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cautions were taken to interview only persons who were currently employed; that means persons who were not "blacklisted." This is important for the interpretation of the data: what they told the inter- viewers about blacklisting procedures is not based on direct personal experience, but on their beliefs and opinions formed on the basis of what they heard from others. This report is not concerned with factual procedures; it is limited to the psychological field. The sample for the morale survey consists of 64 respondents. Twenty- three are in radio (though half of them also have some experience with television); 41 are in television, either "live" or "film". Twenty re- spondents are top level, 23 medium, and 21 low or marginal. In terms of activity, the sample includes 23 talent, 20 producers and directors, and 21 writers, news analysts, or commentators. These three categories of persons will be referred to in the report collectively as talent, i.e., as persons whose main job consists of shaping or presenting creatively what goes over the air. This choice of words may not be ideal. The word employee, however, could easily be misunderstood to embrace also managerial, technical and office personnel who are not represented in the survey; furthermore, some persons are included in the survey who are not employees in the sense of receiving regular specified wages. It is a sign of the youth of the industry that it has not yet developed a generally accepted terminology. The Employment Situation of Talent: An Aspect of Morale Morale is a complex response to a complex situation in every industry. Morale among talent in radio and television is for a number of reasons even more complex than elsewhere. Both media, but in particular television with its meteoric rise, are moulders and symbols of our cultural climate. More immediately but also more fleetingly than media which create lasting records do they penetrate into virtually every American home. The size of their audi- ence is unparalleled. As is so often the case, technical and commercial inventiveness are far ahead of our social and psychological knowledge about the manner in which these media influence the quality of living of our people. Do they enrich or impoverish? Do they encourage diversity or are they conducive to conformity? Do they spread ideas and stimulate thought, or do they dull the imagination? Do they accom- 230