was as much a part of my childhood as was the old Western Judeo-Christian tradition…Now, for those who know me well, you know that I can be the most severe critic of ministers and organized religion(s) that too often fail to act in the best interests of the flocks they claim to serve, lead and protect. Yet, that is another blog. Save your breath. I am only responding to the message(s) sent to me…

I occasionally re-read the poem that my friend actor-poet-writer Charles Reese wrote immediately following the death of my nearly 92-year-old mother in early 2013. In homage to her, he referred to my Mama as “a Queen,” but he also referred to her as “our newest ancestor.” — Nothing in “Syble’s Poem” struck me as much as that line about her becoming an ancestor. For people who know my late Mama, they know that certain songs remained in her repertoire right up to the very end of her days here on earth.

I do not need to recount the tragedies that have happened to Black folk in the last few weeks or even over the last year. Yet, for the last couple of days I have been unable to get the old Negro Spiritual “Guide My Feet” out of my head. Composed and sung in the caldron of American chattel slavery and passed down from generation-to-generation by my people, I have been singing it and humming it off-and-on for the last couple of months. At first, I thought I was going crazy. I must confess that I had a similar experience with “You Gotta to Move,” a Gospel/Blues song composed by Mississippi Fred McDowell. A few months earlier in the year, I was singing “You Gotta Move” in an impromptu singing session that followed a gathering of my Sistahs that was a combination of good coffee, prayer, testimony, and truth-talking with each other at Dream Café…A few days after that meeting, I ran into a brother in a wheelchair who was singing the same song on a corner in downtown Atlanta. That had to mean something, I thought…

When I went to my cousin Dexter’s graduation from Morehouse College this past May 2015, the class Valedictorian and Summa Cum Laude graduate Jerek Sharrod Brown burst into “Guide My Feet” before he began his inspirational and spellbinding Valedictory address. His voice in song was an unexpected, but welcome and perfectly poetic pleasure. I felt something inside of me shift and move when Brown sang and when he spoke. I felt something shift again when my cousin Dexter’s name was called as a new graduate of Morehouse College. After all, I remembered when I first held him in my arms when he was still an infant…

Today I decided to see whether the lyrics to “Guide My Feet” would come up in a general search on Google. It did. Now, usually when something comes up in an internet search, I typically download it and then email it to myself just to make sure that I have a couple of copies of my research findings in two different places. Yet, something strange and beautiful happened after I performed my usual ritual…

When I clicked the email button to send my Google search findings to myself, the email did not pull up my personal email address. Instead, it opened my late Mama’s email address which was and remains a secondary email account affiliated with my own primary account…Sometimes the Creator knows that you need a little help. Sometimes the ancestors are talking to you…

There are moments when no matter how bad things are or may seem, you simply do not worry and you no longer expend energy on people who do not work in your and your own people’s best interests. I have reached that moment. More than we know or acknowledge, the ancestors speak to us in small but important ways if WE only listen, if WE only listen…So, Thank You Mama and Daddy and all the known and unknown ancestors and saints…Thank You Goddess…Thank You God…Peace and Blessings. Àṣé…

Guide my Feet,

while I run this race.

Guide my Feet,

while I run this race.

Guide my feet,

while I run this race,

For I don’t want to run this race in vain.

This Blog was written by Leslye Joy Allen and is protected by U. S. Copyright Law and licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License. Any partial or total reference to this blog or any total or partial excerpt of this blog must contain a direct reference to this hyperlink: http://leslyejoyallen.com with Leslye Joy Allen clearly and visibly stated as the author. All Rights Reserved.

My First Five Favorite Facts about Early Black Atlanta Theatre

Posted on October 18, 2013 by Leslye Joy Allen (Ayọ)

By Leslye Joy Allen Historian, Educator, Theatre and Jazz Advocate & Consultant, Ph.D. Candidate

One of the best things about research is that no matter how long you do it, you always find something new. As a historian, and particularly one that focuses on theatre, I am always amazed at the rich theatrical heritage of my own native city Atlanta, Georgia and the tremendous role our Historically Black Colleges have played in nurturing that heritage. There are certainly more facts about this facet of the city than appear on this list, but below are my first five favorite facts:

