Mike Nesmith on Timerider and Crowdsourcing

His post today (again posting because he tends to delete):

Looks like Christian and Circe (My son and his S.O.) did well on their Kickstarter campaign.

I am really happy for them. They are gong to make an Album, do a Video and maybe go on tour. 

I like the whole idea of crowdsourcing. 

At the end of June I will be in NYC for a fundraiser for The New Inquiry magazine. Rachel Rosenfelt (Publisher) has some ideas about funding for the magazine that goes around the accepted routes. She wants the magazine to raise enough money to operate without having to compromise any of its editorial freedom -- which boils down to "no advertising"

I think its a great idea and we are backing her and hers. I'm not sure how they will do. RR is smart and so is her team so I think she will come up with the right plan. I'm going to go to the fundraiser and see what I can learn and how I can help.

I use to race off-road during the eighties. It was an expensive and a very steep learning curve. I got beat a lot. I got depressed about it.

Off-roading became a lesson in workarounds for me.

I began to wonder if I might do better and go quicker even if I had to take a harder and more difficult unexplored track. There were plenty of options -- race rules required only that we get from point A to point B as fast as possible -- staying on the ground.

My team found all sorts of available tracks but usually they were harder and seemed slower. The problems they raised looked too hard to solve and they weren't much fun while you were racing on them.

Race days were all dust plumes from the trails of the cars and trucks racing along the desert. Usually the higher the plume the faster the car.

From time to time we would see a distant plume of dust starting to rise somewhere along a track so far away in territory so rough that no one had bothered to take it even though it was perfectly legal. After a while the plume would vanish -- a car broken or lost in the desert.

We started to focus on those tracks -- taking those same distant and awful trails -- content to go slow and work hard finding our own way -- spending hours preparing for races by building pit stops in the middle of nowhere and plotting our course by dead reckoning instead of following the wandering or pre-graded trails other cars were taking.

That's when we started to win. We won a lot. Other cars started following us.

The name of the race team was Timerider. Same as a movie I made.

Crowd sourcing is one of those rules based workarounds. It enables artists especially. We spend a lot of time begging at the door of wealthy Americans -- Corporate and otherwise -- and we end up having to sell out most of the time in order to produce at least some part of an creative idea.

Its a drag and its one of the awful things about innovation and living in the margins -- outside the commercial think of big business.

Crowd sourcing is a real alternative to that. I think Alex Cox (writer director Repo Man)may be raising some cash for his next movie -- and I see some other film makers going down the same road. Wealthy film makers -- not just poor ones.

The web has all these great new unexplored alternatives for economy and politics and the arts -- legal side roads around the traffic choked avenues of traditional commerce.

Expect to see me out there from time to time. Come join me if you see me. Have a cup of coffee by a campfire in the middle of nowhere. Like Marfa.

And keep your eyes on Christian and Circe. They make good records and good videos and they have just started creating a nice plume of dust way off the usual roads.

And just to put in my two cents, Circe's link is http://www.circelink.com/
The Kickstarter bit is http://www.kickstarter.com/projects/1163708654/support-circe-links-new-record-dumb-luck

As of today, they have met & exceeded their $3500 goal (you need to meet it, otherwise you don't get any of the money).
They have 137 Backers (you can donate as little as $1).
$8,398 is pledged, only 3 days in, the link will be active for the next 27 days.

Her site is well established and updated regularly, she's active on Social Media and cuts a striking figure in person.  And her stuff seems kinda good too . . . (maybe that helps)

Why the Upcoming Monkee Tour Needs an On-Staff Ethnographer

So here's the pitch/list of reasons:

1. The current narrative is flawed.

Or rather, it is being led by people of the First Generation.  The reporters who lead with the "Pre-Fab" or the "But they never actually played their own instruments . . ."  Everytime Peter and Micky go out on a tour, these are the questions that come up on interviews (Mike has yet to establish a longer track record with the press).

2. "It cannot be a part of me/for now it's part of you"

A large part of the phenomenon, and one of the greatest and the fastest growing is the Fan Community.  And by fans, I mean First, Second and Third Generations, both men and women AND inclusive of their friends.  The live performances have become "Events", and there is a rapidly growing segment (as seen on Facebook and over the Yahoo Email list specifically) who makes plans to reunite with other fans.  There is little to no attempt to engage, track or measure this phenomenon, outside of well-established marketing tricks or monetary gain.  The Fans have always had a fierce loyalty, and now there is history and social ties made stronger through the ease of electronic communication.  Due to the barriers of fame and the paywall of access to materials, there has previously been a clear separation between the Band and the Fans.  Sharing has become easier with social media and the heavy lifting of growing and sustaining new audiences will lie with the Fanbase.  Not with additional or traditional marketing.

3. The TV Show, Music and Movie hold up after all these years.

But they still have to fight the credibility gap.    At worst, it's a kiddie show, bubblegum pop and a drug-fueled mess.  But each were better than they had to be and transcended the genre.  Yet compared to the Beatles or Rolling Stones, there have been very few books or publications to address or describe  the body of work.  In order to encourage engagement, a multitude of voices should be encouraged among the Fan community.  Eloquent and devoted fans should be held up as positive examples of how to engage with the brand on an official and productive level.  Monkees.net has been doing a version of this for years, and has established its own niche as a labor of love.  In order to keep the narrative alive on an official scale, a proper study of the oeuvre should be commissioned.  (This blog is the beginning of that, but is also growing to encompass other relevant issues as well)

4. The 50th Anniversary is coming up in 2016.

As much as Davy Jones' death and Mike Nesmith touring with the group has been a way to re-spark an interest for live concerts, the 50th Anniversary Tour/Year will be a way to establish a source of strength for the brand, as well as for the fans. The previous 50 years includes not only the public timeline of the band, but also connects the fans' personal history to something larger than themselves. Not only is this landmark an opportunity to unite and solidify the fan communities, but also a way to ensure that the brand will continue on into the next 50 years.

5. The NEXT 50 years?

Yes.  The essential oeuvre was self-contained in tv/music and the film, "Head".  As long as there are people willing to watch and engage, there will be a renewable audience for the Brand.  Or to come at it from a more genuine place, this is an experience that gets handed down from generation to generation.  Unlike tales of Woodstock, with a "You had to be there" vibe, the new audiences can access exactly the same experience as the First Generation.  Long after the "rights to the brand" have passed out of copyright, there will still be people sharing the narrative.

6. The 2013 Tour should be documented.  Not only from the POV of what is happening onstage, but also what is happening backstage and in the audience.

The past few tours have been well-documented and exist in bits and pieces online.  Backstage gossip and misunderstandings have mellowed.  Audiences would still be fascinated to be a fly on the wall of conversations happening during rehearsals and on the road.  But an attempt should also be made to record the audience.  To get into the minds and stories of people who travel city-to-city or who fly great distances to see live performances.  

7. Fans do not need YET ANOTHER concert DVD/recording/etc.

The ultimate product of this study could be an entirely new way to offer additional content.  A way to present a Fly on the Wall perspective, much like the photographic work of Henry Diltz, but expanded into the dimension of observations and commentary.  It should be accompanied in real time by full social media engagement (Facebook, Twitter and Blog) and can be collected as a book and/or to add value to the release of the eventual DVD.

That's the basic idea, anyway.  Contact me directly for more ideas or to argue: tamava rose at gmail.

Enjoy the tour!!

Mike on Speedos and Public Nudity

HIs FB Post today, 5/1/13.  I saw this reposted by Naked Persimmon.  Perhaps egged on by them....

I suppose most of you have the info that we – El Monkoos -- are going back on tour this Summer to hit the cities we missed last Fall.

It’ll be fun – I enjoy channeling Mike, the music is fun to play and I’m getting a new bus.

