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Proctor and Bergman: Homecoming (seepage6)

· Volu m e seven, n umber two

Contents 2 Comment: Yale in Jail, Pan-pipes and Pianos

3 "Where are my words?"

6 TV OR NOT TV: Firesign is the question 10 On the Campaign Trail with Oedipus Rep 11 On being physician and cancer investigator (A very difficult thing to bring off)

Volume seven, number two Editor: Stuart Rohrer Managing Editor: Alan Strasser Associate Editors: Pam Gray Richard Hall Lisbet Nilson Design: Jim Liberman Business Manager: Connie Dunham Editorial Assistant· Chuck Martin Production: Jane Fellner Jon Hertz Bernard Johnson Suzi Moore Crystal Pruess Emrny Zuckerman Publisher: Ronald Roel

Comment The New Journal humbly accepts congratulations for its graphic victory in the recent Bladderball game.

Despite a late arrival on the field, and gaps at five key positions, our team undauntedly crept to victory.

We realize that our assertion of victory contradicts the claims of other campus publication teams.

Deadline pressure forced each to go to press before the last play was executed, the last block was thrown, or the last impetus was imparted.

Lamentably, they missed the Journal team's brilliant, last-minute flanking maneuver, which clinched our victory.

Yale in Jail

Do thirty-one people voluntarily locked into a contrived situation experience the real situation? And can they validly transfer the thoughts they formulate in the simulated experience into learning about a "real life" situation?

Twenty-one Yale students and ten Boston State College students experienced prison directly but hypothetically six weeks ago when they spent a weekend as "inmates" in the former Haddam County Jail. Now the Connecticut Department of Corrections Criminal Justice Training Academy, the jail helps state correction officers and prison personnel understand prisoner behavior by exposing the law-abiding to the incarceration normally reserved for the law-breaking.

Seventeen of the Yalies were members of the Calhoun/Branford Credits: seminar ''Incarceration: ConseBeth J effe: cover quences and Alternatives." The semJim Liberman: 2, 3, 4, 5 inar is taught jointly by Roy King, RobRooy : lO a Visiting Ford Foundation Research Jane Fellner: 11,12 Fellow in the sociology department and Sociology Professor at England's University of Southampton, The New Journal welcomes Comments on subjects of interest to and Kelsey Kaufman, Yale '71, former corrections officer and now a the general Yale community. The Harvard graduate student.

Editors reserve the right to choose The seminar's multiform and edit for length as well as clarity. approach to learning distinguishes it from most Yale courses. The stuSpecial thanks to the Yale Banner dents try to understand incarcera(and Dauid Dunlap) for their tion not only through the convenassistance and patience. tional media of readings and a research paper, but also through The New Journal is published by The field trips, movies, and encounters New Journal at Yale, Inc., 3432 Yale with guest speakers( among them corrections administrators and past Station, New Haven, Conn., 06520, and present inmates). The lock-up, / and is printed at Trumbull Printing which no one knew about when they Co. in Trumbull, Conn. Distributed signed up for the seminar, was free to the Yale community. For all intended to provide a radical base to others, subscription rate $5.00 per year. Copyright ® 1973 by The New the whole course.

In some respects, the incarc~a­ Journal at Yale, Inc., a non-profit corporation. Phone (203) 776-9989 or tion was a phony situation. Being allowed to spend a weekend in jail is 432-0404.

.JUST VISITING not the same as having a long stretch of "time" ahead-everyone knew they would leave on Sunday. But once the student inmates entered the sealed world of the prison the situation quickly became •'real'' enough.

They were searched thoroughly, deprived of all personal belongings, clad in prison uniforms, assigned numbers instead of names, and locked peremptorily into separate cells. They were allowed no books, no watches, no pencil or paper. The only faces they could see were those of the professionally hostile guards.

Real boredom and frustration set in-the experience was taking hold.

The guards were "out to get" everybody, and kept changing the "rules of the game" with studied but impenetrable arbitrariness. Solidarity between the inmates grew quickly, beginning as a familiarity with the others' voices, and culminating in the great toilet paper incident of Saturday night.

That night the guards made the fatal, if human, blunder of becoming so absorbed in "All in the Family" that they neglected to conduct their rounds. Suddenly freed from scrutiny, the inmates on the men's cell block (two tiers of ten cells each) began to construct a monument to solidarity and defiance. Slowly and laboriously they wove a thread of toilet paper through the bars and passed it from cell to cell. ("Don't laugh!" protested one of the participants, "don't you realize how serious this was, and how fragile toilet paper is?") The prisoners connected 18 cells before they were discovered.

The "former inmates•· grinned when they recounted that episode, but hastened to add that it was an exceptional interlude, a rare moment of victory over the guards. The rest of the weekend was hardly as glamorously high-pitched. It consisted above all of boredom and the queasy disorientation of not knowing what time it was or how much remained.

They were humiliated by being treated as a numbered quantity, frustrated by confinement. As one student summarized ·'The externals

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November 2 5,1973 1 2

of it may have been contrived, b u t the internals certainly were real. ..

To what extent can one bring an experience like that weekend b ack into the classroom? Most of t he students noted that there had been little explicit mention of the common experience after it occurred; it was never discussed in class. Still, the experience, however unarticulated, remains a kind of undercurrent of understanding. Everyone agrees that the course would have been qualitatively different without the prison weekend. One person spoke of a "silent knowing" which all share • intuitively-a rare form of knowledge at Yale nowadays.

A couple of years ago, there were many more courses at Yale similar to this seminar in attitude, courses which tried to combine qualitatively different layers of learning into a · variegated understanding, which tried to balance the inevitable passivity of books-and-lecture learning with direct experiential involvement.

Many of these courses were reportedly quashed because faculty and administrators felt that they lacked ·intellectual rigor. Or, perhaps they disappeared because the legendary student shift toward serious bookishness really has occurred. Still, the success of this seminar makes a strong case for the educational value of courses which are not only intellectually rigorous, but also emotionally and personally demanding.

Lisbet Nilson

•

Pan-pipes and Pianos The Yale Music School broke with tradition last year by sponsoring two "variety series" rather than a variety of series.

Last year's series, descriptively titled Series A and Series B, presented outside performers and Music School faculty, respectively.

The School soon discovered that the variety which appealed to everyone in general prompted no one in particular to buy season tickets. Hence they revived the old approach: two of three series this year will have quite focused appeal. The Connoisseur Series will present artists from different areas of music. Its • season ticket sales are unspectacular, as people buy only single performance tickets to hear their favorite music.

The series· first performer will be the Gheorghe Zamfir Ensemble, a Rumanian _folk troupe touring the U.S. for the first time. Zamfir plays the pan-pipe. an ancient wind instrument consbtin~ of wooden tubes of varying lengths into which one blows to produce sound. Music School Con( continued on page 15)

•

• "Where are my words?"

by Stuart Rohrer

6:10 on a Wednesday evening, 20 minutes before ten million house· holds will tune in the NBC Nightly News, finds anchorman John Chancellor at NBC's Manhattan head· quarters puffing his pipe and watch· ing his shoes get shined. He is not waiting to begin his work-on the contrary. he has nearly completed a workday that began at nine in the morning. He has written and broad· cast his daily "Monitor" radio essay, collected the wire-service copy and written most of the script for tonight's show. After his half-hour newscast he will be heading home.

At 6:20 Chancellor rolls down the sleeves of his red pin-striped shirt, straightens his tie and reaches for his jacket. He strides through the news· room to his secretary's desk, looking for his script. "Where are my words?" He finds the sheaf of yellow and white carbons-yellow for his words, white for technical cues-and heads down a long hallway toward the studio.

His script will not be complete until several minutes into the broad· cast, for the newsroom staff is still working to complete the final editing, time the length of news items, and determine the final order of to· night's show. In the control room a director and producer are verifying that videotapes are ready to roll, commercials cued up, art work for the VIZ screens behind Chancellor properly ordered, and the announcer ready. But Chancellor, in the studio, appears to be in no hurry. He pencils in his final notes and corrections on his carbons, checks out the TelePrompter which feeds him the original, clears his throat, and at precisely 6:30 smoothly delivers the news.

After 23 years in the news business John Chancellor is a steady professional, well accustomed to the pressures of time, expert at last minute changes. He is relatively new at the anchorman position, however.

He succeeded the famed HuntleyBrinkley team in August of 1971 after Chet Huntley retired. Although Brinkley remains on the Nightly News intoning commentaries Tues· day through Saturday, Chancellor has imparted to the NBC Nightly News a tone of professional so· briety unlike the informal, often caustic delivery of his predecessors.

