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.
Saturday, April 27, 2013
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.
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 . . .
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 . . .
Monday, April 22, 2013
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.
"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.
Tuesday, April 16, 2013
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
Monday, April 15, 2013
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."
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."
Sunday, April 14, 2013
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
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
Thursday, April 4, 2013
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.
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 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?
Wednesday, April 3, 2013
"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.
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.
Thursday, March 28, 2013
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.
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.
Monday, March 25, 2013
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.
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.
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!
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
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!
Thursday, March 21, 2013
"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?
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?
Monday, March 18, 2013
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.
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.
Friday, March 15, 2013
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!!
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.
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.
Monday, March 11, 2013
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.
Tuesday, March 5, 2013
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.
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.
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.
Friday, March 1, 2013
#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?
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?
Tuesday, February 26, 2013
Peter plays in a Brecht show!! Good Person of Thorkelson
For all you theater nerds out there, Peter is currently in a production of "Good Person of Setzuan" written by Bertolt Brecht (in 1943), adapted by Tony Kushner (who is that guy who wrote the movie "Lincoln" and "Angels in America"). He is playing the part of a guitarist in the pit, supporting a piece of musical theater. I am almost 100% sure he is playing his own instrument (although maybe he did borrow it from someone else).
If you are ANYWHERE close to Boston, go check it out and report back!
http://bostoneventsinsider.com/2013/02/chick-shines-in-good-person-of.html
His brother Nick Thorkelson, noted cartoonist, artist and all around cool & creative person is the COMPOSER and Music Director on the production. Composing for a Brecht piece puts him in the same company as Kurt Weill! They collaborated on a little musical show you might have heard about, "The Threepenny Opera" (1928). (Which was based on "The Beggar's Opera" by John Gay, first performed in 1728) And for you Louie Armstrong or Bobby Darin fans out there, it's where the song, "Mack the Knife" came from.
If you REALLY love both Bobby Darin and the Monkees, there just so happens to be another connection. Steve Blauner. (The guy that Micky names as the guy who drove the getaway car in #25, Alias Micky Dolenz) He just so happens to be the S in "BBS Productions", Bert and Bob's new venture to produce movies after Raybert. In his hagiographical Wikipedia Entry, he was Darin's "manager and very close friend".
Personal note: I am a HUGE fan of Brecht and I Stage Managed the premiere of the English translation of one of his more obscure plays, "Puntilla and His Servant Matti" (1948) in Soho in 1998 at the Ohio Theater.
If you are ANYWHERE close to Boston, go check it out and report back!
http://bostoneventsinsider.com/2013/02/chick-shines-in-good-person-of.html
His brother Nick Thorkelson, noted cartoonist, artist and all around cool & creative person is the COMPOSER and Music Director on the production. Composing for a Brecht piece puts him in the same company as Kurt Weill! They collaborated on a little musical show you might have heard about, "The Threepenny Opera" (1928). (Which was based on "The Beggar's Opera" by John Gay, first performed in 1728) And for you Louie Armstrong or Bobby Darin fans out there, it's where the song, "Mack the Knife" came from.
If you REALLY love both Bobby Darin and the Monkees, there just so happens to be another connection. Steve Blauner. (The guy that Micky names as the guy who drove the getaway car in #25, Alias Micky Dolenz) He just so happens to be the S in "BBS Productions", Bert and Bob's new venture to produce movies after Raybert. In his hagiographical Wikipedia Entry, he was Darin's "manager and very close friend".
Personal note: I am a HUGE fan of Brecht and I Stage Managed the premiere of the English translation of one of his more obscure plays, "Puntilla and His Servant Matti" (1948) in Soho in 1998 at the Ohio Theater.
Last 4Kees Concert Footage?
Here is a link to 97 minutes of the Justus Tour in Bournemoth, in the United Kingdom in 1997.
http://www.youtube.com/watch?v=Fmwntly0BG0
I'm never one for concert footage, especially shot from the audience. But it IS important to have.