I have mixed feelings about the weather, though. No, wait – I have bad feelings about the weather. There is a reason everyone leaves Austin in August – or New York in July. Darting from air conditioning to air conditioning is not my idea of a good time. It one of the reasons I live where I do.

The folks up the coast here have it weird as well but along the other line. The joke is “the coldest winter I ever spent was summer in San Francisco.” The coastal fog rolls in around June and hangs till end of August and it is cold and windy.

Still, nothing like the blistering heat in Phoenix and Houston and points South.

Most of the venues will have air conditioning except for the outdoor ones. Now with Global warming I am expecting temperatures in the thousands. Actually my natural body temperature is in the millions so the air might be OK.

The main problem with the weather for me is what to wear. I have some shorts and sandals. I have a Speedo -- the little bitty one. But once a body rolls past seventy trips around-the-sun summer clothes become a problem.

Cute little revealing things become weapons of mass destruction. I can clear a Wal-Mart parking lot just by walking around in my Speedo. Totally naked will of course get me life in prison.

We are, as a nation, only a few seasons away from public nudity. The Europeans in their wisdom have already tossed half their summer garments – tops are long gone – and it is only a matter of You Tube time before the bottoms go away as well.

Texting is already stark naked if you are under twenty.

Alas it is not to be for me. Not just because of age but I have no exhibitionism that I know of. I had the same “naked in a class room” nightmares that most everyone has – but I wonder if I may not have gotten the last episode of that dream – if now “naked in a class room” is a desirable fantasy?

In any case I don’t think I can do public nudity yet. I will just try to keep from staring at the ones who can.

Pretty bodies are nice enough but at the end of the day they all end up in a pile on a floor somewhere. So it’s not really the best thing to look at. It’s too sexy for one thing; can’t take your mind off the sexy parts. And public nudity is going to look odd – at least in the US – for a while.

The thing that gets my attention is the unself-conscious ease of “here we all are”. – so when I see that type of thinking it is more outstanding to me than oily naked body parts.

In a world where I am surrounded by the pursuit of pretty and young it is comforting and impressive to see wise and eternal.

The daily effort of avoiding ridiculousness and garnering praise is hot and sweaty – and futile. Years ago I found that being ridiculous and avoiding praise was a much better way to go – but it didn’t help hot and sweaty all that much.

I guess I will just have to wait and see what Mike comes up with.

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As a Business Proposition

In the world of business, each company has their narrative, which is sometimes presented as a "Business Case".  Not that anyone can reduce it to a formula, but if one were to look at the phenomena from a purely business strategy standpoint, there are a lot of pioneering moves and ever-evolving results.  Let's attempt an analysis here.

A Solid Brand
In the early days of radio, there was a huge question, Why would people buy sheet music/records if they could just turn on the radio and have music?  The market/audience has room for a wide variety of ways to consume music. The Payola scandal of the 1950's had exploited that very idea, that exposure increases sales.

"The Monkees" was designed to bring a huge synergy of dominant market forces together.  The brand was established as a TV show with music, the advertising and exposure of the television show increasing record sales, and vice versa.  It hit the segment of the teen/pre-teen public who were not old enough for the Beatles, but had witnessed their older sisters and brothers raving.
Additionally, it had the advantage of being produced/directed by Raybert (Bob Rafelson & Bert Schneider), who occupied the ideal age, having just enough experience yet being part of the "Young Generation".  Both born in 1933, they had just over 3 decades of life experience in 1965, when the series went from conception to casting.  They would be the ones to help shape the generation that would soon not trust anyone over 30.
The fact that they came from a well-endowed entertainment lineage didn't hurt their aspirations either.  Schneider's father was the President of Columbia Pictures and Rafelson's uncle wrote the original story for what would become the first sound film, "The Jazz Singer".
To add to this mix, they made sure to hire the "Man with the Golden Ear", Don Kirschner.  He brought on a stable of young songwriters from NY's Brill Building, Boyce & Hart, Carole King & Gerry Goffin, Neil Diamond.  ("I'm a Believer")

Success
The TV series spawned 57 episodes and won 2 Emmys in 1967. That year, in terms of record sales, they outsold both the Beatles and Rolling Stones.  Sponsors ranging from Kelloggs to JC Penny to Yardley Soap and Fragrance made the network happy, which in turn allowed more money to flow into the production. Sold out tours, untold (literally) amounts of money, countless interviews and teen magazines rode the wave of success.  Fully exploited merchandizing in terms of records, toys, magazines, etc. returned only a small percentage to the actual performers who belong to the visages appearing on the lunchboxes.  Once they hit, they hit big, saturating the market and turning everything they touched to gold.  For 2 years.

The Quality of the TV Show and Music
Oh, and by the way, all of the elements listed above attracting the best talents in the business actually led to improved output.
Compare the TV series to others on at the time.  "I Dream of Jeannie", "Bewitched", "Gilligan's Island". Plots recycled from the beginning of sitcoms, a group of friends getting in trouble and out within 22 minutes.

But the show has something different. The characters talk to the camera, breaking the 4th wall. There is NO authority figure on the show; these "kids" report to no one.
A better comparison is to another series, which is more self-aware, "The Simpsons".  Not just in terms of sheer jokes-per-minute, but in self awareness.  By the second season, Micky, one of the actor/performers wrote "Randy Scouse Git", which can lyrically and musically stand next to any other song of the 60's, especially striking in its use of metonymy.

The Premature Death
After the series failed to get signed on for another season, and the failure of the movie, and the shooting (failure) of the first of 3 scheduled TV specials (the others were never even shot), Peter left.  They continued to record and perform as a threesome, but eventually Mike left the sinking ship.  As Davy said, "Suddenly, it was like 'Hey, Hey, I'm a Monkee'."

Either it can be seen as a slow death by poison, each element building to destroy the whole.  Or, relatively, when compared to someone like Elvis, who continued on way past prime, the ending came relatively swiftly. Raybert is the ultimate murderer, pulling production focus from the lucrative show into what they had seen as the "real" goal, "Easy Rider".  Jack Nicholson and Raybert would go on to remake Hollywood in the image of the auteur.  Causing a revolution in the Studio system, much as students causing revolts in NYC and Paris.

As yet another martyr of the 1960's (see also Marilyn Monroe, Janis Joplin, Jimi Hendrix, Jim Morrison, etc.), the Monkees seemed all that more iconic and beloved for NOT growing old with the population.  It was a brand, essentially preserved in amber (or in the metaphor of their 1986 video, "Heart and Soul", on ice), their entire oeuvre remaining intact.  The actors had essentially disappeared from the scene, except for a guest spot on "The Bracy Bunch", where Marsha gets Davy Jones to sing at her prom.  By the time of that airing, most of the original pre-teen audience had moved on to other heroes.  The shelf life of any teen-idol is 3 years maximum.

Success of Reunion Tours
The recordings and TV series was originally delivered over the airwaves, and continued in that same medium sporadically, reaching new audiences.  Personally, I am a Second Generation Fan, which means I was initiated through reruns; for others most significantly was the MTV Marathon (2/23/86).  It accompanied a tour that year, which was ranked among one of the most successful tours that year.  Touring continued sporadically and their most recent full tour was ranked #20 by Pollstar in terms of revenue of all 2012 American Tours.  A 2013 tour (including 24 dates as of this writing) has been announced and other world markets may be on hand in the foreseeable future.  The 50th Anniversary is still 3 years away, and if the recent tours are any indication, it is something to look forward to.