In the Nielson ratings, Chancellor is the man in the middle, sandwiched between front-running Walter Cronkite of CBS and the Smith-Reasoner team at ABC. "We've been tailgating Cronkite for over a year now," he comments, "and I hope to catch him."

Some critics feel t hat Chancellor's straightforward and often formal newscasting style p resents an obstacle to catching Cronkite. "I'm

accused of being much too dure and professorial," he admits, yet he claims that most of the news these days requires serious treatment.

Besides, he is a reporter, not a performer. "I think the news is important," he says. ''I'm just the channel for it."

The Nightly Neu•s staff approves of Chancellor's choice of style and believes that in time it will prove effective in attracting viewers. Chancellor has only been the solo anchorman for a little over a year. "It takes a long time to build trust and con· fidence ... he says. "We're trying to build that way, and in a few years I hope it will work, that we will have the biggest audience. But the second biggest audience isn't bad."

If Chancellor's on-the-air demeanor gives the impression that he knows what he is talking about, it is because he writes much of the news he reads. He is the chief writer for the program. "Most of the important work has been done by the time I get into the studio," he says. "Assembling the news, deciding on it, writing it and reporting it interest me more than performing it on the air."

Chancellor's dedication to the news has developed over the years since he took his first job with a newspaper. Born in Chicago in 1927, he left DePaul Academy at the age of 15 to work at odd jobs until the outbreak of World War II, when he enlisted in the Army as a public relations specialist. After his discharge and a brief stay at the University of Illinois, he started work as a copyboy for the Chicago Sun-Times. He rose quickly-through the ranks, and by 1949 had become a feature writer with a beat extending across the U.S. and Canada. It wasn't long before his work attracted the attention of the NBC-affiliated TV station in Chicago, WNBQ. Chancellor joined WNBQ in 1950 and quickly established a reputation for intrepid reporting. He responded to police radio calls in an unmarked car equipped with a flashing red light and a siren, and could thus beat most other reporters to the scene of a news event. In 1955, he lay face down on the street in the midst of a Chicago gun battle to tape-record the capture of a murderer. For this effort he won the Sigma Delta Chi award for outstanding reporting.

By 1956, his reporting skill was landing him NBC assignments of national importance. He covered the p residen tial campaign that year, including the Chicago and San Fran· cisco conventions. NBC sen t him to Litt le Rock, Ark a nsas, to cover the openin g of a newly-desegregated high sch ool. H e ended up s taying for eight weeks w h en racial violence erup ted t h ere.

., Volume seven, number two

Chancellor's success with domestic stories caught the eye of the NBC bosses, who assigned him to the NBC Vienna bureau in 1958. It was the first of a series of overseas assignments that would span 12 years, and would culminate in his designation as chief of the NBC team that accompanied President Nixon on his Russia and China trips in 1971. From Vienna he was transferred to London, traveled around the Mediterranean Sea directing David Brinkley's "Our Man in the Mediterranean", and in 1960 covered the trial of U-2 pilot Gary Powers from the Moscow bureau.

That same year he covered the American presidential campaign and election. He won the reputation of "Iron Man" from his NBC colleagues during this assignment when, while waiting for John Kennedy to arrive in Hyannis to make his victory statement, he talked on the air for 90 minutes without a break.

About that time NBC was remodeling the Today show, their e-arly morning program, and putting it under the auspices of the news department. "Iron Man¡¡ Chancellor was called on to become the Today host, a coveted assignment but one that he was reluctant to take. His first love was still reporting, and he itched to get back.

He got his chance after hosting Today for a year. NBC made him chief of its Brussels bureau, where he covered the European Common Market. He happily filed stories from Europe and at home until 1965.

At one point, his wit turned a potentially embarrassing scene into a classic TV report. As a floorman for the 1964 Republican Convention, he was accosted in the middle of a report by a sergeant-at-arms who was attempting to clear the aisles. "It's awfully hard to remain dignified at a time like this," he reported as the

man hustled him off the floor before a national television audience. His adlibbed conclusion:' 'This is John Chancellor, somewhere in custody.''

Lyndon Johnson appointed him director of the Voice of America in 1965-he was the first working journalist to be so honored. But by 1967 he was back at NBC reporting on a wide variety of stories: the 1972 elections, Apollo space flights and therecent Senate Watergate hearings.

These posts with NBC have not only enabled him to see a good deal of the world (he loves to travel), but have also made him an extremely valuable member of the NBC News organization. NBC spent over $150,000 a year shuttling him back and forth between Washington and New York from 1970 until this year ("Indulging my habits," as he puts it). In Washington he spent time with his family and maintained his contacts and friendships with government people ("You shouldn't write about people without knowing them," he believes) four days each week, and spent the other three days working at NBC headquarters in New York.

He grew weary of weekly commuting, however, so recently he moved to New York, where he can be seen bicycling in Central Park and is trying to develop a circle of friends outside of broadcasting.

Making the transition from field reporter to anchorman required considerable adjustment. "I was scared to death when I began," he recalls, "but I have a little more confidence in myself now. I feel less foolish doing the news." He finds it emotionally helpful to visualize his audience not in terms of millions but as one or two people gathered around a TV set.

The transition from legman to desk man evokes ambivalent feelings from him. "Having traveled a lot all my life I genuinely miss it. But, on

the other hand, I'm forty-six years old, and your legs begin to go after a while. And your enthusiasm for the fray lessens a bit. But I'm not going to be an anchorman forever. I'll probably get back to some limited kind of traveling in ten years or so."

Through his career in the news business, Chancellor has witnessed, written, and reported a lot of news, and he says it tends to lose its luster every once in a while. "The news is episodic-much of it is the same," he comments. "It's a cycle of disasters and floods and government upheavals and things like that." He worries that his on-the-air performance might become too routine.

There are good nights and bad nights. "A friend of mine watches the show occasionally, and sometimes he calls up afterwards and says, 'Boy, you were terrible tonight.

You were just reading it. You were bored by it and therefore all of us were bored by it.¡ But he adds that nights like those have been rare in the recent climate of Watergate and the Middle East War. One night last month, after Nixon fired Watergate Special Prosecutor Archibald Cox, Chancellor opened the show saying that in his 23 years as a reporter he'd never seen such an extraordinary news day. Such major developments help to keep his interest up. "I hope to keep my enthusiasm for the news while I'm in this job," he says. "That's an important element. If you believe in it, think it's important, it comes across better and is more meaningful to people."

His years as a political reporter (he has covered every presidential election since 1952) have convinced him that the press plays a vital intermediary role between the government and the public.

He points out that the government has learned to use the press to its own advantage. For example, re-

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November25,1973l 4

leasing bad news at a. time when it may well go unnoticed: "Sometimes, I think, a Saturday afternoon in August isn't a bad time to put out a piece of news you have to put out but don't want to put out. If it's a little embarrassing, you issue a typewritten statement-you just give it to the reporters and don't take any questions.

"The announcement of the President's compromise on the secret White House tapes, which he took back the following Monday, came out at 8: 15 on a Friday night. I've heard it said that was a deliberate attempt by the White House to keep it off the nightly news programs.

"But I don't agree with that. I think that in many instances, particularly now in the White House, they are having meetings and checking with people and deciding what they're going to do, and they just get the news out when they can."

Still, he admits that the government can and does try to manage the news. "The media-national and local-are manipulated to a very considerable extent," he claims. "And to a considerable extent we're passive, much more than people realize. The way the game of government and citizenship is played in this country, I think we probably ought not to be other than passive in transmitting what the government wants transmitted. Where I think the American press doesn't do a good enough job is ) in following up and asking ouestions.

"In other words, I see the press as two tracks. One, if the President says something, he's got to have an avenue of saying that to the peopleany government has to. But then we ought to question that, put it to all kinds of tests. That's the other side of the press.''

In the wake of the Washington Post's investigative reporting which broke the Watergate story, however, Chancellor expresses his discontent

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Volume seven, number two I November 25,19731 5

with the passive role his news program takes. The first editor of the Chicago Sun-Times , he says, back about a hundred years ago, defined the role of a newspaper as follows: "A newspaper should print the news and raise hell." "I wish we did a little more hell-raising," he continues. .. And I'd love to speak more conversationally, as we would speak among· ourselves in the newsroom. But I'm not certain that people are ready to get their news that way. Because we go to too many of them, people of all different kinds of persuasions around ,_, the country. What I try to do is find some reasonable way to speak to all of them. Very often , in stories about Nixon. or in stories about Agnew, you're going to offend some of them and you know it, but you have to say it anyway.·· Chancellor is sensitive about offending his viewers, and usually refrains from adding his own sentiments to a story. He often passes up chances to inject a little humor into the news. Recently, however, he prefaced a story about a UFO siting in Mississipppi with the line:"A lot of funny things have happened in Mississippi at night." "I got in awful trouble for that one," he recalls, "A lot of people in Mississippi got angry. I was saddened by it." Saddened because he feels that if the news media respond to criticism like that by becoming too cautious, they tend to dull their language. .)