Naturally, being there live is best. Professionally shot, edited and recorded is 2nd best. Having a record at all is incredible. Makes me wonder what experiences we all have awaiting us in the future.
Somewhere recently, we have hit some kind of tipping point about recording events. Now that we ALL have cameras in our phones, and thus in our pockets, we can GET everything. What we DO with all this data is another thing entirely. This blog is a way for me to curate, comment and discuss all Monkee material available. Frankly, I'm MUCH more interested in hearing the fan's stories.
What was going through the heads of everyone there? What do the Monkees mean to you & what do you associate with them? Why is everyone so happy to see ALL FOUR MEMBERS onstage? (Reunion of family, friends, happy memories all back in place?)
Talk to me. Post a comment. Or allow yourself to think about it a little.
Whatever you do, don't take it for granted.
http://www.youtube.com/watch?v=Fmwntly0BG0
I'm never one for concert footage, especially shot from the audience. But it IS important to have.
Naturally, being there live is best. Professionally shot, edited and recorded is 2nd best. Having a record at all is incredible. Makes me wonder what experiences we all have awaiting us in the future.
Somewhere recently, we have hit some kind of tipping point about recording events. Now that we ALL have cameras in our phones, and thus in our pockets, we can GET everything. What we DO with all this data is another thing entirely. This blog is a way for me to curate, comment and discuss all Monkee material available. Frankly, I'm MUCH more interested in hearing the fan's stories.
What was going through the heads of everyone there? What do the Monkees mean to you & what do you associate with them? Why is everyone so happy to see ALL FOUR MEMBERS onstage? (Reunion of family, friends, happy memories all back in place?)
Talk to me. Post a comment. Or allow yourself to think about it a little.
Whatever you do, don't take it for granted.
Monday, February 25, 2013
#53, Race Again, aka "Leave the Driving to Us"
"Enough gags in this show already."
Coming near the end of the run, the comedy is more obvious and less funny. There is no laugh track, ad unfortunately Peter openly laughs at gags (warning to comedians: this does not make the joke funnier). At least the British name is a pun,"T.N.Crumpetts"; however, it seems about as subtle as Baron von Klutz.
Another indication that the show is not even trying is the gag, "I can't move b/c you are standing on my foot", used 3 times in the first 6 minutes. This might be funnier if the 2-shot was tighter. We can see that the actors' feet are nowhere near each other.
London Mist Spray, also comes in "roll on". Like a deodorant. They do a comparative smell test of different smogs including Liverpool, Manchester and LA. Davy does a Liverpudlian accent (see Beatles). All of the cities mentioned were known to have high levels of pollution. The funniest part of this joke being that they could tell the difference and that what they are smelling is "Knockout Gas".
Novel uses of materials:
Note the absurdity of the Monkees as mechanics, using "highly unusual techniques". Hammer, saw, needle& thread. This calls to mind the unusual use of materials by Surrealist artists, including this Fur Covered Cup.
"Open End" was the title of the David Susskind show (1958-1986), one of the most famous interviews was with the Soviet Premier Nikita Kruschev.
Once upon a time, there were things called telephone books. They were people's addresses and telephone numbers, listed alphabetically. The books were used as doorstops or for highchairs for children. And is that a Moog synthesizer by the entryway to the garage?
The subtitle of the episode refers to a slogan for the Greyhound bus company. There is also a reference to "Put A Tiger in Your Tank", a high octane gasoline ad by Esso.
German References:
The "villan" in the episode is Baron Von Klutz, who is pitted against Davy and his British Uncle's team, an allusion to WWII. Oddly enough (and probably to confuse us later generations), the Baron wears a WWI helmet. At one point, they have gas masks, used to protect against Mustard Gas. Also note the square mustache, also known as the toothbrush or philtrum (named for the location on the upper lip. It was popular between 1900-1945, first adopted as a more streamlined reaction to the handlebar style. Chaplin used it and Hitler stole it. (Note the end date of its popularity).
