Wednesday, June 5, 2024

A00042 - Clarence Pendleton, Chairperson of the United States Civil Rights Commission During the Reagan Presidency

 Clarence McClane Pendleton Jr. (b. November 10, 1930, Louisville, Kentucky – d. June 5, 1988, San Diego, California) was the politically conservative African American chairman of the United States Commission on Civil Rights, a position that he held from 1981 until his death during the administration of United States President Ronald W. Reagan. 

A native of Louisville, Kentucky, Pendleton was raised in Washington, D. C., where he graduated from the historically black Dunbar High School and then, the also historically black Howard University.  Pendleton also had a family connection with Howard University where his father, Clarence Pendleton, was the first swimming coach at the institution, and where his grandfather and father before him matriculated before him.  Pendleton enrolled at Howard and earned a Bachelor of Science degree in 1954. After a three-year tour of duty in the United States Army during the Cold War, Pendleton returned to Howard, where he was on the physical education faculty and pursued his master's degree in professional education. Pendleton succeeded his father as the Howard swimming coach, and the team procured ten championships in eleven years. He also coached rowing, football, and baseball at Howard.

From 1968 to 1970, Pendleton was the recreation coordinator under the Model Cities Program in Baltimore, Maryland. In 1970, he was named director of the urban affairs department of the National Recreation and Park Association.  In 1972, Mayor Pete Wilson, later a United States Senator and the Governor of California, recruited Pendleton to head the Model Cities program in San Diego, California. In 1975, Pendleton was named director of the San Diego branch of the National Urban League.  

A former liberal Democrat, Pendleton switched to the Republican Party in 1980 and supported Ronald Reagan for President. Pendleton claimed that minorities had become dependent on government social programs which create a cycle of dependence. Pendleton advocated that African Americans build strong relations with the private sector and end ties to liberal bureaucrats and philosophies.

In his first year in office, President Reagan named Pendleton to the United States Commission on Civil Rights to replace the liberal Republican commission chairman, Arthur Sherwood Flemming, who had been the United States Secretary of Health, Education, and Welfare during the final years of the Eixenhower administration.  The Republican-majority United States Senate approved the nomination, and Pendleton became the first black chairman of the commission. He supported the Reagan social agenda and hence came into conflict with long-established civil rights views. He opposed the use of cross-town school busing to bring about racial balance among pupils. He challenged the need for affirmative action policies because he claimed that African Americans could succeed without special consideration being written into law.

Pendleton was as outspoken on the political right as was the later Democratic chairperson Mary Frances Berry would be on the left. Pendleton made headlines for saying black civil rights leaders were "the new racists" because they advocated affirmative action, racial quotas, and set-asides. He likened the feminist issue of equal pay for equal work, written into law in the Equal Pay Act of 1963, to be "like reparations for white women."

Pendleton denounced the feminist concept of comparable worth in the establishment of male and female pay scales as "probably the looniest idea since Looney Tunes came on the screen."

Under Pendleton's chairmanship, congressional funding for the agency was reduced. This prompted some staff members either to lose their positions or to leave the agency in discouragement. Pendleton was considered acerbic by his liberal critics.  William Bradford Reynolds, Reagan's Assistant Attorney General for Civil Rights, described his friend Pendleton as "a man of candor who felt very deeply that the individuals in America should deal with one another as brothers and sisters totally without regard to race and background."

On December 23, 1983, with two Democratic Congressmembers dissenting, Pendleton was re-elected to a second term as commission chairman. 

Under Pendleton's tenure, the commission was split by an internal debate over fundamental principles of equality under the law. The commission narrowed the description of legal and political rights at the expense of social and economic claims. The debate centered principally between Pendleton and Berry, an original appointee of President Jimmy Carter. Democrat Morris B. Abram, also a Reagan appointee, was vice chairman under Pendleton. He described "an intellectual sea change" at the agency with the conservative view dominant at that time. Authorized under the Civil Rights Act of 1957, the commission was reconstituted by a 1983 law of Congress after Reagan dismissed three commissioners critical of his policies.

On June 5, 1988, Pendleton collapsed while working out at the San Diego Hilton Tennis Club. He died an hour later of a heart attack at a hospital. 

A memorial bench dedicated in Pendleton's honor is located in the De Anza Cove section of Mission Bay Park in San Diego.

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Clarence M. Pendleton, 57, Dies; Head of Civil Rights Commission

Credit...The New York Times Archives
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June 6, 1988, Section D, Page 12Buy Reprints
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Clarence M. Pendleton, chairman of the United States Civil Rights Commission, died yesterday after collapsing while exercising at a San Diego hotel health club. He was 57 years old and lived in San Diego and Washington, D.C.

