COMMUNISM IN THE UNITED STATES COMMUNISM IN THE UNITED STATES THROUGH THE YEARS DISCLAIMER: OPINIONS ON THIS PAGE ARE THE OPINIONS OF THE ORIGINATOR AND NOT THE EDITOR OF THIS ARTICLE 9-14-15 - I HAD FOUR IDENTICAL DREAMS. I was editing a document on a computer. I was told to put the cursor in front of every sentence that started with 'For the. The sentence was then separated from the rest of the text. In dream one, I thought the sentence said 'For the reason of In dream two, I thought the sentence said 'For the people. In dream three, I thought the sentence said.

'For the sense of. In dream four. I thought the sentence said, 'For the ones who. After I woke up, I had the sudden idea, this was about communism.

Continuation of the series - 28 great extremely rare doo wop sides - 80% never before on CD. Includes tracks by the Blue Chips, Metallics, Sparks. Novelty records were the court jesters of rock'n'roll, brightening up the Hot 100 and putting a smile on everybodys face. Here are the 30 that counted, mastered from the best.

NOTE: We have had communism in the United States for many years, and still have an active Communist Party. LISTEN: LITTLE BOXES by PETE SEEGER WHICH SIDE ARE YOU ON? By PETE SEEGER • In the 1960s, he re-emerged on the public scene as a prominent singer of. In 1936, at the age of 17, Pete Seeger joined the Young Communist League (YCL).

THIS LAND WAS MADE FOR YOU AND ME by WOODY GUTHRIE TEAR THIS FASCIST DOWN by WOODY GUTHRIE Throughout his life Guthrie was associated with United States Communist groups, though he. Arlo followed in his father's footsteps as a singer-songwriter. The May 7, 1948, issue of theCounterattack newsletter warned readers about a radio talk show that had recently expanded its audience by moving from the network to: 'Communist Party members and fellow-travelers have often been guests on [Arthur] Gaeth's program.'

A number of nongovernmental organizations participated in enforcing and expanding the blacklist; in particular, the, the conservative war veterans' group, was instrumental in pressuring the entertainment industry to exclude those of political sympathies it disagreed with. In 1949, the Americanism Division of the Legion issued its own blacklist—a roster of 128 people whom it claimed were participants in the 'Communist Conspiracy.' Among the names on the Legion's list was that of well-known playwright. Hellman had written or contributed to the screenplays of approximately ten motion pictures up to that point; she would not be employed again by a Hollywood studio until 1966.

Another influential group was American Business Consultants Inc., founded in 1947. In the subscription information for its weekly publication Counterattack, 'The Newsletter of Facts to Combat Communism', it declared that it was run by 'a group of former FBI men. It has no affiliation whatsoever with any government agency.'

Notwithstanding that claim, it seems the editors ofCounterattack had direct access to the files of both the and HUAC; the results of that access became widely apparent with the June 1950 publication of. This Counterattack spinoff listed 151 people in entertainment and broadcast journalism, along with records of their involvement in what the pamphlet meant to be taken as Communist or pro-Communist activities.

A few of those named, such as Hellman, were already being denied employment in the motion picture, TV, and radio fields; the publication of Red Channels meant that scores more would be placed on the blacklist. That year, instituted a loyalty oath which it required of all its employees. Was the first performer to lose employment because of a listing in Red Channels. In 1950 Muir was named as a sympathizer in the pamphlet, and was immediately removed from the cast of the television sitcom, in which she had been cast as Mrs. NBC had received between 20 and 30 phone calls protesting her being in the show., the sponsor, said that it would not sponsor programs in which 'controversial persons' were featured. Though the company later received thousands of calls protesting the decision, it was not reversed. HUAC returns (1951–52) In 1951, with the U.S.

Congress now under Democratic control, HUAC launched a second investigation of Hollywood and Communism. As actor said when called before the panel, Don't present me with the choice of either being in contempt of this committee and going to jail or forcing me to really crawl through the mud to be an informer. For what purpose? I don't think it is a choice at all.

