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Kristen Clarke Named General Counsel of the NAACP

The NAACP today announced that Kristen Clarke, one of the nation’s most respected civil rights attorneys and legal advocates, has been appointed General Counsel of the Association. The move comes as the Trump Administration works to erode democratic institutions and dismantle civil rights protections.

To meet the moment, the NAACP is expanding its own capabilities and ramping up its investment in its legal advocacy efforts by hiring the former senior Justice Department official to fight back.

Clarke’s appointment marks a pivotal moment for the NAACP as it mobilizes its legal firepower to protect the right to vote and doubles down on its mission to secure the civil and human rights of Black Americans and all people across the country.


“Kristen Clarke is exactly the legal mind this moment demands,” said Derrick Johnson, President and CEO of the NAACP. “Her record of fearless advocacy, leadership, and deep commitment to justice makes her the ideal General Counsel to help chart our path forward.

As we face unprecedented attacks on voting and civil rights, having Kristen Clarke at the helm of our legal operations brings strategic vision, disciplined leadership, and innovative advocacy. It’s a new day at the NAACP’s Office of General Counsel.”

“Our communities are under relentless attack — from the ballot box to their wallets — and this moment demands that we use the full weight of the law to promote justice and accountability.”


As General Counsel, Clarke will oversee the NAACP’s legal strategy and operations, leading litigation efforts and the Association’s team of legal scholars, advising senior leadership and the Board of Directors on legal matters, and representing the Association in key legal proceedings addressing the most pressing civil rights and social justice issues of our time.

She will work closely with NAACP program teams to ensure the Association’s advocacy, policy, and legal work remain coordinated and impactful, and rooted in the lived experiences of the communities across the country that are the lifeblood of the Association’s efforts.


“The NAACP has stood on the front lines of justice for over a century, and I’m deeply honored to join this historic organization at this critical moment in our democracy,” said Kristen Clarke, NAACP General Counsel. “Our communities are under relentless attack — from the ballot box to their wallets — and this moment demands that we use the full weight of the law to promote justice and accountability.

Together, we will protect the right to vote, challenge discrimination in all its forms, and ensure that Black America’s voice is heard loud and clear.”

Glyne’s Fulton St. Barber Truck

Interviewed by Kazembe Batts
IG: @kazbatts


Tell us a little about yourself.
My name is Glyne Maccup. I am a native of Barbados grew up until high school and then came to Brooklyn from the late Eighties up until now. I’ve weaved myself into the culture of Brooklyn. I know a lot about the streets and places to go, I’m very familiar with the neighborhood and the people in it and a lot of the people know me.
How and when did you start cutting hair?


I did know how to cut hair with a scissors back in Barbados, but my first professional cut was at a place in the Bronx located at 225th St and Gunhill Road in 1992. My cousin told me that it is a profession where you can make a living and meet a lot of people. He said that “you will always have work if your good at it and people will come to you.” With everything it is your personality, a people person personality, people always gravitate to people like that. I think I have a good “people” personality.


How did you go from the Bronx to Bed-Stuy.
The first time I cut in Brooklyn was on the corner of Kingston & Fulton. I met a guy everyone knew named D White the beltman and he said that you belong on the main street, on Fulton St. He took me to a burned-out barber shop called Thomas. The spot was refurbished and a Trinidadian guy named Lucky took me under his wings and I learned a lot from him. My skills improved and I moved to another shop that, me, Tony and Kevin, started a new barbershop further down on Fulton near McDonalds called Stylistics Barbershop. The owner of the property did not want the lease in three different people’s names, so we moved again to Marcus Garvey Blvd, near Fulton.


What can a customer expect while waiting in the truck for their turn to be serviced?
The truck is always full of people. We have good conversations, politics, and often listen to WBAI or Caribbean music. Chess players visit all the time, and we set up tables out in front of the barber truck. You can expect a good, clean environment. We talk about politics so you can gain some knowledge while waiting.
How did you come to set up on Fulton St., near Albany Ave?


