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New York Theatres, even though, it has had little practical value, expresses an attitude, and the attitude is probably more important than any complicated machinery of arbitration. Typical of this attitude was the remark of John Kennedy, a pro- ducer who has been active in Equity for many years. When asked to describe his personal politics, he said that he was a "liberal conservative or a conservative liberal." He made it absolutely clear that he loathed communism, at the same time he took a firm stand against blacklisting in the theatre. Kennedy typifies the "center" in Equity which has controlled the union throughout these stormy years. It is precisely the conservatism of the theatrical world which supports Equity's "liberal" anti-blacklisting stand. In and of itself, Equity's experience is noteworthy. It also serves to point up the contrast between Broadway and the mass media. For every element which has worked to keep blacklisting out of the Broadway theatre is absent in the mass media; conversely, it is exactly at those points where the movies and television are unlike the theatre that they are most susceptible to blacklisting pressure. The mass media are big business. Thus, the decision announced at the Waldorf Conference in 1947, which has formed the basis of blacklisting in Hollywood ever since, was not made by the people actually involved in the production of movies. It came, rather, from persons whose primary interest in the films is financial. This is in sharp contrast to the situation hi the legitimate theatre, where financial backing is still sought on an individual basis. An investor's enthusiasm for a particular play is still important on Broadway. The audience for movies and radio-tv is sharply differentiated from legitimate theatre audiences. In the first case, the audience is many removes from the producer. It is vast, impersonal. The legitimate theatre retains a select audience. It does not advertise in the same way as movies and radio-television. It makes its appeals on the basis of the judgment of a small group of critics in New York City. 216