I don't think this is really sportsmanlike. I don't think this is American. I don't think this is American justice. Parks ultimately testified, becoming however reluctantly, a 'friendly witness', and found himself blacklisted, nonetheless. In fact, the legal tactics of those refusing to testify had changed by this time; instead of relying on the First Amendment, they invoked the 's shield against self-incrimination (though, as before, Communist Party membership was not illegal). While this usually allowed a witness to avoid 'naming names' without being indicted for contempt of Congress, 'taking the Fifth' before HUAC guaranteed that one would be added to the industry blacklist.

Historians at times distinguish between the relatively official blacklist—the names of those who (a) were called by HUAC and, in whatever manner, refused to cooperate and/or (b) were identified as Communists in the hearings—and the so-called graylist—those others who were denied work because of their political or personal affiliations, real or imagined; the consequences, however, were largely the same. The graylist also refers more specifically to those who were denied work by the major studios but could still find jobs on: Composer, for instance, was called by HUAC when it was discovered that he had written some music reviews for a Communist newspaper. After he refused to name names, pointing out that he had never attended a Communist Party meeting, he found himself composing music for movies such as. Anticommunist tract from the 1950s, decrying the 'REDS of Hollywood and Broadway' Like Parks and Dmytryk, others also cooperated with the committee. Some friendly witnesses gave broadly damaging testimony with less apparent reluctance, most prominently director and screenwriter. Their cooperation in describing the political leanings of their friends and professional associates effectively brought a halt to dozens of careers and compelled a number of artists to depart for Mexico or Europe. Others were also forced abroad in order to work.

Livro Principezinho Em Pdf. Director was among the best known of these. Briefly a Communist, Dassin had left the party in 1939. He was immediately blacklisted after Edward Dmytryk and fellow filmmaker named him to HUAC in 1952. Dassin left for France, and spent much of his remaining career in Greece.

Scholar Thomas Doherty describes how the HUAC hearings swept onto the blacklist those who had never even been particularly active politically, let alone suspected of being Communists: [O]n March 21, 1951, the name of the actor was uttered by the actor Larry Parks during testimony before HUAC. 'Do you know Lionel Stander?' Committee counsel inquired. Parks replied he knew the man, but had no knowledge of his political affiliations. No more was said about Stander either by Parks or the committee—no accusation, no insinuation. Yet Stander's phone stopped ringing. Prior to Parks's testimony, Stander had worked on ten television shows in the previous 100 days.

Afterwards, nothing. When Stander was himself called before HUAC, he began by pledging his full support in the fight against 'subversive' activities: I know of a group of fanatics who are desperately trying to undermine the Constitution of the United States by depriving artists and others of Life, Liberty, and the Pursuit of Happiness without due process of law. I can tell names and cite instances and I am one of the first victims of it.

[This is] a group of ex-Fascists and America-Firsters and anti-Semites, people who hate everybody including Negroes, minority groups and most likely themselves. [T]hese people are engaged in a conspiracy outside all the legal processes to undermine the very fundamental American concepts upon which our entire system of democracy exists. Stander was clearly speaking of the committee itself. The hunt for subversives extended into every branch of the entertainment industry. In the field of animation, two studios in particularly were affected: (UPA) was purged of a large portion of its staff, while New York–based Tempo was entirely crushed. The HUAC investigation also effectively destroyed families.

Screenwriter Richard Collins, after a brief period on the blacklist, became a friendly witness and dumped his wife, actress, who refused to name names. Divorcing Comingore, Collins took the couple's young son, as well.

The family's story was later dramatized in the film (1991), in which the character based on Comingore 'commits suicide rather than endure a long mental collapse.' In real life, Comingore succumbed to alcoholism and died of a pulmonary disease at the age of fifty-eight. In the description of historians and David Wagner, 'premature strokes and heart attacks were fairly common [among blacklistees], along with heavy drinking as a form of suicide on the installment plan.' For all that, evidence that Communists were actually using Hollywood films as vehicles for subversion remained hard to come.

Schulberg reported that the manuscript of his novel (later a screenplay, as well) had been subject to an ideological critique by Hollywood Ten writer, whose comments he had solicited. The significance of such interactions was questionable.