Covid happened years later and I moved into my own mobile truck. The first truck was stolen so I purchased a next one and retrofitted it so people would be comfortable in it. Now I’m actually moving into another space, around the corner, you know, so I’m trying to always keep improving so my customer base will grow, and people will see that I’m trying to improve my skill and the comfortability of the people.


Who are your customers?
I do have a broad base of customers. I can say now that many customers are the younger Gen-Z, because they always want to look sharp all the time. I also have three sons aged from 16 – 24 so they help keep me trendy with the cuts. So, I would say the young men but also, I have a broad female base of customers.
Who are your key business partners, helpers and do you have any relationships with other businesses in the neighborhood?


I am a little independent right now and don’t have any business partners. I’m not subscribing to any business partners now but if anyone wants to come and we can do an alliance because it’s always good to reach out and incorporate more. I am working on some other things now and would love if people want to come together.
How are you able to maintain your truck on the street? Considering parking regulations?


Well, I do get tickets, not as frequently, where I’m parked you can only get two tickets a week. So when I do the math it is cheaper than renting a brick-and-mortar store for $4,000 a month when you pay two tickets a week or eight a month at $90 a ticket.

So that is how I do my math and it makes better economic sense to me.
Glyne Barber Truck is located on Fulton St., near Albany Ave. Service is provided daily from Noon till 8:00pm. Call 917 482-4560 for more information.

NAKO Hosted Forum on Mayor Mamdani and Black New York

By Mary Alice Miller
The National Association of Kawaida Organizations (NAKO) in conjunction with the International African Arts Festival hosted its monthly forum entitled ‘Mayor Zohran Mamdani and Black New York: Expectation and Possibilities’ at Restoration Plaza.


The guest speakers were Dr. Esmeralda Simmons, Esq., founding Executive Director of the Center for Law and Social Justice at Medgar Evers College and Dr. Roger Greene, former NY State Assemblyman and current professor at CUNY Law School.


Both Attorney Simmons and Professor Greene worked with Mayor Mamdani’s campaign to bring his message to the Black community throughout New York City. Their efforts helped get Mayor Mamdani elected as the first Muslim and Indian mayor based on a progressive agenda, not one that bowed or caved to the powers that be.
Dr. Esmeralda Simmons and Dr. Richard Greene are founding members of a new coalition called Coalition for a Democratic and Just New York.


“We challenged then candidate Mamdani to come to the Black community in Brooklyn, meet with savvy community activists. We presented him with a full agenda for Black people in Brooklyn and the rest of the city,” said Simmons.


“To someone coming from a Democratic Socialist background, none of this should have been shocking. In fact, we felt we were just informing and building out some of the rhetoric being tossed around,” said Simmons. “We all heard about the city-owned grocery stores and the free buses and housing limits on rent, some of which we knew he could do and some he would have a hard time doing – not because it is not doable, but because there is major opposition.”


Simmons said, “We presented him with our agenda at the Major Owens Wellness Center. Dr. Greene dialoged with Mamdani and got him to promise that he was going to come back to the Black community and say what he was going to do. “


Simmons issued a warning: “I want you to understand that you have three years and nine months to get some change in New York City government because in the next election the powers that be are going to throw every thing they have to make sure he is not re-elected.

The chances of him being re-elected in very, very slim.”
She continued, “It is up to us to come up with the agenda. Why? Because it is very clear talking with members of his administration and him that them came in without a plan. They knew how to campaign and run an election, but they knew nothing about governing the City of New York.”


Simmons added, “For those of us who have been in city government, or state government, we know it is not for a lack of ideas or good intentions. It is the fact that there is a permanent government that is aligned to the wealthy in this city that stops anything progressive from happening, and particularly around two things: real estate in any form (rent, mortgages, property taxes), anything that has to do with real estate gets sidestepped. And the second thing they want to do is to keep labor, workers at bay. Even though there are powerful unions in this city, those unions have been tamed. No offense, I am a proud union member.”


