and pop background allowed him to survive while the blacklist destroyed the concert and film-based careers of musicians such as Schoenberg champion and film composer Louis Gruenberg and the first black Broadway and film star, Paul Robeson. The end of the blacklist In 1959, musical star Betty Hutton insisted that the still-blacklisted Jerry Fielding direct her new series, The Betty Hutton Show, a television series for CBS, having gotten to know him while they were both working the music circuit in Las Vegas. Television had been a surreptitious haven for the blacklisted writers, directors and composers for many years, and it was Desilu Productions, founded by Lucille Ball, who'd briefly been a member of the Communist Party and also dragged before HUAC in the early 1950s, who backed Hutton's choice. With her own career hanging by a thread, Hutton – along with Desilu and CBS – made a brave stand against the blacklist in television, but the show unfortunately failed. Fielding's career as a film composer did not begin until 1962, when leading Hollywood director Otto Preminger, himself a refugee of Nazism, hired him to compose the score for his all-star, Washington, D.C.-based adaptation of the best-selling novel, Advise and Consent. Preminger was grateful to the liberal and left-wing Americans in his adopted country who had helped defeat the rightwing homegrown Fascists who sought to allow Hitler's triumph by staying out of the war in Europe. Preminger deliberately violated and thus finally ended the blacklist in American filmmaking – he released Man with the Golden Arm in 1955 without the Production Code's seal of approval and named blacklisted screenwriter Dalton Trumbo in his first onscreen film credit since his blacklisting fifteen years before, in Exodus (1960), his hiring of blacklisted actor Franchot Tone and composer Fielding for Advise and Consent was particularly fitting for a film which attempted to expose the evil of innuendo and blacklisting in political Washington. It was his friend, prolific and long-suffering blacklistee Dalton Trumbo, who had suggested Fielding to Preminger for the job. Composing for the screen Preminger had used the great jazz leader, Duke Ellington and his band for an all-jazz score for his pioneering realist trial drama Anatomy of a Murder (1959) – unusual at a time when most film scores were still lush symphonic orchestrations and even more unusually in that he featured the African-American Ellington and other band members in the