Legacy
Overall, the brand's initial product (TV & Music) does not age and is preserved for future generations of fans to discover.  The comedy is not topical or political, unlike "Laugh In" (which does not survive in rerun format).  However, the show and music contains repeated references to American Pop Culture, mostly of the 1960's, but also of previous eras.  It helps to flesh out the "60's Scene" and provides a friendly bootstrap into the history of the era.  By turning to the camera, the characters break through the television screen and into the world of future generations.  Long after the original members and fans have passed, the brand will continue to embed itself into the hearts of generations to come.

Other bands or tv shows may be considered more "respected" or "genuine", but The Monkees did the one thing the others did not.  Bring their fans into their world, or at least they created the illusion of doing so.  And if the tv show and music was not their literal world, warts and all, like in the movie, "Head"; the illusion was of universal fantasy, a detailed record of more innocent times, great music and  having a strong group of friends around to bail you out of any emergency.

No business model can successfully capture lightning in a bottle repeatedly, nor has any other band managed to capture this emotion on so many sensory levels.

Howard Kaylan of the Turtles and the Mothers of Invention

Here's a random picture of me in front of Morrision Hotel with Howard Kaylan (in the hat) and Henry Diltz at Howard's booksigning of Shell Shocked.

Henry Diltz Presents Graham Nash's Photography at Morrison Hotel

Graham Nash has evolved from the well-known musician of the 1960's and is now showing his photography.  Henry Diltz has a gallery, Morrison Hotel which features the current exhibition. He is also showing the work at the LA gallery and did a show in Long Island as well.

Nash,  of Crosby, Stills, Nash and sometimes Young graciously appeared at the opening for a brief period.  Also in attendance were Henry Diltz, Elvis Costello and Danny Clinch (who is called by some the "new Henry Diltz" for his rock photography).

He is known for being the man that Joni Mitchell did not marry.  She is known for fiercely guarding her own public and private self image, portraying herself through song and her oil portraiture.  The legend goes that although deeply in love with him, she could not accept the compromise of marriage that she feared she would be forced to accept.  She tells tales of her grandmothers, who despite strong musical callings, gave themselves over to their husbands and families.  She was determined that their lives and sacrifices should not be given in vain.

The gallery has a variety of photos, mostly black and white, of his friends from the 60's and 70's, including Joni Mitchell, Neil Young and also himself.  It is always a pleasure to see icons captured in everyday life, there is a shot of Joni taken between the rungs of a chair while she was chopping onions in the kitchen.  Taken together, it is also a portraiture of a period, before social media and constant documentation, by ourselves, by our friends and full secret surveillance cameras everywhere in public.

On a personal note, I was glad to have maintained a strong relationship with Henry Diltz from being table neighbors at the Monkees Convention.  I attended the opening and a gentleman with a shock of white hair turned to me and said, "Hello, I'm Graham." and shook my hand as I introduced myself. As Elvis was crossing the room, we also shook hands as I said to him, "Hey, aren't you the guy who got to meet Mike Nesmith?"  As expected, he had quite a perplexed smile on his face.  Danny hung out, looking cool in a porkpie hat.  The evening was a blast.

Mike Nesmith Brings His Songs to NYC

Reflections on Mike Nesmith at Town Hall, NYC on April 16, 2013.  It was the second to last stop (Washington DC) of his first Solo-ish tour in years.  He was backed by a bunch of familiar names that had been working with him since the 1980's, see the "video" of "The Busker", and a few of the characters were onstage that night.

The most striking element of the night, for me, was ironically, NOT the songs.  He chose to introduce each with a short story.  He described that he saw his music as mini-movies, which fits in with his early trajectory of the development of the music video.  And, interestingly, there was NO rear-screen video projector, as seen at ALL Monkee reunion tours, and innovated by Neil Diamond.  That is something to opt-into in terms of pure theatricality.  This evening was designed to be focused on music and the audiences' own imaginations.  Each song was tied to one of these stories, so we could finally understand the context that came from the writer's mind.  It was a way to tie art to the author in a highly specific way, catering to the *star* persona and answering questions about his obscure experimentation.  It was almost an evening of old-fashioned storytelling.


Mike stayed true to most of his original arrangements, so much so that during "Grand Ennui", the music onstage had the exact sound of an 80's video (which was perhaps the point).  During the encore "Thanx for the Ride", the band was able to incorporate a recording of a Red Rhodes' solo.  I own the Prison and am familiar with some of his Post-Monkee songs (Joanne, Rio, etc).  I was glad to hear his low-key versions of the evening.  The sound was consistent over the course of the whole night; not that all the songs sounded alike, but that we were invited into the mind of Nez, which seemed like sitting in a sunken living room on a shag rug with the fire going.  The overall evening didn't seem to have an actual narrative arc, from fast to slow songs, just a lovely smooth consistency.


It was interesting to hear how Mike had (or hadn't) grown with these songs that he's been focusing on since the late 1970's.  It is ALWAYS worth it to hear him performing live, and granted, the performance was subtle and muted. I'd actually LOVE to see him perform again and again, and to watch him get looser with the material.  Or even get a chance to see him in a smaller venue, although I would imagine he might not prefer to play a smaller room.  Or would consider it a come-down, or whatever.  If his live work could continue in a regular series of smaller but steady gigs, new (and old) fans could pay attention to the intricacies.  He could easily find himself as an elder statesman of music and successfully do the transition as a performer in his own right.  He has been absent from the concert stage for a long enough time to be fighting his own shadow of arrogance.  Honestly, despite his previous persona of being the "Leader", I sense that this is a shy performer, who needs encouragement to do tours.  This was him feeling the waters and giving his audience the benefit of the doubt.  Do people really want to see him?  YES.  Is he masterful on stage? YES.  Is this something he wants to do on a regular basis?  We don't know.

I will also admit to preferring an "intimate" (100 or fewer people) setting at a performance to a large hall.  The balcony at Town Hall was half full. However, the audience seemed very dedicated and die-hard.  You would think the guy had been touring regularly, the way the crowd cheered fiercely as soon as they heard a title or the first recognizable strains of a song.

Mike did perform "Papa Gene's Blues", in a slight variation.  And later, "Different Drum" with an additional verse which does not appear in the Linda Rondstat version.  Yet, I still sense that he is feeling his way around with these pieces.  It feels as if he may be playing these as close to the way he played them when he had first written them or did demos. To use Gladwell's 10,000 hour of practice-before-mastery rule, he still feels at the beginning of his acquaintance with these pieces.  I will admit up front that I have seen Peter perform with SSB a ridiculous number of times in the past couple years.   He has been doing The Blues for several years now, and incorporates that style of playing into various songs.   Some of the songs he incorporates into his sets have been with him for over 50 years and he will allow them to grow into another form, rather than twisting them for the sake of making them seem new.  "Last Train to Clarksville" comes across as a sad, slow tune and reveals the lyrics as a sad message of farewell, rather than the upbeat version we all all (over)familiar with.


My overall view was of watching a performer encased in amber, available for examination and encased in a beautiful medium.  He has a lot of growing and experimenting to do at this stage of his performing career.  Based on previous experience, he is ahead of the game in terms of artistry and willingness to take chances.  Let's hope this is the beginning of a whole new chapter in his performing life.

Other items of note:
Elvis Costello was in the audience (and sadly, did not "perform" or even join in onstage).  Apparently, Jessica is a big fan.  Her father had been interrogating her about why.  "What do you like about his music? Why?"  His daughter, who is a performer in her own right, was enthusiastically handling the merch table.  She recognized fans who had been at previous shows and is such a gregarious presence, I hope to see her perform in the future.  Christian Nesmith is also a performer (alongside Circe Link) and I would hope that the entire extended family will go on tour sometime in the future.  (See the talent-rich model of the Wainwright-Roche family)

A Naked Persimmon member was seen scooting backstage almost as soon as the performance was over.  She had posted pictures of her with Nesmith and again commented on Facebook.  I'm not so sure she had a *magic bracelet* for that night, but certainly had a *meet n greet* of her own.