“We are asking you to become community activist,” said Simmons. “Either you are a community activist or a victim. Either you are fighting for your life, or you are waiting for them to push you out.”


“Dr. Simmons is talking about purging us from our communities via displacement,” said Dr. Segun Shabaka. “This government, unlike European governments, feel that they made a mistake that Europe did not make. They did not let the poor people control and dominate the cities by population and otherwise.

So now the city’s gentrification is spurned by whites knowing that they want to control cities because cities are still the centers of power in this country. That is why you see people being forced out of our communities. They are vulcanizing and breaking up our political power, our economic power and our cultural power.”


Dr. Greene explained the impetus for the new coalition.
“When we decided to create the Coalition for a Democratic and Just New York, we were thinking about the Coalition for a Just New York that was organized around Jesse’s first presidential campaign in 1984 that served as a basis to get David Dinkins elected.”


He said, “When this election was coming up and we had our brother in office who I feel had some serious contradictions in terms of how he was approaching governance, particularly as related to our communities, and he began to topple. I began to get phone calls from other elected officials about what should we do.

I said we should organize. Where is our agenda.? You didn’t have an agenda when Eric Adams was running. They didn’t put a Black agenda together. There was no criteria for leadership. There was no definition of a public policy framework that would respond to the crisis that we are in as a community.”


Greene continued, “So, I said who is the candidate, win or lose, that the Black community can organize around with an agenda to force the powers that be to address the crisis that we are confronting. Crickets. I looked around and said what are we leaving for our children? There was not succession planning, no intergenerational strategy.”
Greene explained, “The crisis we are facing is related to last stage capitalism, how it is configured in the economy and how it is impacting us.”


Greene’s solution is “a concept of African socialism that was grounded in the family. You would have a form of socialism that was not based upon command economy of Marxism, but was based upon something that was decentralized down to the local level within the family and community.”


“We began thinking about how do we do this in Brooklyn and New York City?,” said Greene.
“The healthcare sector in New York City (both voluntary and public health system) is valued around $40 billion in purchases that they make, from laundry to pharmaceuticals, food, detergents, light bulbs, etc.,” Greene said. “None of that is being recirculated in our communities via contracts. All of those products and services are primarily being developed in the global south as unregulated corporations attempt to exploit labor in the global South and Right to Work for Less states.”


Greene continued, “We went to Governor Cuomo reform the deformed supply chain to redirect opportunities back in the local economy. And we wanted to do it with a new definition of what an enterprise should look like in production of those products.

The ability in our communities to co-create enterprises that would build furniture for the health care sector, do laundry for the health care sector, produce food for the health care sector organized as unionized worker coops, a concept called economic democracy with the boards of those corporations a strong percentage of the board should be comprised of the workers themselves.”


“They got promises from Cuomo, with laws signed and budgets,” said Simmons. “They delivered on nothing and blamed COVID.”
The Coalition for a Democratic and Just New York has developed a detailed Public Policy Platform that can be obtained at cdjny2025@gmail.com.

Elizabeth Van Dyke is Producing a New Legacy for New Federal Theatre

Fern Gillespie
As Producing Artistic Director of New Federal Theatre, renowned theatre actress and director Elizabeth Van Dyke and the theatre are entering a new era. It’s the loss of Woodie King, the iconic founder of New Federal Theatre, who died in January.


“I was married to Woodie for nearly 30 years. We were together a long time. For me, he was a major mentor and comrade,” Van Dyke, who was named Producing Artistic Director in 2020, told Our Time Press. “Woodie could see potential in people that they couldn’t even see in themselves. And nurture it. So, he gave me and several other people like LaTanya Richardson opportunities to direct plays when we didn’t even have it in our bucket list.”


In 1981, she received a major directing credit as part of a theatrical historic event. Woodie King’s New Federal Theatre produced two biographical plays by Laurence Holder. The famous double bill was When the Chickens Came Home to Roost, starring Denzel Washington as Malcolm X and Zora, starring Phylicia Rashad as Zora Neale Hurston.