As historian describes, many Hollywood screenwriters had joined or associated with the local Communist Party chapter because it 'offered a collective to a profession that was enmeshed in tremendous isolation at the typewriter. Their 'Writers' Clinic' had 'an informal 'board' of respected screenwriters'—including Lawson and —'who read and commented upon any screenplay submitted to them. Although their criticism could be plentiful, stinging, and (sometimes) politically dogmatic, the author was entirely free to accept it or reject it as he or she pleased without incurring the slightest 'consequence' or sanction.'

' Much of the onscreen evidence of Communist influence uncovered by HUAC was feeble at best. One witness remembered Stander, while performing in a film, whistling the left-wing ' as his character waited for an elevator. 'Another noted that screenwriter had inserted lines from a famous pro- speech by about it being 'better to die on your feet than to live on your knees' into a pep talk delivered by a football coach.' Hollywood communists may have blocked production of some films.

The scholar Kenneth Lloyd Billingsley found that Trumbo wrote in The Daily Worker about films which he said communist influence in Hollywood had prevented from being made: among them were proposed adaptations of 's anti- works and The Yogi and the Commissar, which described the rise of communism in Russia. The blacklist at its height (1952–56) In 1952, the —which had been founded two decades before by three future members of the Hollywood Ten—authorized the movie studios to 'omit from the screen' the names of any individuals who had failed to clear themselves before Congress. Writer, for instance, one of the Hollywood Ten and still very much on the blacklist, had received in 1950 for writing, years earlier, the story on which the screenplay of ' was based.

There would be no more of that until the 1960s. The name of, who had written the original screenplay for in the mid-1940s, was nowhere to be seen when the movie was released in 1953. As William O'Neill describes, pressure was maintained even on those who had ostensibly 'cleared' themselves: On December 27, 1952, the American Legion announced that it disapproved of a new film,, starring, who used to be no more progressive than hundreds of other actors and had already been grilled by HUAC. The picture itself was based on the life of and was totally apolitical. Nine members of the Legion had picketed it anyway, giving rise to the controversy. By this time people were not taking any chances. Ferrer immediately wired the Legion's national commander that he would be glad to join the veterans in their 'fight against communism.'

The group's efforts dragged many others onto the blacklist: In 1954, '[s]creenwriter Louis Pollock, a man without any known political views or associations, suddenly had his career yanked out from under him because the American Legion confused him with Louis Pollack, a California clothier, who had refused to cooperate with HUAC.' During this same period, a number of influential newspaper columnists covering the entertainment industry, including,,,, and, regularly offered up names with the suggestion that they should be added to the blacklist. Actor received an out-of-court settlement to end a 1954 lawsuit against the advertising agency, which had ordered him dropped from the lead role in a television series it sponsored.Variety described it as 'the first industry admission of what has for some time been an open secret—that the threat of being labeled a political nonconformist, or worse, has been used against show business personalities and that a screening system is at work determining thesp [actors'] availabilities for roles.'

The first Hollywood movie to overtly take on, appeared in 1956. 'plays a small-town librarian who refuses, on principle, to remove a book called 'The Communist Dream' from the shelves when the local council deems it subversive.' The Hollywood blacklist had long gone hand in hand with the Red-baiting activities of 's FBI. Adversaries of HUAC such as lawyer, who defended some of the Hollywood Ten in front of the committee in 1947, were labeled as Communist sympathizers or subversives and targeted for investigation themselves. Throughout the 1950s, the FBI tapped Crum's phones, opened his mail, and placed him under continuous surveillance. As a result, he lost most of his clients and, unable to cope with the stress of ceaseless harassment, committed suicide in 1959.

Intimidating and dividing the left is now seen as a central purpose of the HUAC hearings. Fund-raising for once-popular humanitarian efforts became difficult, and despite the sympathies of many in the industry there was little open support in Hollywood for causes such as the and opposition to. The struggles attending the blacklist were played out metaphorically on the big screen in various ways. As described by film historian James Chapman, ', who had refused to testify before the committee, wrote the western (1952), in which a town marshal (ironically played by friendly witness.) finds himself deserted by the good citizens of Hadleyville (for which read Hollywood) when a gang of outlaws who had terrorized the town several years earlier (for which read HUAC) returns.' Cooper's lawman cleaned up Hadleyville, but Foreman was forced to leave for Europe to find work. Even more famously, Kazan and Schulberg collaborated on a movie widely seen as justifying their decision to name names.