1. The founder of Atlanta Life Insurance Company, the former slave Alonzo Herndon, had a wife that taught Drama and Speech to one of the first academic theatre groups at a historically Black college in the United States. An amazing thespian, Adrienne Elizabeth McNeill Herndon enjoyed a stellar reputation as an interpreter of Shakespeare. Married to Alonzo Herndon, she devoted much of her expertise to the students of *Atlanta University (then an undergraduate institution) in the late 19^th century, helping to develop and found the Atlanta University Players (not to be confused with the Atlanta University Summer Theatre) and coaching it into an amazing group of actors that made its debut in 1895. However, Mrs. Herndon was a very fair complexioned woman. African American scholar Dr. W. E. B. DuBois had the best and most humorous story about her. Because of her acting abilities (and the fact that she was not always easily identifiable as Black), Thomas Dixon, a white racist playwright offered Mrs. Herndon a part in his play “The Klansman.” Writing in the NAACP’s Crisis magazine in 1927, W. E. B. DuBois noted that Dixon offered her a role in his play in “blissful ignorance of” her race.

2. The Atlanta University Summer Theatre gave its first performance in the summer of 1934 and ran continually until 1977 making it the longest running Summer Stock Theatre in the United States. The Atlanta University Summer Theatre was made up of student and faculty actors & professors, visiting professors (and some local Atlanta actors) from *Atlanta University, Spelman College (all female), Morehouse College (all male), and later performers from *Clark College, and Morris Brown College. The Atlanta University Summer Theatre actors and directors performed five full-length plays over a six-week period, during June and July of each summer from 1934 through 1941 alone. The five-play, six week schedule was not completely abandoned until 1970 when the summer schedule was trimmed to three plays. (*Founded in 1865 Atlanta University was an undergraduate institution as was *Clark College, founded in 1869. During the school year 1929-1930, Atlanta University exclusively became a graduate school. In 1988, however, Atlanta University and Clark College merged and became Clark Atlanta University.)

3. One of the great scientific minds of our time was Morehouse College alumnus Dr. Samuel Nabrit, who earned a Ph.D. in Biology from Brown University in 1932. An accomplished Marine Biologist*, he taught at both Morehouse College and Atlanta University. In 1956, President Eisenhower appointed him to the National Board of the National Science Foundation and he served as Special Ambassador to Niger under President John F. Kennedy. (A biography and obituary on Dr. Samuel Nabrit in the New York Times.) Less well known is that Nabrit was a regular actor performing with the Atlanta University Summer Theatre when he taught at Morehouse College and Atlanta University during the 1930s. (Sidebar: *Marine Biology was the original academic major of actor Samuel L. Jackson, when he was a student at Morehouse College.)

4. A few weeks before her nineteenth birthday, Black Theatre legend (and then Howard University student) Shauneille Perry spent her summer in Atlanta and appeared as the character “Anias” in Alexander Dumas’ “Camille” during the 15^th season (1948) of the Atlanta University Summer Theatre, directed by Owen Dodson. Shauneille Perry is one of the first Black women to direct an Off-Broadway play and has a long list of credits for both the stage and the screen. The United States Congress honored Perry in 2011 for her lengthy and prolific career as an actor, playwright and screenwriter.

5. The amazing and rather colorful director-actor-lighting and technical designer Dr. John McLinn Ross, both acted in plays and directed for the Atlanta University Summer Theatre during the 1930s. Like his colleagues who managed and directed the Atlanta University Summer Theatre (the principle director during the 1930s was Anne M. Cooke, a Spelman professor, along with Owen Dodson), he studied at Yale University’s School of Drama. Yet, Ross has the distinction of being the first Black person to receive the Master of Fine Arts degree in Acting, Directing, and Technical Directing from the Yale School of Drama in 1935, only four years after Yale graduated the first MFA graduates in Drama. Atlanta-based photographer & cultural chronicler Susan Ross is the great niece of Dr. John McLinn Ross.

Peace…To be continued…

Leslye Joy Allen is a perpetual and proud supporter of the good work of Clean Green Nation. Visit the website to learn more about it: Gregory at Clean Green Nation!

This Blog was written by Leslye Joy Allen and is protected by U. S. Copyright Law and licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License. Any partial or total reference to this blog, or any total or partial excerpt of this blog must contain a direct reference to this hyperlink: http://leslyejoyallen.com with Leslye Joy Allen clearly stated as the author.

James Baldwin’s Soul is Still on Fire!