The *magic bracelet* was a silver-cloth wristband which allowed 50 lucky audience members to meet Nez and get 1 Nez +1 Monkees item signed.  The process to get one was especially circuitous.  Announced on FB, you had to download a song and register at Videoranch.com . Then you were told a date when the places would be announced, but the lucky email went out at 1am Pacific Time, which meant middle of the night everywhere else.  The link required you to HAVE a ticket to the show and pay an additional $50.  The system required a combination of persistence, luck, insomnia and money.  Many people complained about having to pay $30 to *meet* Peter or Micky at the Monkees Convention.  At least that was a matter of what-you-see-is-what-you-get.

For those who would like to read about Fred Velez's experience including the Set List from the evening, check out his blog at Monkees.net   I am still looking for recordings of all of his intros or transcriptions.  I tried to capture what I could, but my notes are far from complete.  More to come . . .

Direct References to Politics: Fall of Southeast Asia in Dominoes

In the middle of a very sentimental episode comes the most biting 2 seconds of commentary within the entire series.

"Monkee Mother", #27.  We are just coming out of the "Sometime in the Morning" segment, which acted as a love song to the younger version of Dick Van Dyke's writer, Sally.  A dream sequence, in which the Boys are wearing costumes from the Victorian Cowboy era.  This also might have been a commercial break, which would deflect attention even more.

We see the Boys playing a simple game of dominoes; the kind where you line them up and then knock them over.  The mic is on and is recording, this is the stuff which would normally be left on the cutting room floor.  Or rejected by the sponsors who might want to remain apolitical.

Micky asks: "What is this called?"
Davy: "This is called . . "
Peter : "Southeast Asia"

They cheer (now for the camera) and the scene proper begins.

Here is where the clear division of character and actor is displayed.

Peter had once spoken his mind and was told to retract his statements.  Raybert had control over what was going out over the airwaves.  They snuck in what they could.   Their actors were not meant to express their own minds.  Not just in terms of the music, but in terms of the content. Keeping controversial moments is a different brand of power than the PR arm.

Songs vs Bombs at the Boston Marathon

Dear Readers,

I had sent something to Andrew Sandoval (author of Monkees, Day By Day) a few months ago, when I started the blog. He was very encouraging.  Plus, he is also co-producing Peter's show, "In This Generation".

Anyway, I had a vision/idea/aural fantasy about an alternate performance of "For Pete's Sake" and wanted to put it out into the world.  I don't know if he would even consider doing it this way in his solo tour.  But I'd love to get an audience together to sing it TO him.

I put it all in a letter to Andrew Sandoval.  And then decided to post it here.

WHATEVER YOU DO, SING!!

Dear Andrew Sandoval,

Yesterday, I was on the subway in NYC, and an arrangement for "For Pete's Sake" came into my head and I couldn't stop singing it to myself.  I don't know why, I haven't heard it recently, but it stayed with me and wouldn't let me go.  When I got off, I realized it was exactly when the bombings in Boston were happening (I grew up there and knew a LOT of people who were there and nearby).

But I heard it as a CANON, sung acapella and adagio by a chorus of mostly women's voices. 

The lead singer (could be Peter, but not necessarily) should divide the audience into 2 sections and begin:

Leader:

Love is understanding

Don't you know that this is true.

Love is understanding.

It's in Everything we do.

===

Cues Group A:

Love is Understanding . . .

Leader continues:

In this generation

In this lovin time

In this generation

We will make the world shine

==

Leader begins again and cues Group B to join:

Love is understanding . . .

Group A continues:

In this generation . . .

==

Cues Group A:

Love is Understanding . . .

Leader continues:

In this generation . . .

==

Leader and both Groups together:

We were born to Love one another

This is something we all need

We were born to Love one another

We must be what we're goin to be

And what we have to be is free.

Group A begins singing from the beginning on the second "Love"

Love is understanding . . .

Leader and Group B continue and sing another round.

======

Anyway, that's the idea.  I don't know how all this stuff works, intellectual-property-wise, or if Peter is even open to reading this sort of stuff from a random fan/blogger/groupie.  He knows me by name and is probably sick of me.

Take this as a gift, do what you will with it.  (Or not, sharing this vision of it is something I had to do)

If nothing else, it means a lot to ME that I was singing a song of peace exactly at the time the bombings happened.  And Peter's probably heard it a million times, but that song is still alive and relevant and important.

I'll be at the NYC shows.  Keep singing and listening and bringing music to people!!  You are doing GOOD, GOOD work for this world!

Yours very sincerely,

Tammy Rose

Various Monkees on Tour

Nez is currently on the road, with a limited meet-n-greet afterwards.
Peter is soon to start his "In This Generation" tour.  (-a direct reference to "For Pete's Sake")

There is even an announcement going around-possibly a rumor- about a 3-Way concert in Saratoga, CA, August 14, 2013- Monkees.net

And the reclusive Nez is posting his fleeting moments on Facebook.  Posted below for posterity, because he often removes them after the fact.

Nez FB Post: Rittenhouse Sq Philly: Mid Tour
"Notes from the Road.

Sitting on a park bench in Rittenhouse Square in Philly watching the dog walkers and missing Dale. 

The caretaker sends me messages that Dale is hale -- so I am happy for that -- but there was a passing pit bull that sensed my dog-missing distress and came over and sat on my foot and put her head on my knee for a second. 

"You'll be home soon" I thought I heard her say -- then she looked at me and said "do NOT anthropomorphise us. We be dogs Nez -- never less -- and there is plenty in that -- more than you can ever know on this plane. We need not be manlike -- our dogness is our greatness."

It was a kind of dog speak I have only heard Dale use with me when she scolds me. It is always a gentle scold followed by a nudge and a wink and a "don't do that again -- if you can help it."

In this case the pit bull winked when she walked away.

Philly is pretty today -- sunny -- but the road is turning into a bit of a tunnel now. I'll be happy to get back to my beloved home and grounds and animals and recharge.

The tunnel notwithstanding, people everywhere are gracious and supportive -- friendly and open and sharing with their courtesies and kindness. It is a great atmosphere in which to stand and sing -- like an emotional shower.

Next is The World Cafe, then the Town Hall NYC -- and then the Birchmere in DC!!

The thought of the DC cherry blossoms fills my head with anticipation and excitement to see those gorgeous images. Even the road tunnel cannot hide their exquisite beauty"

--

The "road tunnel" he talks about is a reference to "The Monkees on Tour", Episode 32, last of the first season.  The notion, he generously attributes to Peter, talking about what life is like on tour.  Roughly: "Life is a tunnel.  Darkness, limos, airplanes.  Then you go onstage and there are these brief moments of light."

The Evolution of the "Mike Nesmith Character" On Tour

Reading all the reviews of Papa Nez's performance, I am surprised by one thing.

There's a lot going on that doesn't surprise me.  I expected his musicianship to be superb.  His song choices, his amiability towards the crowd.

He seems to almost be having fun.

This is NOT a Mike I recognize.

On the shows, he was aloof and cynical.  Commenting directly to the camera about the terrible lines, ready to rage or offer a disapproving look.  Sometimes, he did't seem to be on the same show as the rest of The Boys.  They were always playing eager and seemed to be game; he was the elder brother they were trying to impress.

And then, afterwards, he seemed sullen.  Too busy trying to invent or reinvent the music video.  Not wanting to tour.  Not bothering.  The Man in the Gray Flannel Suit.