But Chancellor believes that an anchorman has a responsibility to remain objective. He tries not to take sides in the news, and does not often comment on the air. These are selfimposed limitations on his newscasting, and in this respect he sees himself similar to Walter Cronkite.

"Brinkley says outrageous things for us, and Sevareid does commentary for CBS. But Walter and I try to stay out of the direct commenting thing, unless we feel that it's some-

,J

thing we ought to say, something really strong. We've always had that right, and used it."

On the air, Chancellor thinks of himself as a newscaster and nothing more. Some media commentators have attributed Cronkite's appeal to his reassuring, almost grandfatherly presence which seems to assure his viewers that the world is still safe.

But Chancellor is not an 'anchorman philosopher'. "There's a danger in this business of puffing yourself up and believing that what you say is important," he says. To him, broadcast journalism is a craft, not a profession. "It's a little bit like plumbing or carpentry. And since I don't think we ought to have a plumber philosopher or a carpenter philosopher, I don't think we should have an anchorman philosopher, either. " So he remains steadfastly dedicated to the news-his unembellished, serious news manner will continue to draw the criticism that he is too "dure" and professorial. But Chancellor and the staff of the Nightly News think that his straightforward style will win him the trust of an increasing audience and perhaps in time put him on top in the Nielson ratings. But credibility comes first.

"What I believe is that no communication, no work in journalism, is useful unless it is believed." 0

A Nightly News Day Producing the Nightly News every weekday night becomes a continuing battle against time. News happens 24 hours a day, but the program last only 25 minutes (after commercials), long enough to broadcast about the number of words of two-thirds of an average newspaper page. It is the work of 12 Nightly News staffers t:<> distill the da(s most important events into a concise broadcast. Here 1s how they do It: 11:00 The conference call.Executive Producer Les Crystal and his associate producers confer with NBC's news bureaus across the t'Oun~ry­ Chicago, Los Angeles, Washington. Each bureau reports the maJOr news events in its area and details the number of camera Ci'ews and correspondents available for assignment. When the conference call ends the producers have a good idea what film reports will~ ready by evening and which regional stories demand further attention. .

11:30-3:00 Foreign bureaus check in by telephone. Overseas stones are assigned. Lunch. . .1:00 The "rundown'' meeting. The producers assemble to reVIew the day's news and how it is being covered. They judge the importance of each news item, assign times (usually between 10 seconds and three minutes) and determine the order for broadcast.

3:45 The ~down meeting produces a preliminary time budget-a rough outline of the show. Chancellor gathers the wire-service copy, studies it, and prepares to write.

5:00 "Feeds" -film reports from the bureaus-begin to come in over the two TV monitors in the newsroom. The left screen carries domestic feeds sent by cable or microwave, the right international feeds sent by satellite. Associate Producer Joe Angotti watches each feed and decides whether changes need to be made. If so, the feed is repeated (most feeds are broadcast live from a studio and recorded on video tape in New York). .

5:30 The news writing team sets to work -Chancellor at the comer desk, Editor Sandy Goodman and Senior Editor Gil Millstein at adjoining ones. Copy from their typewriters is passed to the producers for checking, then to a production assistant for cues and timing (each news item is read at Chancellor speed and timed by stopwatch.)

5: 5•5The news is written. The tension eases at the writers' end, but continues for the producers. Chancellor gets his shoes shined. Feeds continue to come in. . .

6:20 Chancellor leaves the newsroom with his still-incomplete scnpt.

The original of the script is tested on the TelePrompter, and the studio is ready.

6:25 In the newsroom, final timing of the script continues. The missing pages are delivered to the studio by runner.

6:29 In the control room, a director, producer and production assistant scramble to re-order the news sequence to cover for an overseas feed that bas not come in. Chancellor is notified by intercom.

6: 3Q The show begins. It is fed live to many areas of the country, but is taped to be broadcast at 7:00 in New York and elsewhere. The control room crew count seconds, give cues, flip switches.

6:59 Despite last-minute changes, the show falls short of precision by only five seconds. Chancellor: "Good night for NBC News." 0

TV OR NOT TV: Firesign is the question An Interview with Proctor and Bergman

by Richard Hall.

Philip Proctor and Peter Bergman have marketed craziness - successfully-for the last seven years.

Graduates [ '62 and '61 )from a Yale that required jackets and ties in class and at dinner, the two nevertheless created two-fourths of a comedy phenomenon known as Fire sign Theater. Firesign Theater [all four of them have astrological fire signs] was born in the counter culture of the LB./years, beginning as Radio Free Oz, on a Los Angeles radio station where they would "show movies" over the radio, very much in the tradition of the "Lone Ranger" and the " Green Hornet" radio shows.

Firesign soon became distinctive for a peculiar multi-level humor with cinematic qualities, trafficking in discontinuity and free association.

Their style is systematic madness - it takes off from the mundane and delivers the listener to the nether regions of pure fantasy with everpresent plays on language and sound: situational humor, like a high school principal addressing the student body, a new car with environmental options, or a futuristic pay television station where distinctions between video and libidinal impulses crumble.

Firesign albums - their first five collectively have sold a million copies - haue not played to counter culture audiences as much as they have helped shape that counter culture-a contention suggested by daily language, where there are as many expressions that originated with the Theater as there are from, say, a Shakespeare play. Which makes sense, since two of Firesign were once Shakespearean actorsBergman was not, but he did invent the phrase " love-in": "I was working for a listener-sponsored radio station where nobody gets paid. So I decided to sell something over the radio and I invented the 'love-in kit'. That's also where the word 'kit' originated."

Proctor and Bergman came to Yale November 9 after shooting their first movie short in three days. Their concert at Sprague Hall resumed a nationwide promotion tour of their first non-firesign album, TV OR NOT TV, before a riotous, dopedrenched audience. They had played Yale before [as Firesign at Woolsey Hall] in the late sixties when their appeal was greatest. "The stage was so high , "says Proctor," I thought we were going to be guillotined. " Those days are gone. Though they are touring separately, they insist that the group hasn't split up, but that they all just needed a rest from each other. The other two members of the group, Phil Austin and David Ossman, don't like to tour as much, and, after all, Proctor and Bergman did go to Yale together.

The Yale half of Fire sign is a likely pair; they met, so the releases go, under the stage of the Yale Dramat in 1959. Although they were merely "professional acquaintances" then, their years at Yale created a bond between them. Proctor was Pundit and a Scroll and Key man, Bergman a former managing editor of theYale Record .

They have been anxious to develop a new format for a visual show, and their effort was evident during their performance at Yale.

The largely audial-centered Firesign touch that made them famous was missing. On stage, Proctor, in a pink frilled shirt, mugged it for sight gags; Bergman, with a maniacal grin, punned relentlessly. In the midst of experimentation, they tried new stuff, reworking material off their TV OR NOT TV album into a tight visual show. The audience, anxious to see it work, responded enthusiastically at first, heckling with lines off old Firesign albums, dressed up as the "Bozo" and "Bosco" heroes of some earlier theater fantasies. They were patient with the sltow 's weak transitions, thrilled with the visual

puns that corresponded to the verbal ones, hissed anti-feminist material, and cheered suggestions of old Firesign flashes. The show was only a moderate success. Proctor and Bergman alone aren't Firesign, nor did they try to be.

They have grown with their public. Gone are the great counter culture audiences; submerged, perhaps, in the greater slick commercialism that has infested all spectacles in the media today.

Knowing that they have to keep moving with the times, Proctor and Bergman are show biz pros now, not freaky kids. They have families, agents, contract negotiations. One of them lives in BeverbJ Hills. They're talking about doing a TV series next season, about guest appearances on the Helen Reddy Show ("she's so nice, "says Bergman, with a ¡wave of his hand one only sees in the thick of Hollywoodj. They refuse to put down Cheech and Chong: "Great guys."

Along with this commercial matur.. ity, one notices a desire for reflection, self-evaluation and nostalgia for their days at Yale- the days when one of their friends appeared as Jesus during the freshman riots; when Bergman pulled pranks on senior society tap night by chaining the entrances to the colleges [Did I really do that?"]; when Proctor, who was working as a bursary student for Yale Reports, spliced together one great report featuring the coughs, throat clearings, gutterals, and sneezes of celebrities who came to Yale.

