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in Greece, and the way the United States people saw the Greeks. This was during the war.
And Norman was very literate and dedicated to the sound of words and so forth, and
sometimes got a little arty, and his programs didn't have wide acceptance, although with the
critics he was a darling. And I told Norman one time that I thought he could convey his
message better if he didn't get into the area of stilted language. And of course he had nothing
but contempt for research. Ratings were -- just should never be allowed. And research of any
kind was no good.
My recollection is that on one occasion I said, “Come to one of our sessions and be a
participant with the buttons, and see the people.” Obviously his participation didn't mean
anything except that he could observe first-hand how the research worked. And he did
participate in the interviewing that took place afterwards and I think came out with a little
broader understanding of what we were doing, maybe a little more receptive for research but
not nearly as hostile as he had been. Norman and I were good friends -- even to this day we
have a correspondence.
He, and others like him, liked us and didn't like us. If we supported what they were doing,
fine, and if we didn't why, it was too bad. But that was the program analyzer and it came out
of a Saturday afternoon in Princeton when Paul was talking about turning these pages back
in Vienna, having to do with popular music.
I don't believe I ever saw the report of the study that he had done in Vienna.
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