Until the dreaded 1997 TV Special, "Hey, Hey, We're The Monkees", I had even had faith that he might have a quick wit, and hoped his discretion was the better part of his valor.  My faith was lost.  To this day, I have never seen a more cynical and hateful and tone-deaf take on the Monkees history than that piece of dreck.  ("A throw up band", really?)

But, there have been rumors of him SMILING.  Beaming, actually.

A bunch of FAN reviews (which are always the best). These go into the "Monkee Experience" and include what goes on in the audience, as much as what happens onstage.
Fred Velez, the latest blogger on Monkees.net, has a review of Rahway, NJ.
Cowabunga Corner reviews the Michigan show.
Monkee's Live Almanac (great video clips and pix)

And the "professional" music reviewers.
Pittsburgh Post Gazette, Munhall Concert.
Northampton, Masslive, Iron Horse Concert

Winking at the Audience: Verfremdungseffekt

The breaking of the fourth wall is an inherently theatrical device and is not usually employed by film or TV.  "Realism" seems to be the defining language and style of choice with a few rare (and ultimately dated exceptions).  For example, in the early seasons of Modern Family, the characters sit & talk directly to the camera, interview style.  This technique is minimized in later seasons, until if anything, the characters may rarely do a quick take to the camera.  It is an acknowledgment that "someone else" is witnessing the action, and provides an intimate connection with the audience.

In theater, however, the audience can be a large crowd, aware & responding as a crowd will. Laughing, clapping, externalizing their behavior.  Television is a much more intimate medium in that the audience can be made up of one person, who may find something funny but not laugh out loud.

Even the simple Romps of the Monkee series included complex ideas to communicate that they were aware that the style of "Realism" was as fake as the outer society.  The Monkees did takes to the camera to address their presumed audience, essentially winking at the other "kids" out there.

Even the camerawork was intentionally imperfect.  Take the video posted on Youtube of "Valleri", which has the one remarkable idea of using a crane to lift Davy above the band during the verses.  It is an utterly unrealistic and unexplained movement, which singles Davy out as the focus, literally. In a gesture of "Hey, kids, you think this is gonna be just another boring shot of the boys on a bandstand.  But watch carefully!" The Boys are in JC Penny clothes (or maybe that jean jacket actually belongs to Mike?), not suits, which indicates a stylistic shift away from the 1964 Beatles fashion as seen in "She", where they are all dressed in suits.  The crane example is taken from the "Captain Crocodile" episode.
And whoever posted it on Youtube added a nice editorial comment during Davy's tambourine bit. "Hey Davy, there isn't that much tambourine here.  Chill."  He was a terrific musician-actor, but not that great at "acting like an instrumentalist". But the audience knew (at least I did, as a child) that they were miming to their own songs.  As a child, I instinctively knew that I could be imperfect when singing along to their records, because my fake microphone was not turned on.

Note the inclusion in these shots of the actual lights on the set behind them-which would normally be considered a rookie mistake of a cameraman.  Here, it is just another aspect of the Distancing/Estrangement Effect,  coined by Bertolt Brecht (in German as Verfremdungseffekt), and used throughout the world's theater traditions, including many Eastern Traditions, including Japanese Kabuki.  To quote the Global Shakespeare source:

"The distancing effect is a technique used in theater and cinema that prevents the audience from losing itself completely in the narrative, instead making it a conscious critical observer. The actor accomplishes this by directly addressing the audience, barring them from feeling empathy (film), interrupting the narrative (cinema), or drawing attention to the filmmaking or theatrical process." 

This is also seen in the "Salesman" romp, as in MANY other points throughout the series and the film, Head, this technique is used.  Some casual viewers assume the show is for kids, or sloppy or thrown together; the use of direct address or shots which pull "back the curtain" on the illusion is one of the many aspects of its inherent theatricality and avant-garde filmmaking.

The Boys were surrounded by machinations, not the least of which was a backing band made up of the Wrecking Crew.  When all else fails, add an interesting visual gimmick (or a great guitar solo).  Even if it was not the intention of the supporting backstage crew & technicians, the repeated & insistent inclusion of this messiness drove home a message.  They were not perfect, and were not trying to be perfect.  And isn't it boring to be perfect?

"Salesman": Most Sophisticated Romp of the Series

The main trope of the Monkees TV Show is how happy the Boys are, even if they are not successful.  Money & success are seen as evil, as is selling out.  The ethos of the 1960's was presented as inherently hypocritical; the best musicians were praised for being poor and obscure by critics, whereas commercial success also brought audiences and secured a certain amount of renown. The TV show's inherent trope was that the Boys were not famous, even though all the actors were.  They knew both sides of the coin and embodied it most clearly in the "Salesman" Romp.

Good/Bad magic is used as an allegory to activate a plot.  One example of "good magic" is Boyce & Hart (and Phil Spector?) appearing on "I Dream of Jeannie", doing their song "Out & About".  Jeannie even plays drums, and B&H appear with violins in their hands.  The characters all seem to employ Harold Hill's "Think Method", from "The Music Man", (movie starring Shirley Jones); based on the idea that one can just think about the music and then will be able to play.  Eventually, this theory, devoid of good or bad magic is how Peter eventually "plays" the harp in the "Salesman" romp.

"Salesman", from the album, "Pisces, Aquarius, Capricorn & Jones, Ltd." and here from the "Devil & Peter Tork" episode combines a series of quick edits and various techniques.  In the first 20 seconds we have: stock footage of lighting with a pink filter, fisheye lens which distorts the face of the "Devil" (Monte Landis), rapid edits, fire, disco ball, Sci-Fi fake rocks, the featured throne from the first-aired episode, "Royal Flush"-which is an allusion to Micky's "used-car salesman" character, 4 background dancers in variously colored leotards and tights, all interspliced with a cheap-looking set complete with red curtains and a fog machine, through which the Boys walk in awe and bewilderment, completely in keeping with the plot.  Most romps leave the plot/situation behind and allow the Boys to improvise randomly, paying little or no attention to the storyline, other than to interact with the novel props & sets from that week's episode.

Eventually, the "Peter" character is brought in by the Devil-Chicks, ordered to kneel before the Devil, rescued by the other Boys, they are eventually cornered and attacked by the Devil-Chicks with pitchforks, and appear again in devil costumes themselves.  And then groove with the Devil-Chicks.  Mike appears as a singer, to remind us that this is a surreal fantasy sequence, and they are all aware of the distance from reality.    The Devil seems to hypnotize/control them; this can be variously interpreted as the seduction of money, fame, sex, drugs, immorality or what-have-you.  These shots in particular place the camera at a very low angle, looking up at the actors, which creates a dramatic effect of power.  The stage lights can be seen behind them, which add an interesting visual color, element and expose the viewer to the fact that "None of this is real, kids.  No nightmares!  We're just telling a story within a story!"  This use of Brecht's Distancing Technique is common throughout the series and the film, Head.

Peter and Davy see a (Playboy) Bunny waitress walking through the scene, carrying a single drink of alcohol and there is a quick cut to the "Daydream Believer" rainbow set sequence from another romp-a reference to more innocent days, perhaps?  Or a mere juxaposition to the Go-Go atmosphere they now find themselves in?  This shot is particularly poignant when one knows that it would be the Peter Tork actor who would openly discuss his addiction issues and support from Alcoholics Anonymous.

There is some sort of ongoing chase metaphor which involves the "sneaky bunny dance" and a conveyor belt, which has the Boys running until exhaustion and utter confusion kick in.

This sequence leads right into a more "realistic" scene back at the pad next to the golden harp, where they discuss the romp as if they had all seen/experienced the same vision.  The dialogue includes the use of the word, "Hell", albeit bleeped out.  And a direct insult to the censors and censorshp, who are  compared less favorably to Hades:  "You know what's even worse? You can't say Hell on television".  Even the Boys as actors are trapped in the show within a show, where the Devil character stands in for the men in charge.