There have been traces of Yale in the Firesign albums through the years as welL Nick Danger (from "How Can You Be in Two Places at Once When You're Not Anywhere at All'1 has an "old campus sweetheart". In TV OR NOT TV, one routine invokes secret Scroll and Key terminology that nobody else would understand. But beyond these instances lies the claim that Yale had a

Volume seven, number two I November25,1973l 7

greater philosophic effect on Firesign humor over the years. "We represent a Yale frontal attack on humor," they say. They love to talk about Yale. They love to talk. If they hadn't met at Yale, Firesign would never have been:

was producing a show at the time and Ossman was a recently fired station manager. We did an improvisation on the air called "The Oz Film "Festival", showing movies on the air. Everybody believed all the characters that we portrayed, so that's how we got started.

Bergman: Proctor and I have a conP: It's interesting. Bergman and I nection through Yale. And that's a have been doing Firesign Theater for tremendous connection. We work well as a team because we have simi- seven years and we've been doing double for about a year now. They're lar tastes. equal forms. Even me as a single Proctor: I sat down one evening actor, I've done some stuff as a in California on a picture of Peter single actor, and I'm influenced by Bergman that was in the Free Press.

Firesign Theater. That's because ' It said,"KPFK newsman Peter we're doing our own work. We're like Bergman interviews, you know, singers, musicians. We're singing Marvin Chomsky dressed as a solour comedy. Like Peter Cook and dier on the Strip during the riots.

Dudley Moore. We saw them in New Bergman: It was a kid wearing a York. They're like musicians. marine jacket. He was one of the Everything connects to a hero. first people to put on army clothes as Because life is sequential. The way streetwear. And he was being thrown we relate to things is on a multi-level in jail as being a marine out of basis. The Firesign Theater magic uniform. Proctor: This was the first comes out of the relationship of four indication I had that Peter was there men who.. .B: are radically differwhen I was in Los Angeles. So I got ent...P: are radically different and in touch with him. I was writing for a paper called the East Village Other yet have enough edge on their personalities that they tend to apprecithen, just for the fun of it, funny ate someone else's attitude or vision material. I called Peter and he said, of something.

"Yeah, I do a show every night on The Firesign Theater 1s not so KPFK, Radio Free Oz." I said~ much a theater as it is a combination "Yeah, I've heard about that. ¡â&#x20AC;˘ He said, "Why don't you come on down of people and talents. I've always and we'll talk." And we talked about had my own private attitudes about it. I even have my own private attiYale first thing. tudes about our relationship. I'm Then we started to do improvisaonly myself; I'm not my brother's tions. B: That's true. That was real keeper. Therefore, if I'm pleased Firesign Theater, wasn 't it? " P: Peter was doing a theater of learn- with the expression of art that I'm involved in (this is only one aspect of ing on the air. He was using arcane my life), then what more satisfaction subjects like astrology, tarot. do I require? Not just on the artistic B: Indian mysticism. P : It was level, but on the level of my life. Can really far-out stuff. It was very I support myself? Am I comfortable? enlightening and very interesting.

Do I like traveling? Can I stand the Peter also created the word "lovestrain away from my wife? Do I in." All of the first love-ins in Calienjoy getting together to get creafornia, or most of them, are contive ideas together? People that we nected with John Carpenter and meet contribute to what we do. It's Peter Bergman. an artistic situation. Can we appear Peter introduced me to Phil in public? Can we appear on televiAustin and Dave Ossman. Austin

sion and do the things that we do and divorced, lost friends and gained and perhaps enlighten other people friends, made money and lost who may not be aware of the sort of money-all those things that happen intellectual hard core comedy we're to you-we have maintained among involved in? What you were talking ourselves a sort of loving attitude about... the records are multi-level that has to do with the joy that and deep and they do seem to teach we get out of creating together and many things. I find it exciting and making material that, when it really enlightening only because I find it works for us, we hope will influence a creatively satisfying. Otherwise I large audience. wouldn't want to be around it.

P: When we first did Firesign When the projects that Firesign Theater, we really didn't have in Theater was involved in became too mind any audience at all. To this much of an emotional strain on me day, we don't really have an audience:> for various personality reasons, I, in mind when we do the Firesign like the rest of the group, had to Theater material. B: We just please leave the group and find some other each other. P: Right, we just please alternative until we had cooled out each other. We are the school, we sufficiently to be able to relate to one are the audience, it is the language another again. When you're together between us. It has its own unique for seven or eight years, it is inevimagic. table...B: Changes happen. P: Just B: Firesign Theater really hasn't like a family. You're together and changed that much. P: Not really. then Sissy grows up and Big Brother Our next record, you'll see, is a blend is in a fatal automobile accident, of what we've done before in a sort of Charlie has a terrible affair, scandalNick Dangeresque form. The only thing that I can see is happening, ized in the papers, Father divorces Mother. All those things happen in what Peter and I ate certainly aware the normal life of individual men and of, is that it's becoming a little more cinematic. It's inevitable for the women. And when they're working Firesign Theater to make a movie. together in alliance, there has to be a professional attitude that holds the Peter and I are making movies now. thing together. We are very sensitive B: We just finished making a movie personalities, and when it isn't work- now. P: Yes, just yesterday. Today. ing personally for us, we just can't Hey, it's still today. work together. We have had several How do we create our material? sabbaticals since we've been togethWell, we plan it. We do planet. Daily er, and the difficulty has always been planet. Actually, we worked together that the Firesign Theater would hold on a fairly ritualistic basis. We would to the form of work as the only thing say: OK. we'll define a goal we want that could keep life and limb togethto accomplish. we Y..ill commit ourer. In other words, the focus was the selves to the project. and we will Firesign Theater. It was everything. create a source of income to sustain If the Firesign Theater didn't the project. Let's say it's a Columbia exist, there was nothing. That was record. OK. Get a project number cause for great emotional anxiety, and ask for an advance in a certain much of it ill-founded. Whenever one amount, plan our studio time, where member or a combination of memwe're going to do it, plan the piece, bers wanted to do something by and decide how much time we want themselves, the other members to give ourselves to create it. would balk at this and hold to it Now those are all pretty mature like a love affair. And I think as determinations, and some artists we've grown and matured, married don't work that way at all. Some

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Volum/seven, number two 1 November 25,19731 8

artists work on a slow basis, with no real schedule, but this is the way

enlightening to me in regard to the things that I wanted to do. I took the Firesign does it because there a lot of philosophy courses, political are four personal lives involved. So philosophy, Shakespearean courses, we come together, we put our minds literary courses, language courses (I to it, we enjoy the project, what spoke French and Russian because of comes out of it comes out of it, we a lot of training I had earlier than create it, we put it on the record, Yale). we listen to it, make determinations In extracurricular activities, I did and judgments about the design of singing and theater more than anythe cover and it comes out. If it's thing else, and it was a great school not that, it's a movie, a radio show for me in that regard. The thing I for a week or twelve weeks or fifteen had felt about schools was that they weeks, and that involves making never taught the skills, they never discs that we can put out to people if taught, they never trained the brain. it's funny. So each project has its They drained the brain, but they parameters. Proctor and Bergman do didn't train the brain. It was like the same thing. demanding things of you they dido 't Dave Ossman just put out an instruct you to perform. You can album called "How Time Flies", in teach memory courses, you can teach which Peter and I and the rest of the self-hypnosis, you can teach lanFiresign Theater appear. I think guage courses in new ways. B: Unithere are more multiple projects in versities and colleges teach you to be the offing for the Firesign Theater, teachers, not learners. P: Yes, they because that's what splitting up for a teach you to be teachers. B: They've while was about. Can we as individlearned how to learn and they pass uals, now that we've proved that on those techniques. Some people there's a Firesign Theater, do things stay here and become teachers; other on our own? Can we still come people go off and become other together in different combinations things. You look back at your Yale and create art? And what will it be experience and you say, "Well, I like? What'll happen if Bergman and learned how to be a teacher, I learned Proctor get together? What'll haphow to do research, I learned how to pen if Bergman and Ossman get use a library." P: Yeah, school of together? What'll happen if Proctor intellect as opposed to school of and Ossman get together? What'll mind. B: Yes, it's not a school of happen if Bergman and Ossman and mind.

Proctor get together? What'll hapP: A school is an environment pen if Proctor and Bergman and that people come to, it's like a little Ossman and Austin get together on city. B: That's why they should a project by Proctor and Bergman? make it as unrestricted as possible, See. This is the kind of thing that because it is an environment. P: we're investigating. We hope it'll be Yeah, right. But when it was restrictmore fascinating. ed, people still had to respond. The I liked creative work at the stakes were high. The people still Dramat, the Drama School, would respond in terms of their own theater...Theater was the thing that nature. Some people repressed their I was most interested in. It was nature so horribly that they selfone of the things which helped keep destructed. me sane during the Yale period, B: The first day here I realized because you know there are lots of that it was not what I had imagined pressures when you're in school. I it to be, because YALE was this tried to choose courses that were four-letter word that was this

thing-it had to be perfect, or at least it had to be incredible. And I got here and it was Yale, a set of buildings and people. You know, it was just life.