Micky turns on the radio and a generic 60's dance track plays, then a waltz (see #14) then an instrumental version of "Deutchland Deutchland Uber Alles" (German national anthem during WWII). Note the earlier pun about a car being "in tune" and using a tuning fork.
There is a joke about trading Micky & TNC for "Wernher", meaning Wernher von Braun, a German rocket scientist who had come to America. Micky turns it into a joke about baseball.
Micky mentions the Blue Max, which was Prussia's highest honor, Pour le Mérite. There was a movie called "The Blue Max" (1966, starring George Peppard). Von Klutz is also prominently wearing a pin which looks similar, the blue Iron Cross, which dates back to 1219. It has always had a Teutonic, Prussian or German association, but is also now known as the shape of the Bikers Cross. In the 1960's, it was used as a symbol of rebellion by bikers and surfers or in the car enthusiast culture as a point of pride of their car's country of origin. Note the decoration on the Klutzmobile. Volkswagen was originally designed and translated as "the people's car" in Germany in the 1930's. By the 60's, the VW Beetle and Van were a ubiquitous (and cheap) choice for the hippie on the go. They are still popular today, especially among Dead Heads (Grateful Dead Groupies).
By the late 60's, bumbling and overly serious German characters (in uniform) were popular. Coming out of the horrors of WWII, Hollywood had essentially reduced the idea of the Nazis to a caricature. Take note of the movie, "The Producers" (1968, Mel Brooks). (You should take note of the movie anyways). A serious study could be (and probably has been) made of the portrayal of Germans post-WWII. Compare the attitude in the 60's to 2009's "Inglorious Basterds". They have transitioned into terrifying movie villains, with no sense of ineptitude about them. (Whether or not this is accurate is another discussion entirely).
Note: In another blog post, I have recorded a Facebook exchange with someone who posted "We are studying the Nazis, and this episode popped into my head". I thought it warranted further discussion.
Even if the show is not a primary educational tool, I remember that when I was in high school, *anything* that helped reinforce a History lesson was beneficial.
The Periscope gag is a reference to German U-Boats, popular during both WWI and WWII. "U Boat" is the Anglicized version of the German "Unterseeboot", which means "undersea boat". Note the inherent absurdity of using a periscope in, of all places, their garage in LA. It does help to bring in different shots as an unusual technique to "advance" the plot. If it's not a great joke, at least it's a bizarre setup.
Davy, while driving, says, "Curse you, Red Baron". Which is an allusion to Peanuts, Snoopy's catchphrase and 60's song. Which is an allusion to WWI and Baron von Richthofen. When the Baron gets into the car to race, he is wearing a white scarf and leather helmet of a WWI fighter pilot.
If nothing else, the Monkees will teach you to count to 10 in German. Not just in this episode, but Peter can also be heard counting on the beginning of the recording of the song, "All of Your Toys".
Coming near the end of the run, the comedy is more obvious and less funny. There is no laugh track, ad unfortunately Peter openly laughs at gags (warning to comedians: this does not make the joke funnier). At least the British name is a pun,"T.N.Crumpetts"; however, it seems about as subtle as Baron von Klutz.
Another indication that the show is not even trying is the gag, "I can't move b/c you are standing on my foot", used 3 times in the first 6 minutes. This might be funnier if the 2-shot was tighter. We can see that the actors' feet are nowhere near each other.
London Mist Spray, also comes in "roll on". Like a deodorant. They do a comparative smell test of different smogs including Liverpool, Manchester and LA. Davy does a Liverpudlian accent (see Beatles). All of the cities mentioned were known to have high levels of pollution. The funniest part of this joke being that they could tell the difference and that what they are smelling is "Knockout Gas".
Novel uses of materials:
Note the absurdity of the Monkees as mechanics, using "highly unusual techniques". Hammer, saw, needle& thread. This calls to mind the unusual use of materials by Surrealist artists, including this Fur Covered Cup.
"Open End" was the title of the David Susskind show (1958-1986), one of the most famous interviews was with the Soviet Premier Nikita Kruschev.