Beatles' Use of Bach, And a Challenge!

There are people in this world who will gladly rank the Beatles with Bach in terms of the "greatest composers", and will gladly denigrate a group like the Monkees for the sheer joy of hierarchy.  If you can isolate "The Best", then it is easier to label others as being derivative and mere imitators.

This blog is an attempt to enjoy everything for what it IS, rather than echo popular sentiment.  And maybe to question the wisdom of things like the Rock & Roll Hall of Fame, or anyone else who looks down their nose at a "Made for TV" band.  I believe we can look back at history and finally recognize the influences of all the great songwriters, musicians and talents involved as an incredibly rich asset.


April 25, 1967, "Inside Pop, The Rock Revolution", the NY Philharmonic Conductor and Composer, Leonard Bernstein appears on CBS (video and description held by the Paley Center), the description reads :
"Bernstein had an appreciation for all kinds of music, including rock. IIn this special, he examines creativity in pop music of the sixties, including works by the Beatles, Bob Dylan, the Monkees, and Janis Ian."


This week they are honoring Johann Sebastian Bach (March 31, 1685-July 28, 1750) on the classical music station in NYC, called WQXR.   Here is an analysis of the Beatles' use of Bach in some of their songs.  They discuss a "Bach-like feeling", "that sound", "based on", "something about the melody" "inspired" and "reimagined".  The clip pulls out sections from Bach and the only the following Beatle Songs:

"In My Life"
"Penny Lane"
"Blackbird"

The classical music influence regarding the Beatles is often paraded out as direct evidence of their superiority.  But here, they could only find 3.  (Really? And even then, it's a vague "influence").  I do not want to even attempt a thesis to take away any respect from the Beatles.

The Monkees' songs are just as rich in variety of influence and creativity.  They just need to be documented.

THE CHALLENGE:  I would love for a musical scholar to do a similar (and deeper) analysis, in terms of Classical, Country, Blues (etc) influences and others as yet unidentified. All the songwriters and musicians themselves came from such a rich diversity of backgrounds, as well as thorough musical training, that a fuller analysis could be done.  I am attempting to chip away at the various references within Hollywood and Rock, focusing on everything except the music; but I would LOVE to crowdsource or encourage any expert out there to call out any influences/references/allusions in the Monkees' musical oeuvre.

Personally, I have always seen the show as a learning tool.  A single mention of something or someone sends me eagerly rushing to research said reference.  Granted, the stereotypical fanbase may have been traditionally thought of as screaming pre-teenagers. Today, however, the fans that I have met are exceptionally well versed in music of all genres.  I would argue that the Monkees have not gained "respect" due to a lack of focused study, rather than a dearth of material.

Andrew Hickey has a book called Monkee Music, which is an excellent start.  

No disrespect at all intended, especially if there is anyone already working on this.  There are LOTS of great fan sites out there, but not a lot of scholarship, criticism and commentary that takes the music seriously, beyond discographies and other lists of production facts.  Please comment below if you know of or you ARE anyone doing anything like this. Especially if you are publishing it somewhere.  Or if you’ve just noticed that a part of one song sounds the same as a Monkees song.  We’d all love you to share your knowledge.

Jack Nicholson Sings!

Jack has sung a few times.  Judge for yourself what kind of voice he has.

Here is a video of him playing/singing a doctor in The Who's Tommy.

Personally, I prefer a more sentimental song from the Broadway musical, "On A Clear Day, You Can See Forever" (1965)  The recording of Jack singing "Who is There Among Us Who Knows?", (surprisingly well!) can be found on Youtube along with a series of pictures of him and Barbra Streisand.  The scene was cut from the movie (1970), which did feature Bob Newhart and Yves Montand.  It reappeared on Broadway in 2011, starring Harry Connick Jr.  and a whole new plot.

The Lyrics are written out on someone else's blog, here and below.  Sentimental and vaguely references the topic of ESP which is featured in the plot.

Who is there among us who knows?

The echo of a love song heard before it's sung,
wandering through a memory dreamed when you were young.
Foolish or fantastic -- which do you suppose?
Who is there among us who knows?

From nowhere, the thought of someone gone for many years.
Then all at once a footstep: Lo, and he appears.
Imagined or a mystery --which, do you suppose?
Who is there among us who knows...

Or even cares which one is true?
There's hardly anyone except a haunted few...

Who long ago remembered somewhere they would see
someone wrapped in twilight, carrying the key,
carrying the secret everywhere he goes,
someone here among us who knows.

Someone here who may not even know she knows.

Music: Burton Lane. Lyrics: Alan Jay Lerner
Vocal: Jack Nicholson

The music was written by Burton Lane, who discovered Judy Garland.  He  wrote the music for "Finian's Rainbow" (1941), "Royal Wedding" (1951) and "On a Clear Day" (1965).  The Great American Songbook treasure "Old Devil Moon" comes out of the first, with lyrics by Yip Harburg.  Fred Astaire and Petula Clark were in the 1968 film adaptation, directed by Francis Ford Coppola (one of his first early big movies!!).

Lyrics written by Alan Jay Lerner.  In collaboration with Frederick Lowe, wrote the Broadway musicals "Brigadoon" (1947), "My Fair Lady" (1956) "Camelot" (1960).  Jackie Kennedy and many others were able to extend the metaphor to the early 1960's to capture the innocence of America before JFK's assassination.
He wrote screenplays for movies as well; for "Gigi",  for "American in Paris" (1951), "Royal Wedding" (1951) starring Fred Astaire (there he is again!).

Garden Path Digression:
Alan Jay Lerner collaborated with Kurt Weill (music) on a Broadway production called "Love Life" (1948),  (Peter worked on a Bertolt Brecht show, "Good Person", see previous blog post).  And Brecht/Weill are famous for "Threepenny Opera".  Back to "Mac the Knife", made popular in the US by Bobby Darin, who was best friends and had as an agent, Steve Blauner. The S of BBS!

"I Believe You", Peter as George Harrison

If you are in the mood to hear how Peter's music has developed, listen to this LIVE recording of "I Believe You" from some point during the "Justus" tour.   It's one of his best pieces from the Monkees piece of his work.

Compare it with the best from the movie, Head.  "Do I Have to Do This All Over Again?", which is a frenetic composition, but rich with overlapping instruments and ideas.  It sounds (and probably was) influenced by George Harrison, whom he had known and worked with.  Peter plays bass on George's "Wonderwall" album.  (Wikipedia claims it was banjo).

"I believe you on a rainy day, I believe you chase the sun away"

(in the original recording, it's "chase the clouds away")

"I Believe You" is a more dramatic and mature, yet simpler lyric and sound.  It has a consistent driving force beneath the words, crescendos like waves on a beach.  There's a lingering Minor chord that haunts the work; you know this relationship is doomed, yet one has to trust in belief.  Especially when things are contradictory. Focus on this acceptance, "What else can I do?"

Played at a slightly slower tempo, it could easily slide into dreariness, but every time I hear it, there is a Zen force about it.  A meditation.

When I began learning guitar, I played a few simple notes over and over again.  I wonder if this is how he got the musical idea.  Maybe even from teaching someone?

David Amram: Saint of Bleeker St

There is an article about David Amram in Opera News; he's a terrific composer who I once had the chance to work with on the Actors' Studio (Rehearsal Version) of Oedipus. Directed by Estelle Parsons.  Starring Al Pacino. (But that's another Blog entirely)

I remember thinking about the Village of the early 1960's, in a completely different light, once upon a time.  Now, I imagine that time to be a overwhelmingly luscious musical paradise.  Everything is in black & white (like a 16mm student experimental film), except the conversations burst forth in color.  Bob Dylan is being introduced onstage by his girlfriend, Joan Baez (who said boys don't sleep their way to the top?) Paul Simon is writing a song about $80 rent on Bleecker St.  And some people who are crazy enough to live there in the 1960's, will be revealed as howling geniuses (Allen Ginsburg) especially if they can hold on to their rent-controlled apartments for the rest of their lives.