I have a double feeling about Yale. I '11 always return to it. I'll return to it for the rest of my life.

P: Schizophrenic! B: Yes, truly schizophrenic. At one point, it was a lot of hate-there were no girls, it was totally organized- I felt trapped. But at the same time I really dug the fact that I was at Yale.

At some point, I was purely what you would call a snob. But being a snob was underapprr:iated. If you find a place that's cqmfortable and safe for you, then y~u can be accused of being a snob. Bu you just go to where you're safe, ou know. I felt so safe here I stayea six years. I couldn't leave. ' I think one of the things Yale teaches you just l}Y its environment is that. it gives you a chance to feel what it's like to ~e successful. This building is successful. Yale is successful. P: This room is successful.

B: You can get in touch immediately with large architecture, large goals, large ideas. There's no doubt about it. That's what you're rubbing up against. No matter what you want to do, be a lawyer for the poor, you've spent four years touching up against that much wealth, that much success. The discipline, too. It's all around you.

Proctor and I represent a sort of Yale frontal attack on creating a new comedy. It's Yale in that it's rather fearless, courageous, macho in a sophisticated sort of way, and sophomoric and collegiate like the other side of Yale is. It's very vulnerable and kiddish, and it's not hard-edged.

Yale is not hard-sell. When was the last time anyone came around here since you've been in and put any kind of pressure on you? They really treat you like a member of the select family.

I was thinking big when I left here, and I'm sure Proctor was.

P: Sure. B: I didn't know what I wanted to do. I had rejected being a Supreme Court Justice. I looked at all those things, you know. I didn't want to become the chief rabbi.

I toyed with all these things, but I left Yale not knowing where I was going. I only knew that something was going to happen. ¡ P: Even my secret society, Scroll ¡ and Key, had that kind of effect on me. There were certain nights, Thursday and Sun~ay nights, you were supposed to meet, and I just couldn't be there. Now you know it was the tradition that you were there. Somebody would disappear from a certain function because they had to be there. But it was more important to me to be at a rehearsal for something that I was. doing than it was to be involved in that other activity. So I drew a solar plexus strain, a nervous strain during that time, because poomp! there was a commitment to this thing that had certain regulations and foum! there was the instinct of my heart, my mind, my feeling, and my spirit that wanted to be somewhere else expressing itself another way. And I made those choices and was responsible for them.

Again, that's why I say, Yale tempered a lot of the attitudes that I have now, that I've expressed in humor. I saw a lot of things at Yale. They were quite clear and really much like what was happening on the outside at that time. But on a smaller scale, a scale that was a little easier to comprehend. And it was certainly a family feeling that welcomed us here, which is why I think it's so fascinating that you have now more of a universal family in Yale itself. It seems to be a warm and friendly place, a friendly school, and the kind of openness that exists now is much more real than the kind of fellowship that existed when we

Volume seven, number two

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November 25,19731 9

were at Yale. But fellowship was also real. Maybe it had to be at a cocktail party. B: Remember? It was all males. P: Sure. All males. There were strange ways for men to get together. But they were humanly, in the heart and the mind, as real as anything could be. If they weren't real, they weren't real because the friendships weren't there. Women ¡ were out of it. They just didn't exist.

Yale represented then, as it probably does now, a microcosm of the world outside, and it was still a very gray-flannel world at that time. It was useless. B: It had no hippies.

P: No hippies, hipless pants, and buttons in the back. B: Just before the change.

I had my first joint sophomore year from Eddie Kramer, Class of '62. P: Eddie Kramer, right, and the first man in my class to die. B: Right, flew into a mountain in a plane. Chilean Airlines, or something like that. Remember Eddie Kramer?

He was with Ginsberg in Europe, he brought back some Nepalese grass. It was in freshman quad. I was already a sophomore, and I went over to visit him.

I went up to his room and he showed me this book with pictures of Ginsberg and all these other people.

I vaguely knew who they were. He said, "Here's this grass I brought back from Nepal." He rolled up a J and I took two or three tokes.

P: You didn't call them tokes or a J then, did you? B: No, no. I didn't toke on a nice J. I think he had this cigarette-looking thing... It was thin and it was white cigarette paper, and it was unrolled. It was obviously a hand-rolled cigarette. I smoked on it two or three times and nothing happened. Had it, I have since thought, my entire life would have changed. P: But your life wasn't ready to change. B: No, it wasn't.

P: I smoked marijuana several times before it had an effect on me

that was important in my life. That was because the time at which it became important to me, it was introduced to me by a man who became my friend. Really, more than a man, it was Brandon Dewilde, who was an actor and who recently died.

We became very close. I was understudying Brandon in a Broadway show.

All this happened because I came to Yale to become involved in the Drama School, which turned out to be a stiff. Instead, the Dramat happened. In the Dramat in '62 were Austin Pendleton, who was in Peter's class, and Skip Hennett, and Sam W aterston, and Tom Liggenn and Billy Hennett B: and Peter Hunt P: Peter Hunt, actor, lighting man, talented director, and many, many talented people who were just there.

Peter and I knew each other at Yale because Peter used to work with Austin Pendleton in writing Tom Jones and Brewster's Back in Town.

We were not friends, we were professional associates. B: Professional acquaintances. P: Peter was involved in politics on the campus at that time, and I didn't really relate to this very well. I had been to the Soviet Union and I kind of had a human feeling about politics ...

I always wanted to be in the theater. The only reason I came to Yale was because of the Yale Drama School. But it was like the dinosaurs: it was the end of an era. The techniques they were teaching, the manner in which they were teaching them, the staff, although they were dedicated to the theater, they were representative of the theater of another century.

The acting classes, I remember, consisted of tearing the ego of the individual artist down to the bare bones and then teaching technique from that. B: The dead man , yes. P: ''Now you read this way, and you pronounce this way, and you create

this way." What was interesting about that, and what made that work in spite of its limitation, was the same thing that I found exciting about Yale when I was here.

The rules that were supposed to govern your behavior were in many instances so inhuman and ludicrous that the individuals who chose to fight against them became quite creative.

When I was at Yale, there were many absurd experiences. Was I crazy? No, I was in theater. B, mimicking: "I wasn't crazy, I was in theater." P:I was around girls, and I had relationships of my own, and I was proud of them because I felt they were real and important to my life. So I used to walk girls into Trumbull right under the eyes of these campus cops, the CC, an~ they never even saw it, because I refused to live by the arbitrary rules. I thought it was ludicrous, a game. If I had ever been called on it, I would have gone the limit to reveal the absurdity of the situation.

But funny things happened while I was at Yale. There was one night when I came back from a rehearsal at the Dramat and was walking along the street towards Trumbull and I saw a roommate of mine wearing a turtle shell on his head and on top of it was a candle which was lit and burning. This was Clyde. Walking about ten feet behind him wearing the hat and suit which they always wore was a campus policeman, trailing him. I said, "Hi, Clyde. What happened? What's going on?" He said, "My girl is pregnant and I'm celebrating. I'm going to get married." He was living with this girl on weekends (and sometimes during the week) in the room with the three of us in Trumbull. He'd sneak her in in various ways. She was a smart girl.

I had constructed this thing called a 'room at the top'. I don't know if you still have those double-decker

beds or not. Anyway, I had taken a bed cover and hung it over the frame so that there was a nice little private kind of a tent at the top and then I put one at the bottom for my friend from Africa, from Johannesburg.

He's a poet now, he's writing poetry.

I've run into him a couple of times in California.

In any event, that was happening.

The other guy was down the hall in this complex (I later had my own room in Trumbull) and he was a ¡ thief. His father was a famous American composer, but he was a kind of kleptomaniac, but in a humorous way. He was another kind of crazy, drop-out person. I mean he used to go steal plastic Jesuses from the dashboards of cars and he'd line them up on our fireplace mantle.

Some of them glowed in the dark.

The other guy who was in there was an electronics genius. This was all in like '61, '62. He rigged the entire room for sound, so we could do all our phone calls over stereo speak¡ ers, and he constructed a light in the center of the room. He meticulously drilled a hole through a large brandy snifter, filled it with crushed auto glass from a shatterproof window and put little lights in it, running an invisible wire through it with a pulsator. Incredible! And this was before drugs. This was purely an attitude of life, and it existed like a flower grows in pavement, in the mystic gray walls of Yale at that time. All the things that people did in their sexual and social behavior were kind of absurd explosions of erratic repressed behavior patterns, and they were all very amusing in their own way and very horrifying on another level. But, in essence, it was as free a community as you wanted to make it. 0

Richard Hall, a senior in Silliman, was co-founder and editor of the Yale Daily News Magazine.