Once upon a time, there were things called telephone books. They were people's addresses and telephone numbers, listed alphabetically. The books were used as doorstops or for highchairs for children. And is that a Moog synthesizer by the entryway to the garage?
German References:
The "villan" in the episode is Baron Von Klutz, who is pitted against Davy and his British Uncle's team, an allusion to WWII. Oddly enough (and probably to confuse us later generations), the Baron wears a WWI helmet. At one point, they have gas masks, used to protect against Mustard Gas. Also note the square mustache, also known as the toothbrush or philtrum (named for the location on the upper lip. It was popular between 1900-1945, first adopted as a more streamlined reaction to the handlebar style. Chaplin used it and Hitler stole it. (Note the end date of its popularity).
Micky turns on the radio and a generic 60's dance track plays, then a waltz (see #14) then an instrumental version of "Deutchland Deutchland Uber Alles" (German national anthem during WWII). Note the earlier pun about a car being "in tune" and using a tuning fork.
There is a joke about trading Micky & TNC for "Wernher", meaning Wernher von Braun, a German rocket scientist who had come to America. Micky turns it into a joke about baseball.
Micky mentions the Blue Max, which was Prussia's highest honor, Pour le Mérite. There was a movie called "The Blue Max" (1966, starring George Peppard). Von Klutz is also prominently wearing a pin which looks similar, the blue Iron Cross, which dates back to 1219. It has always had a Teutonic, Prussian or German association, but is also now known as the shape of the Bikers Cross. In the 1960's, it was used as a symbol of rebellion by bikers and surfers or in the car enthusiast culture as a point of pride of their car's country of origin. Note the decoration on the Klutzmobile. Volkswagen was originally designed and translated as "the people's car" in Germany in the 1930's. By the 60's, the VW Beetle and Van were a ubiquitous (and cheap) choice for the hippie on the go. They are still popular today, especially among Dead Heads (Grateful Dead Groupies).
By the late 60's, bumbling and overly serious German characters (in uniform) were popular. Coming out of the horrors of WWII, Hollywood had essentially reduced the idea of the Nazis to a caricature. Take note of the movie, "The Producers" (1968, Mel Brooks). (You should take note of the movie anyways). A serious study could be (and probably has been) made of the portrayal of Germans post-WWII. Compare the attitude in the 60's to 2009's "Inglorious Basterds". They have transitioned into terrifying movie villains, with no sense of ineptitude about them. (Whether or not this is accurate is another discussion entirely).
Note: In another blog post, I have recorded a Facebook exchange with someone who posted "We are studying the Nazis, and this episode popped into my head". I thought it warranted further discussion.
Even if the show is not a primary educational tool, I remember that when I was in high school, *anything* that helped reinforce a History lesson was beneficial.
The Periscope gag is a reference to German U-Boats, popular during both WWI and WWII. "U Boat" is the Anglicized version of the German "Unterseeboot", which means "undersea boat". Note the inherent absurdity of using a periscope in, of all places, their garage in LA. It does help to bring in different shots as an unusual technique to "advance" the plot. If it's not a great joke, at least it's a bizarre setup.
Davy, while driving, says, "Curse you, Red Baron". Which is an allusion to Peanuts, Snoopy's catchphrase and 60's song. Which is an allusion to WWI and Baron von Richthofen. When the Baron gets into the car to race, he is wearing a white scarf and leather helmet of a WWI fighter pilot.
If nothing else, the Monkees will teach you to count to 10 in German. Not just in this episode, but Peter can also be heard counting on the beginning of the recording of the song, "All of Your Toys".
#53, Facebook Exchange: Discussing Nazis
This page on Facebook ("Monkeemaniaheads") sounds as if it is being written by a young British teenager. Many kudos to the activity on this account, especially the amount of postings of videos from the entire history of the group.