Mr. Pendleton died of an apparent heart attack at 11:13 A.M. at the Mission Bay Hospital after efforts failed to revive him, according to David Lodge, the San Diego Deputy Coroner.

He was riding a stationary bicycle at the time of his collapse at the Hilton Beach and Tennis Resort, the officials said.

Mr. Pendleton came to the attention of Ronald Reagan in 1980 when he switched to the Republican Party, abandoning his self-described ''bleeding-heart liberalism.'' Guided by Edwin Meese 3d, the confidant of Mr. Reagan, Mr. Pendleton went to work in support of Mr. Reagan's bid for the Presidency. A year later, Mr. Reagan, as President, appointed him as the first black chairman of the Civil Rights Commission.

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As its chairman, Mr. Pendleton was an outspoken proponent of the Administration's ''color-blind'' philosophy on civil rights.

From the time of his appointment on Nov. 16, 1981, Mr. Pendleton was at the center of a political storm. He took several stands that most observers would not have expected from a black on the rights commission.

Mr. Pendleton, for example, opposed desegregation through busing because he believed that such action violated the principle of neighborhood schools. He also doubted that predominantly white schools were necessarily better than predominantly black ones.

In addition, he denounced affirmative action as a ''bankrupt policy'' that detracted from the legitimate achievements of those who would have succeeded in any case. Sharp Response to Critics

Mr. Pendleton would respond quickly and sharply to his critics, many of whom were from the black community, offering to match his record against ''anyone else's rhetoric any day.''

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He said be believed that the commission, under his chairmanship, was critized because the civil rights community arrogated the moral high ground and scorned anyone, especially anyone within the conservative Reagan Administration, who did not ''embrace every tenet of the liberal orthodoxy on civil rights.''

''I think there are people who would like to see the commission go out of business,'' he concluded after Congress cut the agency's budget in 1986 by $4.1 million, giving it $7.5 million that year as against $11.6 million the previous year.

He believed that Congress cut the budget to force him to resign. ''But despite public perception, we aren't missing a beat,'' he said.

Nevertheless, many of the commission's top staff members left, either out of frustration or because their jobs were eliminated as a result of budget cuts. And activity slowed at the agency. Candid and Iconoclastic

''Penny'' as Mr. Pendleton was known, was described last night by several friends, including high officials of the Administration, as candid, iconoclastic and sensitive.

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''He was a man of total and complete candor,'' said William Bradford Reynolds, the Assistant Attorney General for Civil Rights and a close friend of Mr. Pendleton. ''He was a man who felt very deeply that the individuals in America should deal with one another as brothers and sisters totally without regard to race and background.''

Although Mr. Pendleton was sometimes regarded by civil rights groups as antagonistic to their causes, his friends said he cared deeply about individual rights.

''He probably was the messenger bearing a message that many did not want to hear,'' Mr. Reynolds said.

Colleagues on the commission expressed shock and sorrow at the reports of Mr. Pendleton's death.

''Penny was a unique individual, and we will miss him a lot,'' said Robert A. Destro, who served on the commission with Mr. Pendleton. ''It doesn't make much difference whether someone was a supporter or disagreed with him, we thought he was wonderful human being.''

Mr. Destro said that at the time of Mr. Pendleton's death, he and the chairman were ''taking a hard look at'' the civil rights of American Indians and the medically dependent. Middle-Class Background

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Mr. Pendleton, born on Nov. 10, 1930, in Louisville, Ky., grew up in Washington, D.C., where his father was the first swimming coach at Howard University and an assistant director of the District of Columbia's recreation department.

He graduated from Dunbar High School, where many children of black middle-class families were educated. He then followed in the steps of his grandfather, a lawyer in Baltimore, and his father by enrolling in Howard.

He earned a Bachelor of Science degree in 1954 and worked briefly for the District of Columbia recreation department before joining the Army. On released from the Army in 1957, he returned to Howard, where he had excelled as a swimmer, and took a post as a physical education instructor.

In 1970, Mr. Pendleton became a director of the urban affairs department of the National Recreation and ParksAssociation. Two years later, he moved to San Diego to serve as director of the Model Cities program there.

In 1975, he become head of the San Diego Urban League and was the only one out of more than 150 officers in the League to support Ronald Reagan's bid for the Presidency.

He is survived by is wife, Margrit, their daughter, Paula, and a son and a daughter by a previous marriage, George and Susan.