(1954) became one of the most honored films in Hollywood history, winning eight, including Oscars for Best Film, Kazan's direction, and Schulberg's screenplay. The film featured, one of the best known actors to name names. Time Out Film Guide argues that the film is 'undermined' by its 'embarrassing special pleading on behalf of informers.' After his release from prison, of the Hollywood Ten directed, working independently in New Mexico with fellow blacklisted Hollywood professionals—producer, writer, and actors and.

Customizer 11000 Free Download. The film, concerning a strike by Mexican-American mine workers, was denounced as Communist propaganda when it was completed in 1953. Distributors boycotted it, newspapers and radio stations rejected advertisements for it, and the projectionists' union refused to run it. Nationwide in 1954, only around a dozen theaters exhibited it. Breaking the blacklist (1957–present) A key figure in bringing an end to blacklisting was. Host of an afternoon comedy radio show, Faulk was a leftist active in his union, the. He was scrutinized by AWARE, one of the private firms that examined individuals for signs of Communist sympathies and 'disloyalty.'

Marked by the group as unfit, he was fired by CBS Radio. Almost alone among the many victims of blacklisting, Faulk decided to sue AWARE in 1957. Though the case would drag through the courts for years, the suit itself was an important symbol of the building resistance to the blacklist. The initial cracks in the entertainment industry blacklist were evident on television, specifically at CBS. In 1957, blacklisted actor was hired by as an associate producer for his anthology series, then entering its third season on the network.

On November 30, 1958, a live CBS production of, based on short stories written by then-Communist, appeared with the proper writing credit of blacklisted Edward Chodorov, along with his literary partner, Joseph Fields. The following year, actress insisted that blacklisted composer be hired as musical director for her new series, also on CBS. The first main break in the Hollywood blacklist followed soon after: on January 20, 1960, director publicly announced that Dalton Trumbo, one of the best known members of the Hollywood Ten, was the screenwriter of his forthcoming film. Six-and-a-half months later, with Exodus still to debut, the New York Times announced that would give Trumbo screen credit for his role as writer on, a decision star is now recognized as largely responsible for. On October 6, Spartacus premiered—the first movie to bear Trumbo's name since he had received story credit on Emergency Wedding in 1950.

Since 1947, he had written or co-written approximately seventeen motion pictures without credit. Exodus followed in December, also bearing Trumbo's name. The blacklist was now clearly coming to an end, but its effects continue to reverberate even until the present. John Henry Faulk finally won his lawsuit in 1962. With this court decision, the private blacklisters and those who used them were put on notice that they were for the professional and financial damage they caused. This helped to bring an end to publications such as Counterattack. Like Adrian Scott and Lillian Hellman, however, a number of those on the blacklist remained there for an extended period—Lionel Stander, for instance, could not find work in Hollywood until 1965.

Some of those who named names, like Kazan and Schulberg, argued for years after that they had made an ethically proper decision. Others, like actor and director, who gave friendly testimony to HUAC after suffering on the blacklist for a time, 'concede[d] with remorse that their plan was to name their way back to work.' And there were those more gravely haunted by the choice they had made. In 1963, actor declared, I was a rat, a stoolie, and the names I named of those close friends were blacklisted and deprived of their livelihood. Scholars Paul Buhle and Dave Wagner state that Hayden 'was widely believed to have drunk himself into a near-suicidal depression decades before his 1986 death.'

Into the 21st century, the pursued the correction of screen credits from movies of the 1950s and early 1960s to properly reflect the work of blacklisted writers such as Carl Foreman and. On December 19, 2011, the guild, acting on a request for an investigation made by his dying son, announced that Dalton Trumbo would get full credit for his work on the screenplay for the 1953 romantic comedy, almost sixty years after the fact. The Hollywood Ten and other 1947 blacklistees.