“Those were milestone productions. They were lines down the block. To this very day, people are still talking about that show. Both of those shows were so luminous,” she said. “I directed Phylicia Rashad in the one woman show Zora. It was so impactful that that is still resounds to this day.

It was then that Zora and I began our relationship. Years before that, Lynn Whitfield had given me one of Zora’s novels Jonah’s Gourd Vine. It started my love affair with Zora.”


Van Dyke’s name became attached to Zora. In 1990, Holder wrote a play for Van Dyke, Zora’s Neale Hurston: A Theatrical Biography, about the men in Zora’s life. It was co-produced by American Place Theatre and Woodie King’s National Black Touring Circuit. The tour went throughout the US and Africa.


“I think an historical character chooses their vessel. They might choose many people to portray them. But I believe the spirit is choosing who will portray them,” she said. “I am one of Zora’s vessels.”


At the Zora Neale Hurston Festival for the Arts and Humanities, she became the nonofficial artistic director. She’s been involved for over 20 years advising the festival. In 2023, Van Dyke portrayed Zora in the Wesley Brown drama Telling Tales Out of School, about several women from the Harlem Renaissance meeting in 1954. Woodie King directed it. “It was Zora in another time in her life and another writer envisioning her,” she said. “But it was still Zora from another perspective.”


Van Dyke won acclaim bringing the Lorraine Hansberry to the stage. She wrote and starred in the one person play on legendary Raisin in the Sun playwright Lorraine Hansberry in Love to all Lorraine. “I was fascinated by Lorraine Hansberry. I became known for playing both Zora Neale Hurston and Lorraine Hansberry.”
In 1999, she co-founded Going to the River, to mentor Black women playwrights.


“I wanted to tell the stories. I wanted to find the stories and nurture the stories by Black women for Black audiences,” she said. After 50 years, she revived the drama The Wedding Band by legendary Black playwright Alice Childress. Van Dyke portrayed Fanny at the Theatre for a New Audience in Brooklyn. Her performance received raves.


As an only child growing up in Oakland, California, Van Dyke’s parents exposed her to the arts. “From my earliest childhood, I was taken to the ballet, opera, and the theater. It was magical. In school, I would be in the drama club and glee club. I believe I always had an artist spirit,” she said. “It seemed like theatre acting was my initial entrée. I loved acting. When I began to study, I loved the craft of acting. I believe it’s a calling.” She moved to New York and earned BFA and MFA degrees from Tisch School of the Arts at New York University.
Her work as an actress and director spans theatre and television.

As an actress, Van Dyke appeared in Woodie King’s Broadway production of Checkmates starring Denzel Washington. Her television acting credits include Law & Order and Law & Order: SVU and The Cosby Show. Some of her director theatre credits are Sophisticated Ladies; Great Men of Gospel: SPIRIT INTO SOUND (2004); Sweet Mama Stringbean (2008); Gee’s Bend (2011); The Ballad of Emmet Till (2011); and August Wilson’s Gem of the Ocean (2014).

She’s earned honors that include the President’s Award from the Black Theatre Network; an ONYX Award for Best Director for Sophisticated Ladies; Audelco nominations for Best Director for Great Men of Gospel: SPIRIT INTO SOUND (2004) and Sweet Mama Stringbean (2008). For her impact on Black theatre, Van Dyke received the 2022 Audelco Lifetime Achievement Award.


Under Van Dyke’s administration, New Federal Theatre’s plays are performed Off Broadway at the Woman’s Project Theatre. However, New Federal Theatre will move its office organization base to a 6700 square foot location on Christopher Street. “It will be our offices, our workshops, and rehearsal for readings, salons, poetry, conversational round tables and small event presentations, we are quite excited about that,” said Van Dyke.
“We are Black theater. I think many of our heroes, and sheroes are forgotten.