Tuesday, June 4, 2024

A00041 - Leslie Lee, African American Playwright Who Enlarged Black Life Onstage

 Leslie Lee (b. November 6, 1930, Byrn Mawr, Pennsylvania – d. January 20, 2014, Manhattan, New York City, New York) was an American playwright, director and professor of playwriting and screenwriting.

Leslie Lee grew up in West Conshohocken, Pennsylvania.  He earned a bachelor's degree from the University of Pennsylvania and a master's degree from Villanova University. 

Lee's early theatre experience was at Ellen Stewart's La MaMa Experimental Theatre Club in the East Village, Manhattan. His play Elegy for a Down Queen was produced at La MaMa in 1970 and in 1972 by John Vaccaro's Playhouse of the Ridiculous.  Cops and Robbers was produced at La MaMa in 1971 by La MaMa GPA Nucleus Company. 

1997, marked the beginning of Lee's theatre collaboration (spanning twenty years) with Sophia Romma (nee Murashkovsky), his Dramatic Writing Student from New York University's Tisch School of the Arts whom he deemed his protégé.  Lee directed Sophia Murashkovsky's play, Love, In the Eyes of Hope, Dies Last which was produced at La MaMa in 1997, and he also directed Sophia Murashkovsky's critically acclaimed play, Coyote Take Me There! at La MaMa in 1999. 

In 2004, Leslie Lee directed Ms. Murashkovsky's epic, mystic play, Defenses of Prague at La MaMa. Mr. Lee continued to successfully collaborate in the theatre with Dr. Sophia Romma (Ms. Murashkovsky) and in 2006, directed her heart-wrenching émigré saga, Shoot Them In the Cornfields! which premiered at the American Theatre of Actors. Mr. Lee, who seldom took on the role of director, believed that Dr. Romma's unique staccato lyrical voice, her poignant themes of advocating for multicultural tolerance, religious, ethnic and minority acceptance, and most importantly her stark depictions of the trials and tribulations of immigration/assimilation were well worth exploring on the theatrical stage. Ms. Murashkovsky (Romma) in turn, directed Lee's short play, We're Not Here to Talk About Beethoven at John McTiernan's New York Performance Works.

Lee also worked with the Negro Ensemble Company (NEC) along with Sophia Romma who served as Literary Manager of the NEC.

Lee's significant work includes his history play Colored People's Time, a production of which featured Angela Bassett and Samuel L. Jackson, and Hannah Davis. He received a 1975 Obie Award for Best Play, a 1976 Tony Award nomination for Best Play, and an Outer Circle Critics Award for his play, First Breeze of Summer. In 2006, the Negro Ensemble Company produced his play Sundown Names and Night Gone Things, based on Richard Wright's life in 1930s Chicago, featuring Stephen Tyrone Williams and Dewanda Wise. In 2008, the Signature Theatre Company produced a revival of First Breeze of Summer, directed by Ruben Santiago-Hudson and starring Leslie Uggams, Brandon J. Dirden, Jason Dirden, and Yaya Dacosta. 

Lee's film credits include Almos' A Man, an adaptation starring LeVar Burton of a Richard Wright story; The Killing Floor, which won first prize at the National Black Film Consortium; and an adaptation (with Gus Edwards) of James Baldwin's novel Go Tell It On The Mountain, starring Paul Winfield and Rosalind Cash. 

Lee taught playwriting at the College of Old Westbury on Long Island, New York University's Tisch School of the Arts, The New School's Eugene Lang College of Liberal Arts, and the Frederick Douglass Creative Arts Center in Manhattan, where he and Sophia Romma taught playwriting and screenwriting workshops under the leadership of Ray Gaspard, Kermit Frazier, and Marc Henry Johnson. 

Leslie Lee died on January 20, 2014, due to complications of heart failure. The Negro Ensemble Company and Signature Theatre Company held a memorial celebration of his life and work in March of 2014.


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Leslie Lee, Playwright Who Enlarged Black Life Onstage, Dies at 83

Leslie LeeCredit...Carmen L. de Jesus

Leslie Lee, a playwright whose award-winning work, much of it with the Negro Ensemble Company, focused on stretching the boundaries of the African-American experience as it was portrayed on the stage, died on Monday in Manhattan. He was 83.

The cause was congestive heart failure, Heather Massie, a friend, said.

