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to use for political reasons, but the matter is individual and per- sonal. There is no organized blacklisting." YIP HARBURG (song writer): "There is no blacklisting on Broadway. Still, I couldn't do Tinian's Rainbow' again, because of its content. Sometimes a few benefit tickets might get turned in. But there is no real blacklist." REBECCA BROWNSTEIN (former attorney for Actors Equity As- sociation) : "In some cases there was an attempt at 'blacklisting' as it is called. But it was enough to phone the producer or mana- ger. That settled the question." ARTHUR MILLER (playwright): "I take a very close, personal part in casting my shows. I have never been told who I can use or not use. I hire solely on the basis of competence. I would use a man who was in complete disagreement with me politically if he were right for the part." DOROTHY PARKER (playwright): "I believe that there is no or- ganized or established blacklisting on Broadway." In August, 1955, the House Committee on Un-American Activi- ties held hearings on communism in the Broadway theatre. Twenty- three witnesses were called, and 22 of them turned out to be "unfriendly," invoking the First, Fourth, Fifth, Sixth, Eighth, Ninth, Tenth and Fourteenth Amendments to the Constitution. In Hollywood or on Madison Avenue, actors that "unfriendly" could expect not to work again until such time as they "cleared" them- selves. But the Broadway performers who refused to cooperate with the Walter Committee simply went back to work. In one case, an actor who had invoked the Fifth Amendment had his contract torn up — and was given a new one at higher pay and for a longer period of time. The actor was not being rewarded for his "unfriend- liness," he was being rewarded for his professional ability. And it is ability that still counts on Broadway. The experience of the 22 uncooperative witnesses in the New 211