When I first heard about this time and place, I heard of it as the place Peter Tork came out of, before he moved to L.A.  Even now, as I imagine the time machine that will transport me back, I anticipate Peter and his pals, Steve Stills and Tiny Tim, their much younger selves, emerging from Cafe Wha? or Caffe Cino. Passing the hat, and not being able to cover a sandwich for all their troubles/performances.

And even though I imagine everyone walking around with a Greenwich Village Scowl, underneath, I sense we are all smiling.

Monkee Writer: Peter Meyerson

Peter Meyerson passed away today, found out on Peter Tork's FB page.

Quoted:
Sad News - The writer of several Monkees episodes (including the first) has passed away. RIP and thank you, Peter Meyerson. ~ptfb team
http://www.hollywoodreporter.com/news/peter-meyerson-monkees-welcome-back-kotter-428737

He wrote 8 episodes.  (The third most of any writer)
1. Royal Flush (9/12/66) (cowriter)
7. Ghost Town (10/24/66)
21. Prince & Paupers (2/6/67)
23. Captain Crocodile (2/20/67)
27. Monkee Mother (3/20/67)
39. Hillbilly Honeymoon (10/23/67)
57. Blow Their Minds (3/11/68)

He wrote 44 episodes of Welcome Back Kotter, (he left and came back), 1 for That Girl, The Partridge Family, Bob Newhart Show, Accidental Family and a few for Captain Nice (Buck Henry's 1967 superhero show?)

Tangent: Buck Henry was a childhood pal of Bob Rafelson and wrote The Graduate & Get Smart.

There's another nice remembrance by Mark Evanier, who worked with him on Welcome Back Kotter when he came back during the 2nd season.  He had left to be a playwright, but couldn't turn down the money.  Sounds like a Welcome Back indeed.  I can't find a mention of his plays, but I'm still looking.

I don't know about you, dear readers, but it's great to follow the path of a comedy writer's influences and outputs.  Thanks for all the laughs, Mr. Meyerson!!

Mike's FB Moment of "deja whoa"

I feel the need to copy Mike's Posts on Facebook because he seems to delete them entirely after a few hours.  Part of his mystery, or dedication to inaccessibility (not sure which).

I like that he is seized by a moment of primal recognition, returning to a set he had first visited on his first day of shooting for the Monkees.  First impressions, first emotions.  Primal for most of the rest of us as well, but our memories connect with our own unique series of sensations and histories.

Here's his:

"Years ago my first day of shooting was at the Columbia Ranch. Now it is just called the Ranch but I think it is part of Warner Bros. It is a large installation at the corner of Hollywood Way and Oak out in Burbank --the valley -- in California.

I went down to LA on Tuesday to shoot the Kroll Show and Wednesday morning I got up early and drove out of the hotel but had to pull over in order to get my nav set up to get me to the studio.

After I stopped I looked up and realized I was sitting at the entrance to the Ranch. 

It wasn't exactly deja vu -- more like deja whoa -- and it made me laugh. As I sat in the car alone I had all the same emotions overtake me that ran through my head on the first day of shooting back in 1966. Not exactly D Day levels of tension -- but it took hold on much the same terms.

I drove over to cast and crew parking where I got in the van to go to the location. I was the only one in the van besides the driver who said not a word.

It was like getting on the school bus the first day of school -- or a first date -- any of those firsts where you don't know exactly what to do, don't really know anyone, or which way to turn. As a recurrence it was bittersweet -- I had been here before -- but I was surprised at how eternal the moment was -- timeless and real.

The show was fun to shoot. I love collaboration with a creative team. Nick was warm and hospitable and fun to work with --Levy, my friend was solicitous and attentive and helpful -- and the sketch was pretty funny.

We won't know till Krisel gets it edited -- but I'll bet it will come out fine. Krisel -- the director -- knows his stuff.

By the end of the day I was back in the saddle and confident and comfortable and happily rocking back and forth on my feet waiting for the school bus to take me home.

Turns out the next school bus is a tour bus. It shows up for me Thursday in Nashville.

Life as a 6 year old -- all over again."

Posted on Facebook, Friday, 3/15/13, 11:21am.

==

And also, a fan commented, "This is similar to the way you make your fans feel".  Another added a link to the actual Columbia Ranch set.  

Convention: Simple Moments of Beauty

There was music and beauty all around that weekend.  The old songs, new performances.  New voices, faces matched to names.  Friends you've seen at other events and people who came from England or Australia.  Lots of sensorial input.  Disappointment at the organizers for promising to send a schedule, and then selling it for $25 in a souvenir book. Not getting enough sleep.  Sheer joy.

Saturday Night, there was a spontaneous sing along.  You too can sing along here.  Even Davy's daughters are visibly moved.  During the 2011 tour, they had the crowd sing acapella, which always gives me shivers.  In 2012, they picked a single person from the audience (Mike's idea, and nowhere near as effective).  Where else in your day to day life do you see people happy, singing at the top of their lungs, sheer joy?  Where did this song, this gathering, this magic, even come from?  How is it that we are lucky enough to have it happen to us?  (Karma, God's grace, John Stewart, Raybert, drunk & silly people in a crowd; all acceptable answers, but insufficient)  Answer for yourself.

At the end of the conference, Sunday afternoon, Micky was doing a Q&A and the Dealer's Room was quiet. Peter picks up a guitar from the next booth and begins playing.  A song for a dozen people.  And I am again rendered awestruck.  A weekend of amazing encounters, and then a moment of transcendence.

Objectively, I don't think he's the greatest guitar player in the entire world.  I'm sure I've heard better, but there is something about all this history that maybe makes me pay more attention.  Or the universe just making sure that I'm in the right place at the right time to hear a message of beauty. Some guy starts playing a red guitar and suddenly you realize the rest of the world is in black and white.

It's this recurring moments of attention that has gotten me into listening more carefully to the Blues, actually seeking out and watching all those old movie references, and why I wanted to go on a macrobiotic diet when I was 8.  It's why I seriously consider traveling from NY to Boston just to hear him play his brother's composition to a Brecht play.  Not for him, but for me.  For a moment of surprise, just when I think I can predict everything that will happen in the world of the Monkees.  A strange and wonderful journey indeed.

Modern Folk Quartet

During the Monkees Convention, we got to hear about one of those seminal moments that help you become what you are.  It was a casual question that got me intrigued.

Henry Diltz (amazing Rock Photographer) was asked how he got into the business.  He said he was touring with a band, waiting for their Phil Spector hit to be released.  Somewhere in Michigan, they had stopped by a thrift store and there was a table with a few old cameras.  He picked it up and started taking shots of the band clowning around.   When they had the film developed, it turned out it was "slide film", and so came back not as photographs, but as slides for a projector.  Suddenly, as these casual moments were projected on the wall, larger than life size, he saw a new kind of vision.

He was on tour with the Modern Folk Quartet, waiting for Phil Spector to release the song that was gonna make them all famous. He was the hotshot producer famous (then) for the Wall of Sound. It wasn't actually released until 1991! Called "This Could Be The Night", written by Spector and Harry Nilsson it was the hit that never was.  The clip shows it as the theme song for the film, "The Big TNT Show", which was a sequel to "The T.A.M.I. Show" (1964) both were concert footage films.  In the days before Youtube, a song needed to be released as a "Single" for it to count on the charts.