On the campaign trail with Oedipus Rep

by Michael Jacobson.

.•

John Mitchell would not like Watergate Classics (or, The Bug Stops Here).

Not because he would feel that Yale Repertory Theatre Director Robert Brustein is assaulting a pub· lie long ago wearied by Johnny Car· son's Watergate monologues. Not simply because he would resent be· ing cast as the Tinman in Ouer the Rainbow. The once-Attorney Gen· eral'would object that Brustein and his fellow playwrights are attribut· ing too much significance to the W a· tergate Affair. After all, comparing Nixon's problems to those of Oedi· pus Rex? Is that fair to either of them?

Mitchell's knocks notwithstand· ing, the Rep's approach to "Classics" penetrates beyond topical humor.

The revue's creators explore on stage the parallels between theWatergate fiasco- a contemporary tragedyand episodes from classic drama by Shakespeare, Sophocles and Beckett.

Brustein and his Rep colleagues hope that th~ presumably non-partisan classic dramatists will help them to plumb the moral depths of theWatergate Affair.

The idea to produce a Watergate revue based on the classics first occurred to Brustein last year during a leave spent traveling in Greece, retracing Oedipus' journey to Delphi.

The news of the implication of Haldeman and Ehrlichman had just bro· ken, drawing Nixon into theWatergate investigation, and Brustein was struck by the parallel between Nixon and Oedipus. He set down his ideas in an article called "Nixon on the road to Delphi, " and later gave them dramatic form in a play called Oedipus Nix. Back in the States, Brustein suggested the revue idea to Rep mem· hers Jonathan Marks and Jeremy Geidt, who co-produced a Watergate spoof at the Yale Cabaret last spring.

Marks and Geidt enthusiastically set about writing Sam Ervin into Shakespeare, resulting in a playlet called "Samlet." By fall, the revue had grown to include contributions

by Lonnie Carter, Art Buchwald and Jules Feiffer.

To direct the production, Brustein called on Isaiah Sheffer, a man with numerous film, television and stage productions to his credit. Sheffer agreed readily. "I was interested in this play because of the central idea, .. he explains. "It was not just to have a Watergate cabaret, but to use certain classics, which we have all grown up with, to make some sense out of what is happening."

While to some using the classics to show what is universal about Watergate may seem to echo the Republican protest "But everyone does it!", "Classics" does not apolo-

gize for Nixon. Rather, it seeks to put the Watergate tragedy in the dramatic context of Sophocles or Beckett to give l&Fger meaning to the acts of "a few overzealous men."

The classics provide an appropriate vehicle for this task precisely because they address questions which have persistently plagued mankind. Brustein's "Oedipus Nix", for example, draws from the Sophoclean play whose central character lacks the insight to realize that he is the source of corruption in his own kingdom.

Obviously, the entertainment value of the production profits from popular familiarity with the classics (and with the cast of Watergate heros and villians as well). Yet it is debatable whether the classics themselves are in any way enhanced by their topical interpretations. The creators of "Classics" are quick to point out, however, that it is not their purpose to "blaspheme" the plays from which they have drawn.

As Geidt puts it, "How can you blaspheme the classics? They have been plumbed for new material ever since they've become classics."

"We are not trying to screw up the classics but to make .,.,.,"""•.u.._

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political use out of them," adds Sheffer. Many of the plays from which the Rep has drawn are in themselves deeply political: Oedipus Rex, Agamemnon, Hamlet. In each case, the creators have tried to remain true to the spirit of the original version. "Samlet", says Marks, is actually a validation of Hamlet's classical thought. "It's probably the type of thing Shakespeare had in mind all along," he comments. "He just didn't get the newspapers."

Perhaps Shakespeare was lucky that he didn't. For every form of political satire must deal with the problem of topicality: it must keep up with, and in some cases stay a jump ahead of, political events.

With Watergate, that problem is · particularly acute. Since the initial disclosures, events have occurred so rapidly that it is difficult to keep abreast of the latest developments, much less ponder their meaning or joke about them. "Watergate Clas· sics" was conceived during the summer, written this fall, and will run from November 16 through January.

With all that has happened in the past three months alone, an unupdated "Watergate Classics" in (continued on 14

P•.,..,ut.a

Jeremy Geidt and Jonathan Marks' "Samlet".·

,

• On being physician and cancer investigator (A difficult thing to bring off)

by Beverly Kelsey

The best of today's scientific investigators know that they cannot afford to bury their minds in laboratories or live in cubicles with obscure journals. At Yale this old stereotype appears to live in legend only-a notice for a meeting of "The American Society for the Perpetuation of Obscure Journals" is posted facetiously on the bulletin board of Dr. Joseph Bertino, chief of the Yale Medical School's section on oncology, the study and treatment of cancer.

What may be trend elsewhere is already history at Yale's Hunter Clinic: cancer investigators have been, and are, merging pure scientific research with the human and ethical dimensions of science, dealing with public misconceptions, experimenting with human beings under strict guidelines with "informed consent", and becoming deeply committed to doctor-researcher-family interactions.

The misconceptions about cancer extend beyond the science pages of some glossy magazines, which assert there's no present cure for a solitary phenomenon called Cancer (adding, of course, that science is coming close); indeed, Bertino agrees it isn't unusual for a specialist in some other field to think that cancer is more hopeless than, say, kidney transplants.

"People think of cancer as being a disease and that a cure will drop out of the sky," says Bertino.

"What's happening is that we're curing more and more cancer every year. Four or five disseminated (past local stage) cancers, most of them the rapidly growing types, are cured by drugs a percentage of the time: Hodgkin's disease, acute leukemia in children, Choriocarcinoma (cancer of the placenta), Burkitt's lymphoma (in African children), Wilms' tumor (childhood kidney cancer).

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"I think we've got one of the best programs in the country for treating disseminated Hodgkin's. We use a combination of drugs (chemotherapy) and follow that by a low dose of radiation therapy to all kno""'D areas of the disease. Eighty per cent of our disseminated Hodgkin 's patients are in complete remission now, that is, the outlook is for cure.

"We have ten or so patients who are more than two years since beginning the treatment and are now off all therapy. They come in every three to six months just for a checkup."

On the other hand, Bertino asserts, "We're not doing well in lung and colon cancers. Pancreas and stomach cancers are very bad. Liver cancer is unusual but many cancers will spread to the liver, in which case they're very difficult to manage.

Although at present we cannot cure breast cancer with chemotherapy, there's the hope that this might be the next major solid tumor we can do something with significantly in chemotherapy.''

On the subject of common simplification, another section member, Dr. Malcolm Mitchell added, "What we're doing now with our incoming general residents and interns is inculcating the positive attitude that 'cancer' isn't a bad word. It's just another disease, often chronic, sometimes curable. The cancer patient can be very much like a patient with chronic kidney disease, chronic diabetes, or chronic anything, who we follow up for a longer period of time, making his disease better." For him the patients are far from resembling hopeless gargoyles: "We often remind students the patients aren't uniformly dead and dying.''

Ironically, it is the cancer patient who often threatens a physician, Mitchell says. "It isn't so much the problem of how to deal with a cancer patient but the cancer patient himself, just having a patient with cancer. A failure. You know you're not going to cure him, at least you think not.

"Some physicians consistently don't tell their patients the truth.

They'll say they have a benign tumor but it's going to be cured. These are false impressions any way you look at it and we have the odious but necessary task of telling a patient that he has a tumor present in such and such a location. Of course he's scared but he'd rather have specifics than distort things out of proportion.

I won't say it's growing wildly wherever it is but I'll say it's present exactly where it is. I'll also give an element of hope. I'll never say precisely 'you've got a year or six months to live' because I'm working against myself by giving the patient a time.

"Sometimes patients are told that they have severe anemia like an 18 year-old girl I know. She wasn't being told she had a very rapidly growing ovarian tumor. ' Is it malignant?' she asked. I said, 'Well, malignant to you may mean it's all over the body. It's not all over. You have it in your abdomen and liver. ' \\rhen you talk about a malignant tumor to somebody you don't know what visions he has conjured up: it's all over the place, it's eating him up.

In another recent case, Mitchell met with a cancer patient whose wife

,..

told Mitchell in private, "I don't want you to tell him all about his cancer. I'm not sure he can handle it!" So Mitchell asked, "Why do you think that? He seems very reasonable. Can you handle it?" It became obvious she wanted to tell her husband but didn't feel able to because her doctor thought it was a bad idea. "It's been killing me to have to hold this inside myself,'' she said.