In this climate, they are trying to be erased. So it’s important to remember who came before. Whose shoulders we stand upon,” she said. “Slavery displaced families, but we find pieces of ourselves on that stage, the commonalities on that stage, dignity on that stage, healing, upliftment, entertainment, information and the beauty of ourselves on that stage. Our stories told by our point of view.”


New Federal Theatre, founded by Woodie King, launched the careers of legends—from Issa Rae and Chadwick Boseman to Denzel Washington and Ntozake Shange. Elizabeth Van Dyke is an important part of that theatre heritage from being an actress and director to being a board member. “With Woodie and the board passing the baton,” she said. “They were saying you are the next Producing Director of New Federal Theater. You must build on this legacy.”

Sister, Who Do You Think You Are?

“Dress Your Spirit” by Celestine Wilson,
Owner, The Celestine Collection

The goal of my Celestine Collection of gemstone jewelry and nourishing beauty products is to uplift and empower through products that allow people to “Dress ‘the’ Spirit” — inside and out.


My journey to entrepreneurism began as a youngster, observing brilliant, powerful women in my family create beauty and beautiful things with passion. I grew up in a household that revered music, art and nature, respected family, embraced our indigenous culture, and balanced hard work with an appreciation for elegance.

My mother, Carole, and maternal grandmother, Nana Celestine, were craftswomen, culinary and couture artists. Nana made cakes from scratch and played the piano.


When Nana transitioned, we went through her belongings and you could see how much of a fashion queen she was; every bag had its scarf, leather gloves, shoes and hat to match.

My mother, Carole


“Big Mama,” my paternal grandmother, a loving, spiritual and church-going lady, also migrated from South Carolina to North to escape segregation, racial injustice and economic inequality. In the back yard she grew fruit and vegetables like tomatoes, cherry’s collards and a concord grape vine. She was often in the kitchen cooking or baking.


I am a beauty products creator, jewelry designer, and teacher who learned from those family matriarchs the importance of paying attention to life’s small things.


Outside the family, friends with shared interests, played a major role, too, in encouraging my interests.
I started making jewelry just by asking a family friend, jazz cellist Nioka Workman, a crafter, about beads and supplies. I transformed hand-painted cowrie shells into fine jewelry and sold them to friends and family, before selling them to markets, churches and beauty salons. Working with gemstones and glass beads brought healing and meditation to me, and more clients.

Maternal Grandma Celestine & my Mom (as a baby)


Other businesses, business owners and business collectives encouraged my entrepreneurial dreams.
I was inspired by entrepreneur Lisa, creator of the Carol’s Daughter enterprise. Her work with beauty products expanded my creativity and inspired my interest in developing a line of beauty products of my own.


She inspired many other entrepreneurs, too! My family used hair oil, hair creams, shampoos, conditioners, body jellies and body butters. When I participated in street fairs and sold Carol’s Daughter products, customers would say to me “Are you Carol’s daughter?” I would respond and say, “Yes, I am Carole’s daughter but not the Carol’s daughter who you are thinking of because my mom’s name is Carole too. Carole with an ‘e’.”


I admired Lisa and her husband because they had a niche in a market that was not tapped into. They made products that addressed our specific needs and they really worked. There was no other melanated entrepreneur that I knew that made products for us during that time period.

She was in “da hood” and I had access to her.
Then, I connected with Brenda Brunson-Bey. She invited me to carry my products at 4W Circle of Art & Enterprise, the Ft. Greene-based business collective. “4W”, run by Selma Jackson, allowed me to have a permanent space, there.


Brenda, Selma and 4W allowed me to be me whether it was through modeling in the fashion shows with the “Diaspora Art Collective,” filming the other artists on social media, being featured in one of the spring shows, supporting the Cooperative concept or just simply displaying my wares and supporting my products in a quality venue.


My family, the Brooklyn business community, and sisters helped shape who I am today as a teacher, designer, entrepreneur and one who dresses the spirit — inside and out.