MFQ had originally gotten together in Honolulu around 1962, and worked with an amazing number of future legends before their breakup in 1966 (although they still get together periodically).  They worked with the Herb Cohen, the agent for Frank Zappa and Tim Buckley.  And Jim Dickson, the guy who would later produce the Byrds.  They did an (uncredited) song in the movie, "Palm Springs Weekend" (1963) with Connie Stevens & Troy Donahue.  It captures the "Traditional Folk" scene, as it grew out of the coffeehouses.  They're in a casino, doing the "Ox Driver's Song"  (WARNING!!  The sync is terrible, almost comical, I offer it for historical purposes.  If someone finds something better, let me know!)  Diltz is singing lead and playing banjo.  They are all in suits, because that's what nice young performers wore in those days.  And how the Beatles first appeared.

That guy in the glasses would go on to shoot Woodstock, the Doors, Jimi Hendrix, CSNY and most of Rock for the rest of his life.  Most of the extensive list can be found at his gallery, Morrison Hotel.

Chip Douglas had an interesting path, starting in a group called the Wilcox Three, which was modeled after the Kingston Trio.  After MFQ he joined the short lived Gene Clark Group, which featured the titular ex-Byrd, and a former member of the Grass Roots, Joel Larson.  The final member rounds out the earthy 60's band names, Bill Rinehart, formerly of The Leaves.

Douglas was essentially stolen from the Turtles (yes, the "Happy Together" Turtles) by Mike Nesmith who heard him at Hollywood's Whiskey A Go-Go.  He became the Monkees producer, a major shift in style from Don Kirshner.

Jerry Yester would join the Lovin' Spoonful and then go on to produce The Association, Tim Buckley and Tom Waits.  He married Judy Henske, who is a singer in her own right, and also rumored to be the prototype of Annie Hall (1977 film).

Cyrus Faryar was another interesting member, who was a friend of Dave Guard (of the Kingston Trio) and was asked to replace him after he left the group.  The guy who eventually ended up replacing him was John Stewart, the guy who wrote "Daydream Believer".  He also did not join the group which became the Byrds, although he was asked by Roger McGuinn.

There was a lot of influence on the Monkee music catalogue.  "Riu Chiu" was recorded on their 1964 album called "Changes" (does that sound familiar to anyone?  Isn't what the Monkees used for an album name after Peter left?)  If you listen to the arrangement, it sounds hauntingly familiar.  One of my favorite songs recorded by Peter Tork is "Come On In" (only available on a later Monkee Missing Links Album)  written by Jo Mapes.  MFQ did it in a much more uptempo version on Shindig (1965).  Additionally, MFQ also recorded a version of Edgar Allen Poe's "The Bells", set to music by Phil Ochs.

MFQ still performs together on occasion, and Diltz still performs "This Could Be the Night", as he did (fabulously) at the Monkees convention, backed by the fun cover band, The Characters.

It just goes to show you, that if this is NOT the night or the hit you've been waiting for, there may be many more excellent surprises for you along the way.

#17, Case of the Missing Monkee

Teaser:  "War is war.  Peace is peace.  And Science is Science."  See the full episode here.

This random typical vaudeville setup actually contains a deep tribute to writers of classic tv. Peter  says: "Funny thing happened on the way to the bandstand".  It's a play on the Broadway show (1963) and film (1966) called "A Funny Thing Happened on the Way to the Forum" -Or as Broadway people say it, "Forum".  Written by Stephen Sondheim & Larry Gelbart, who had also written a bunch of episodes for M*A*S*H* among a ton of other TV shows.  Gelbart worked with Larry Tucker and Paul Mazursky (The "Developed By" credit on each Monkee episode) on Danny Kaye Show.

Mike's joke about Peter, (who takes a lot of looking after, "Not any more than the average aircraft carrier") might be a self referential joke about the General's aircraft that Mike had turned over when he was in the Service?  (See Mike's audition piece.  I'd love to hear the fuller story, especially if it IS true!)

They go to the clinic, and the Evil Guy w/ goatee is there.
Return to restaurant, which has suddenly changed into a Chinese place, Evil Guy w/Goatee is there too (in a Chinese getup, which somehow includes prominent cheekbones).  The room suddenly resembles Chan's "Egg Rolls and Jazz" in Woonsocket, Rhode Island.  It's a place where Shoe Suede Blues (aka SSB) been known to play, basically a bandstand surrounded by Chinese decor.

"One hour after you eat there, you disappear" is a takeoff on the Western "joke", that one hour after eating there, you are hungry again.  Mostly because the belief is that the food is mostly rice, which digests quickly vs the American diet of steak & potatoes, which takes forever to digest.  It is less of a Politically Incorrect joke than just a misunderstanding of diet.

After the miracle cough drop, Davy begins to sing "Old Folks at Home" (aka "Swanee River"), a minstrel song written by Stephen Foster in 1851.  (He later regretted the association, supporting the North in the Civil War) Commissioned by the Christy Minstrels, which were a blackface group.  They were considered the most popular and set the style for blackface as a tradition. Edwin P. Christy, the founder left the group and committed suicide in 1862 over the Civil War.

Barry McGuire sang lead on "Green, Green" a hit for the New Christy Minstrels nearly 100 years later. That group was formed by Randy Sparks (who had spent 40 years writing Burl Ives' act) and who was committed to the idea of the chorus existing to allow people "to forget their troubles".  This did not bode well for the emerging political movement of folk music.  Other members would include Kenny Rogers, Kim Carnes, Karen Black and Gene Clark.  Know him?  He would later be in the Byrds with Roger McGuinn and David Crosby.  In 1966  he formed Gene Clark & the Group which included Joel Larson, Bill Rhineheart and Chip Douglas-who would be the Monkee's producer!

Alright, back to our story.

After the Nurse takes the miracle cough drops, (at 8:10 into the episode), there is some stock footage of a rocket. I want to call it Sputnik, but I'm probably wrong (because it is in color).  She is Nancy Fish, who has had a prolific career, appearing in a wide range of tv shows, including Roseanne.  Also on board this episode are Vito Scotti and Vince Gardenia, amazing character actors who are easy to recognize but hard to place.

Note the mention of a "Bathook" (from Batman and other cat burglar-type superheros who need to break into places every now and again).

Also note all the *cute* old-fashioned bits of *exercise* equipment in use in the late 1960's.  A sweatbox, an exercise bike you can row and a "rubber tire" getter-rid-of Davy has a joke where he is being shaken by this absurd rubber band and a "spare tire" magically appears. Not that he had one to begin with.

Mention of "Ben Casey, Act 1" which was a Medical Drama tv series, which ran from 1961-1966. (In Vietnam, the name was slang for a medic) Hearing "Act 1", I had always thought it was a play.  Then PT looks into a mirror and says "Shazam!" and name drops Captain Marvel (which was ranked as the 55th most popular comic book character by Wizard magazine).

Amid lots of mildly funny gags (Mike singing with a banjo on the rowing machine to Valerie Kairys), there is a sudden call from TV Guide, in which Mike helps them to fact check the events of the episode.  When the show runs low on plot, it runs high on clever gags to cover.  Mike begins singing "Dem Bones" done originally by the Delta Rhythm Boys, he sings it incorrectly, of course.  Asking for scalpel & sponge, is a very indirect reference to  Elaine May and Mike Nichols' comedy routine. "A Little More Gauze".  Menu for the Vincent van Gogh Gogh.  Wrist slapping from the American Medical Association and it all ends like an episode from old time radio dramas (note Micky's funny voice and pronunciation of "evil").

Now, what countries was everybody from again?  The Italian actor putting on a vaguely Russian/Boris Badenuf (Rocky & Bullwinkle character who looks very close) accent.  Does it matter?