According to Mitchell, "The family member or doctor thinks he's sparing the patient but he's always sparing himself. When I finally told the woman how I was going to tell her husband what he's got she said, 'Oh thank heavens, now we can talk about it, the two of us.' " Fortunately, these encounters aren't routine, although they happen more often than the oncologists like.

While community physicians sometimes do offer their patients either unfair despair or unrealistic hope, Bertino notes that it wor:ks both ways. "Some outside physicians are very interested, will talk with us about what we're going to do, and will help the patient evaluate whether it's worthwhile taking the drug or entering the trial. Others refer their patients and then have really no more communication with them. It's just up to us to talk to the patient."

As a discipline, oncology doesn't imply any one specific therapy.

Chemotherapy is one mode but oncologists also use surgery, radio· therapy and the newer immunotherapy. Immunotherapy essentially involves using the host's own immunity to help him defeat the tumor by stimulating this immunity, or giving him immunity from another host who has better immunity.

About ten years ago the oncology section was created by the departments of Pharmacology and Medicine under the rather in~pirational leadership of Dr. Arnold Welch and Dr. Paul Beeson, who understood better than most that the use of drugs in man should mean a very strong input from pharmacology and basic science. No longer a fledgling, the section now has six faculty, five postdoctoral fellows, two research nurses and a physician's assistant.

At least twenty faculty are involved more tangentially.

"The quality of our postdoctoral fellows has been remarkable the last couple of years,·· says Bertino. ''When this was a new discipline in medicine and many schools had no medical oncology sections, all the excitement was in metabolism and infectious disease. Cancer treatment was considered kind of low down. It was a very investigational kind of program. There weren't that many

Volume seven, number two

effective drugs. Sporadically, good people with genuine scientific interest were applying, but in recent years -well, the chief residents are wanting to go into our program."

Bertino looks to the future. "In our proposed new cancer center,we hope to have a cluster of people working together in virology, looking at it from different vantages: we expect t.o have a genetic virologist, a so-called biologic virologist, a phenomena virologist (who examines what happens when a virus infects the cell) and a structural virologist."

Like other medical centers, Yale has chemotherapy clinical trials called Phase 1 and Phase 2 studies.

The first phase, where the problem is toxicity. is to see whether the drug can be used at all and to establish the dosage range. At one time the drug amount was expressed in terms of the body weight for each species; it's now more often expressed in terms of body surface area, so one can calculate dosage from one species to another more easily.

Once the dosage range is established, the investigators go on to find out how effective the drug really is against a certain disease. Thus Phase 2.There are Yale-instigated trials and national group trials in which Yale participates. Yale can either participate in a national trial routinely (the mere injection of an agent in a determined number of subjects) or choose to "extend" the national group trial by further research and development. A 20member committee of the National Cancer Institute acts to encourage more collaboration in the extensive and high-priority clinical trial of compounds. It looks at the results obtained, looks at the protocols (studies with well-defined procedures) drawn up for treatment, makes criticisms and may recommend Federal money for the research.

Along with the surgeons, radiotherapists and a statistician who sit on this particular review committee is Yale's Dr. William Creasy. Creasy is a biochemical pharmacologist who studies plant substances that may chemically inhibit cell division. His area of expertise is the mechanism of action of anti-cancer drugs at the cellular level.

Creasy is almost a Prospero figure, a benign presence in his laboratory island of ferns. He even worked with periwinkles once, those border flowers that don't just crop up in Jane Austen flower beds, but in chemistry labs as well. About 12 years ago an extract of common periwinkle developed in Canada ("at least a foreign variety of this which has larger amounts of drug") was introduced in the Yale clinic for

toxicology studies. This extract Vinblastine, was found useful in tre~ting lymphomas (cancer of the lymph system). "In fact Vinblastine is one of the most useful agents that's available. That and Vincristine which occurs in the same plant.

When I came nothing was known of their pharmacology or biochemistry," Creasey says.

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Toxicity is also very much on Mitchell's mind. Creasey spoke of leukemia studies; Mitchell, besides supervising the bone marrow transplantation program, is extending the

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Research in the lab now involves national trial of the B.C.G. vaccine three different plant drugs isolated (a tuberculin bacillus) to discover elsewhere. It appears, however, that what effect it has on immunologic the ··Mexican Tree Fem"(a smaller function in leukemia patients and version of the 15-20 root plants those with malignant melanoma (a growing like trees in the Vera Cruz dark-pigmented tumor). "There's no region of Mexico) has the best "serevidence that B.C.G. is a cure for endipity quotient" for Creasey. human cancer in spite of some notor"While I was looking for something iety about it elsewhere last year. It's else in a very old issue of Nature, 20 becoming acceptable therapy, but or 30 years old, I found this article it's not standard therapy that any where someone had found antiphysician in the community can do. biotic activities in some crude We do this under very strict scienextracts of this material." tific control. I follow the immunity of "Creasey works on this problem in all these patients in the lab by doing a room of his laboratory where he tests on the lymphocytes (corpuscles formed in lymph glands) to see maintains several transplanted mouse tumors, on which he tests whether or not they're boosting their combinations of old as well as posimmunity with B.C.G. Potentially, sible new toxic agents. "We haven't each of the patients with tumors has got the pure compound yet,' • he immunity to that tumor." says. Progress in working up the exMitchell points out that animal tract is slow because the compound systems provide an analogy to huis highly water-soluble, but soon man systems that is useful in his resome chemists may help out in an search. "Most of the animal models effort of larger scale. have been leukemia models because Creasey gave one striking exthey're easy to work with. You need ample of a Phase I study running fewer than 100,000 cells (usually into an unexpected toxicity problem. f~~er than 10,000) to get really sig"Some years ago we had a very big ruftcant results even in mice in iminput developing a drug called munotherapy research. It was natur· Azauridine which was tried as an alto apply the agent B.C.G. to huanti-leukemia agent (since that time man leukemia since the analogy was used for psoriasis and other things). already there from the animal You can give a rat a good dose of system." this stuff; it appears to have no Bertino also chose leukemia paeffect. But a dog can die if given just tients for his 1972 trial of the enzyme one-hundreth of that dose. How do carboxypeptidase Gl(CPG1)."I'm you know how a human body is not so sure we've chosen the right going to react in such situations? kind of cancer patient to test," he maintains, "But when you have a "Most of the other species didn't show nearly as much sensitivity as limited amount of the drug and you the dog. The mouse was a little more want to demonstrate its effectivesensitive than the rat. As it turned ness and also be able to measure its out, humans--like rats--could tolerate effects on cells, then leukemia offers very large doses. you the opportunity much better than other kinds of human cancer.

"But we didn't start at large Leukemia patients have the tumor doses. We started assuming that cells in the blood so you can sample man was like the dog rather than the them to see whether the blood count rat. Usually we start in the human with a dose considerably lower than · is going up or down. If the blood the lowest dose that's been shown to count goes down by 50 percent or 25 percent you can measure that accu- · produce toxicity in any species.

I

November 25,19731 12

rately. With solid tumors you get some changes that may not be related to drug effect."

CPGl depletes the body's folic acid compounds necessary to cell growth, as did the enzyme methotexrate on which Bertino and his colleagues did some pioneering work for ten years. With a very limited supply of CPG 1 and with the knowledge that children have tested more responsively to chemical agents in the past than adults, Bertino's first group included three children and one woman. He sees a possibility of eventually using dialysis with CPG 1 in a one or two-week program to get some kind of remission. If periodic treatment should be needed, it would not be the type of continuous lifesupport dialysis program needed for patients without kidney function.

Bertino and his colleagues hope to proceed to a direct strategy where the enzyme would be inserted through tubes into the patient's bloodstream.

In all medical research, the ethical problem of coercion arises, often in the form of psychological arm-twisting which pressures a sick person into trying experimental therapy.

This problem is not foreign to these physician-investigators.

Having served for five years on the Human Investigation Committee (HIC) of the School of Medicine and Yale-New Haven Hospital, Mitchell emphasizes that much strenous thinking remains to be done in areas pertaining to experimental work with human subjects. Protocols, questionnaires and invasion of privacy must all be investigated.

How do physicians get around the coercion problem when a patient is presented with a choice of therapy procedures without adequately understanding them? Here, the Informed Consent form is vital. The "Consent Form for Participation in a Clinical Investigation Project" concludes, "Its (the project's) general purposes, potential benefits, and possible hazards and inconveniences have been explained to my satisfaction." The procedure must be explained to him in non-technical language, and the patient has to know he'll get standard therapy should he choose not to participate in the study. Not only the subject but also "' his responsible next of kin must sign the consent form.