Posted on March 5, 2012 by Leslye Joy Allen (Ayọ)

by Leslye “Joy” Allen Historian, Educator, Theatre & Jazz Advocate, Doctoral Student

On Thursday, May 23, 1963, writer and activist James Baldwin met privately with Robert F. Kennedy at Kennedy’s home in McLean, Virginia. Baldwin was infuriated by the virulence meted out on peaceful civil rights protestors by Birmingham, Alabama police. Robert Kennedy got an earful.

A second meeting was hastily held the next day, this time at Robert Kennedy’s New York City apartment. However, on that Friday, May 24, Baldwin brought along a group that can best be described as a “civil rights arsenal”!

Harry Belafonte, Lena Horne, playwright Lorraine Hansberry, Rip Torn, Dr. Kenneth Clark, freedom rider Jerome Smith, attorney Clarence B. Jones, Edwin C. Berry of Chicago’s Urban League, and Franklin Delano Roosevelt’s former Secretary of the Treasury Henry Morganthau arrived at this meeting at Baldwin’s request.

Baldwin’s group came to discuss and complain to Robert Kennedy and Burke Marshall (head of the Justice Department’s Civil Rights wing) about President John F. Kennedy’s failure to use the power of the presidency to stem the police violence that continued to plague peaceful civil rights protesters.

The meeting of this group of individuals was not particularly successful. Yet, Baldwin’s outspokenness, audacity, and literary genius was—and remains—a source of both political and artistic inspiration.

My good friend, actor-writer-curator-activist, and now editor, Charles Reese is but one of many keepers of Baldwin’s legacy.

Reese—who stays in Southwest Atlanta whenever he is in town—is pulling double duty in the legacy preservation department. I learned about his plans when he and I had one of our long breakfast sessions at “The Beautiful Restaurant” on Cascade Road.

Back in the year 2000, Reese, a Morehouse College alumnus, had a daunting task. He had to figure out a way to preserve, protect, and promote the work of his good friend, fellow Morehouse alumnus and playwright Howard B. Simon who died that year of complications brought on by streptococcus meningitis—He was only 37 years old. Even more tragic, Simon never got a chance to read the great reviews theatre critics wrote about his seminal play James Baldwin: A Soul on Fire.

A Soul on Fire is not an account of what happened in Bobby Kennedy’s apartment that Friday in 1963. It is, rather, Simon’s vision of what Baldwin did, said, and imagined the day before.

Via the dramatic genius of Simon and the bravura performance of Reese in the title role, the play captured the essence of Baldwin and the spirit of the 1960s. With both Simon and Baldwin gone, Reese has not waivered in his determination to preserve the legacies of both men.

With a lot of tenacity (and a little help from his friends), Charles Reese has edited and published the play James Baldwin: A Soul on Fire by Howard B. Simon.*

Reese kicked off a book/play-signing tour on January 29, 2012 in Los Angeles with plans to go from city to city hosting book signings and reading salons, inviting the public to take part in the drama and the discussion.

I urge you to join the celebration of James Baldwin and Morehouse alums Howard B. Simon and Charles Reese. The play James Baldwin: A Soul on Fire is available at: Amazon.com.

For more information about hosting a book-signing and play-reading event; and to keep up with Charles Reese’s many multimedia projects (The James Baldwin Project, the Howard B. Simon Literary Canon and The Charles Reese Experience), go to: The Charles Reese Experience.

For additional historical information about James Baldwin and Howard B. Simon; and to keep up with the plans to develop a film version of the play, visit: James Baldwin: A Soul on Fire.

*Finishing the last edits and details in late December 2011, Charles Reese chose 2012 as the target year to promote the publication of Simon’s play because this year marks the 25th anniversary of Baldwin’s death. Baldwin’s body departed us on December 1, 1987 in Saint-Paul-De-Vence, France. His Soul, however, is Still On Fire! Peace.

Leslye Joy Allen is proud to support the good work of Clean Green Nation. Visit the website to learn more about it: Gregory at Clean Green Nation!

This Blog was written by Leslye Joy Allen and is protected by U. S. Copyright Law and licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License. Any partial or total reference to this blog, or any total or partial excerpt of this blog must contain a direct reference to this hyperlink: http://leslyejoyallen.com with Leslye Joy Allen clearly stated as the author..

Leslye Joy Allen

Social Commentary, History, Theatre, Jazz, and the Environment

Tag Archives: Morehouse College

No Ordinary Man

My First Five Favorite Facts about Early Black Atlanta Theatre