Over four decades, Mr. Lee wrote more than two dozen stage works, scouring American history for his subjects and characters. In “Black Eagles,” he wrote about black fighter pilots in Italy in World War II. In “Ground People” (originally titled “The Rabbit Foot”), he wrote about Southern black sharecroppers and visiting minstrel-show performers in the 1920s.

In “Blues in a Broken Tongue,” the daughter of a family that had moved to Russia in the 1930s as an escape from racism discovers a pile of recordings by Billie Holiday, Paul Robeson and others and reconsiders her heritage. An early play, “The War Party,” was about the conflicts within a community civil rights organization in the 1960s.

In “The Book of Lambert,” written in the 1970s and set contemporaneously on an abandoned New York subway platform, a black intellectual has been reduced to despair by the loss of the white woman he loves. In “Colored People’s Time,” Mr. Lee presented a century of black history, from the Civil War to the dawn of the civil rights movement, in a pageantlike parade of vignettes.

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“One can be black and also many other things,” Mr. Lee said in a 1975 interview about his writerly concerns. “I want to expand the thinking of blacks about themselves.”

Most of Mr. Lee’s work was produced Off Broadway and on regional stages, though his best-known play, “The First Breeze of Summer” (1975), appeared on Broadway, at the Palace Theater, after moving from the St. Mark’s Playhouse, then the home of the Negro Ensemble Company, in the East Village. It was nominated for a Tony Award for best play. (Tom Stoppard’s “Travesties” was the winner.)

“The First Breeze of Summer” tells the story of a middle-class black family in Pennsylvania whose ambitious and sensitive younger son is emotionally derailed when he learns the past secrets of the grandmother he reveres. Mr. Lee acknowledged that it was an autobiographical work. And at a time when black theater was often polemical, it was notable for its naturalistic drama and its probing of family dynamics and character.

That it had its debut in an earlier era, both theatrically and journalistically, was evident in Walter Kerr’s review in The New York Times.

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A scene from the 2008 revival of his play, “The First Breeze of Summer,” by the Signature Theater Company. The 1975 Broadway production was nominated for a Tony.Credit...Hiroyuki Ito for The New York Times

“For all the explicitly black experience detailed in ‘The First Breeze of Summer,’ ” Mr. Kerr wrote near the conclusion of an unqualified rave that was redolent of surprise, “I have rarely seen a play at which someone who is not black can feel so completely at home.”

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Leslie Earl Lee was born on Nov. 6, 1930, in Bryn Mawr, Pa., and grew up nearby in West Conshohocken, one of nine children. His mother, the former Clementine Carter, was a homemaker; his father, John Henry Lee, like the patriarch in “First Breeze,” was a plastering contractor.

Mr. Lee studied English and biology at the University of Pennsylvania — he thought he would be a doctor — and worked as a hospital medical technician, as a bacteriologist for the state health department and as a researcher for Wyeth, the pharmaceutical company, before abandoning his scientific pursuits in the mid-1960s to study playwriting at Villanova University. (For a time, his roommate was David Rabe, who went on to his own award-winning playwriting career).

Mr. Lee taught writing at several colleges, including New York University, and wrote several television scripts, including an adaptation of Richard Wright’s short story “Almos’ a Man.” “The First Breeze of Summer” was broadcast as part of the “Great Performances” series on public television.

His other stage work includes two collaborations with the composer Charles Strouse and the lyricist Lee Adams, creators of “Bye Bye Birdie,” “Applause” and other shows. Together they updated another Strouse-Adams show, “Golden Boy,” the 1964 musical based on Clifford Odets’s boxing drama; the newer version, with Mr. Lee’s book, was presented in 1989 at the Coconut Grove Playhouse in Florida.

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The three men also worked on a musical about the Rev. Dr. Martin Luther King Jr. that follows Dr. King from his teenage years in Atlanta to the Montgomery bus boycott of the 1950s. The show had its premiere Off Broadway at the Kraine Theater in 2011.

Mr. Lee won numerous Audelco Awards, given to black theater artists and productions. He was married once and divorced. He is survived by a brother, Elbert, and three sisters, Evelyn Lee Collins, Grace Lee Wall and Alma Lee Coston.

In 2008, “The First Breeze of Summer” was revived Off Broadway by the Signature Theater Company in a production that starred Leslie Uggams and was directed by Ruben Santiago-Hudson.

“He captured African-American life with all its frailties and all its power,” Mr. Santiago-Hudson said in a telephone interview on Wednesday. “Most of all he bestowed integrity on people, even when they were ne’er-do-wells or people whose intentions weren’t the best for other folks. Leslie wasn’t only poetic; he was authentic.”