Yale's guidelines on the protection of human subjects were drafted in accordance with the guidelines issued by the Department of Health, Education and Welfare to all medical centers. These local guidelines stipulate that all completed protocols and consent forms become part of the permanent record of the committee's

..

• Volume seven, number two

I November 25,19731

proceedings and are "subject to inspection and review by various granting agencies." HIC annually reviews any ongoing grant proposals involving investigations of human subjects. Furthermore, the principal investigator has the responsibility of submitting a revised protocol whenever the nature of his project changes in a way that might affect participating subjects.

The oncologists try to detail to the patient everything that might happen in the way of side effects, while emphasizing that none of these w may happen at all. A patient's acceptance may depend a great deal on his confidence in the doctor. The oncology section, therefore, is quite aware of what might be called personality coercion, or undue defer· ence to the Man in the White Coat. " We 're aware that the patient might feel, ' If I don 't do this the doctor won't like me anymore',' ' says Mitchell. "I'm not sure we ever totally get around coercion but I think we make s trides in that direction. We'd never give a patient an inves tigational agent if we had something that would work reasonably well. If we knew a drug worked 30 or 40 percent of the time, even for a s hort period of time, we'd use that agent in preference to our newer agent. " The only situation in which we'd probably use a very strong new agent on a patient who is ambula. tory and functioning well would be • when we know the disease would make him bedridden very soon. We'd have to believe that there would be a therapeutic gain.''

Supposing a lot of staff time and money has been invested in a certain Phase 1 trial and the seventh pat ient out of seven has had his endurance stretched to the limit and wants out .

If he's intimidated by the doctor's aura of authority he may not broach his true feeling, and may not ask to withdraw as the Informed Consent form says he can. What then? " It depends on what kind of therapeutic effects you' re getting," Bertino says. " If the patient is pretty sick and he vomits and the next day the blood count is improving, both patient and doctor feel a lot more . enthusiastic about continuing than 1f nothing much is happening. The • problem you get into is having those bad effects with the patient not feeling better or the disease not g e tting better. " If you get one of our unit physicians who 's very much interested in the drug. it's perhaps easy for him to rationalize and continue pushing when it's not, maybe, in the patient's best interest. But we criticize ourselves. If a doctor persists in using a drug, getting some effects he s houldn' t get. he gets noise back

13

from the others. The patient isn' t sequestered away and surreptitously fed something."

"Sometimes there's a problem we run into if a drug we test is of no value in six or seven patients consecutively-itdoes give them some side effects-yet you need a last few patients in order to make sure you aren't missing something. That's hard to do. That's the problem sometimes."

Bertino emphasized that being both physician and investigator is a hard balancing act: " Our field is apt to attract very scientific kinds of people, but I think in this area more than any you really have to be able to deal with people and patients and to understand yourself because it can get very difficult dealing with dying patients. We have a lot of patientfamily interaction. " And the full professors join in, not holding themselves aloof by using nurses as intermediaries to meet families and brief patients. " We have a great floor, " Bertino says."We're fortunate we're not overloaded with patients per faculty member. We give the patients a lot of support (they need it). Our two special procedures nurses in Out-· patient are just tremendous . The morale is amazingly good. " " The mythology is that we give drugs to people, " Dr. Mitchell concluded."We don't. When you treat a patient you're in close collaboration with him. You get phone calls at 1 am. the way a practicing physician does. I 've come in here at all hours of the day and night to take care of people. Clinical research really means three kinds of things : taking care of patients, teaching, and doing research on the patients and in the lab. Research here can't be nonpeople oriented. It doesn' t protect you from the buffeting of patient contact at all.

"What it does is give you a different relationship to the patient. You are both his physician and his investigator, a very difficult thing to bring off. You have ethical cons iderations in mind while you also treat him investigatively. The two aren' t at all contradictory. The best physician really does investigate and learns from the patient so he treats him better and the next one even better."

His feeling rose: " If you restrict your research to mice and test tubes then you can avoid patients if you wish. But most of us would be very reluctant to go into a pure lab environment. We also feel we need the stimulation of research to feel we're really doing the most for our patients. The basic myth that people who don ' t like patients can g o into academic m edicine b false . This is

clinical practice plus.' ' O Beverly Kelsey, who earned an M.A. in.English from Yale, has published in the Illinois Quarterly and the Yale Scientific.

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Vo lume seven, number t wo

Oedipus Rep (continued from page 10)

January could lose a lot of political bite. Anthony Ulasewicz may still be the butt of jokes, but only for t hose who can remember who he is.

Marks admits that he and other Rep members have been a little worried that "Classics" views Watergate too much from a summer of '73 perspective. At the same time however, they feel that the form of ¡ the show solves much, though not all, of the topicality problem. "The production views Watergate as a whole and not just as a series of individual events," Marks notes, and the directors have chosen "between what is ephemeral and what isn't."

Still, some parts of the script have changed with the news. As originally written, t he "Samlet" script gave much attent ion to the murder of a character named "Spirago."

"But people ha ve forgotten about Agnew," Geidt says, "so we cut that speech in half." Other sketches may well need changes to incorporate new events, but on the whole, Brustein notes, "History is tending to confirm our material."

Like any theatrical work-and ''Watergate Classics'' is certainly that-the show is written to entertain its audience. But the Rep staff hopes the show will do more than simply draw laughs. They think it will help to clear up confusion about the significance of Watergate, and hopefully produce a jarring moral effect on the audience. As Marks emphasizes, "we're writing for content, not just to be cute. " The political tone of "Classics," as the authors do not hesitate to admit, expresses their own political feelings. Marks is careful to explain, however, that creating a politicallycharged revue is "quite distinct from an actor using his name to support a candidate. It's not like saying 'I'm famous so listen to what I have to say.' Our goal is not to preach but to use talent to express feelings and to entertain. We are doing it through the art form."

Critics may argue that this personal expression in the Watergate revue does not belong on the stage of a major repertory company. To that criticism, Director Brustein replies: "The Yale Rep is a theater that looks backwards and forwards in history. I

felt that it was consistent with that philosophy to take a classic and give it a contemporary interpretation.

"We personally, and hopefully a larger group of people, feel that the country needs a theatrical purge to express some free-floating feelings.

The purpose of the production is to show that theater is related to real crises."

This relation between the theater and real crises is not always clear.

The audience may ask of "Watergate Classics" "Is this Art?" with the same incredulity as a parent asking if the Rolling Stones actually play Music. But drama has never existed in a vacuum. It has always been a means to deal with the real world. The re-interpreted plays in "Classics" are political, but this dimension does not automatically remove them from the realm of art.

Nor does it make the Rep a political theater. Brustein notes that Chekov once said, "Great writers mu st concern themselves with politics only insofar as it is necessary to put up a defense against politics.''

Of course, no discussion of Watergate can avoid dealing with the ultimate political possibility of impeach-

I

November 25,19731 14

ment. Impeachment could have several different effects on "Watergate Classics." It could, for example, complete the parallel between Oedipus and Nixon. On the other hand, it could make the show past history in a hurry.

Even though the creators of "Classics" feel the work may have a validity that could withstand Nixon's demise, members of the cast still worry that Nixon may be impeached. But Marks, who founded a Teenage Republican Club in Hamilton County, Ohio, quickly adds that the worry "is strictly show-biz." 0 ,, Michael Jacobson is a junior history major in Berkeley College.

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I

November 25 ,19731 15

Pan-pipes and Pianos (continued from page 2).

cert Manager Vincent Oneppo called Zamfir "the world's greatest living virtuoso" on the pan-pipe. While in the U.S. s uc h brilliance is given the same adulation as is washboard· playing, pan-pipe playing is hailed in Rumania, where it is taught in conservatories, and where ~amfir ' s per· formances have made him a national hero. Swiss critic Renee Cervan called Zamfir, who is famous throughout Europe,"an unequaled virtuoso, a sensous poet, positively miraculous."

The other series are the Yale Piano ~eries and 'Great Quartets of theW orld ·. The latter appeals to what ·program co-ordinator Roger Hall calls "a ready-made string· quartet audience." He adds, "uni· versity areas such a s Yale are more prone to go for such intellectual, and in a way snobbish, tastes. " Hall boasts "I think it would be difficult to put together a s tronger series. We have included the Guarneri, Julliard, and Amadeus quartets , which are among the finest around today." The series was sold out in September. . The Sprague Hall series com·

plement the Woolsey Hall concerts (which feature big-name soloists) and t he Music School Sanford Lee· tures and Ellington Series (which presents great Afro-American musicians). Though the music pro· gram is compar tmentalized, the overall structure of music offerings is an integrated whole. Rather than presenting diversity within each series. as they did last year, the M ~;~sic School provides balance among the series.

Perhaps most important, the Uni· versity is seen. as the party bringing culture to New Haven.

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