I am including the below exchange as an example of how people free associate, and how references to various time periods (in something like a history class) can conjure up an episode. Personally, that instinct acted as an infinite loop for me. As evidenced in this entire blog. (And frankly, I am driven to demystify every unknown reference in my everyday life as well!)
I didn't know how to begin a discussion about "Nazis" here, but I dove right in anyway. I couldn't let the association go unremarked.
MMH: At the moment in history we are doing about the Nazi's. And randomly I thought of The Monkees Race Again episode. I told Ligia a little about the episode she thought that it sounded like a good episode. Then today in history I said wouldn't it be cool if we could watch the Monkee episode that I told you about yesterday, in class that would be lots of fun. Ligia said yeah why not ask miss. (I have two history teachers, but only Miss Jones let's us watch clips or videos the most out of the two) So I asked Miss Jones if we could watch it. She said that she would look into it and at least she has heard of the Monkees. :) So we could be lucky, we might get the chance to watch The Monkees Race Again in class. I'm really looking forward to it. It might be next week, on tuesday when we have, our next lesson. Fingers crossed. ♥ :D
Me:What made you think of that episode while studying Nazis? Was it the bad German accents and Baron Von Klutz?
MMH:It just came to me, because they Baron Von Klutz dress up as one so, it just came to me./By the way Tamara I have nothing agents Germans. It just came to me.
Me:I didn't mean anything negative. I actually think there are a lot of interesting references to history and "stock characters" or caricatures within the series. I think it is great that you wanted to bring the show into your classroom!// The Baron is wearing a German WW1 helmet, btw. Another good source for something spoofing the idea of Nazis is "The Producers", written by Mel Brooks
MMH:Well I'm glad that you think that Tamara, because I was beginning to regret asking about it.
Me: Not at all. I just think it's important when mentioning Nazis/Germans to understand how to link one thought to another. It's interesting to see how in a lot of American culture, Nazis became "evil yet bumbling" stock characters. How they get portrayed in 20th century entertainment is a whole project itself.
MMH: Okay I understand where just coming from there. Yet I really did start to feel that way. And still do a little.
Other person:I heard this somewhere, if you go to Germany and bring up the Nazis or Hitler they feel really bad about what happened and don't really wanna speak about it// *now a days
MMH:Yes I could imagine that.
Other person: I am 1/4 German and feel guilty
MMH: I see I'm glad that no is taking this the wrong way. It just came to my head at the time. And just really would like it if more people liked them, well even heard of them. Most of them haven't. Sometimes I get asked by others what am I listening to, and if its the Monkees at that time. Say it then they are like the Arctic Monkeys then I'm like no. Just The Monkees.
Me:There were no movies or tv shows involving any Nazi or even German characters for 10-15 years after WW2. People were afraid to discuss it at all. One reason I love the Monkees, is that they reflect their times, the late 1960's. They can only MAKE FUN of them. Now a days, we get to have a more open discussion and can think about how hard it is to have that legacy as a human.
MMH: Yeah I guess your right Tamara.
Thanks to you and Rebecca to help me see the other side of things.
I am including the below exchange as an example of how people free associate, and how references to various time periods (in something like a history class) can conjure up an episode. Personally, that instinct acted as an infinite loop for me. As evidenced in this entire blog. (And frankly, I am driven to demystify every unknown reference in my everyday life as well!)
I didn't know how to begin a discussion about "Nazis" here, but I dove right in anyway. I couldn't let the association go unremarked.
MMH: At the moment in history we are doing about the Nazi's. And randomly I thought of The Monkees Race Again episode. I told Ligia a little about the episode she thought that it sounded like a good episode. Then today in history I said wouldn't it be cool if we could watch the Monkee episode that I told you about yesterday, in class that would be lots of fun. Ligia said yeah why not ask miss. (I have two history teachers, but only Miss Jones let's us watch clips or videos the most out of the two) So I asked Miss Jones if we could watch it. She said that she would look into it and at least she has heard of the Monkees. :) So we could be lucky, we might get the chance to watch The Monkees Race Again in class. I'm really looking forward to it. It might be next week, on tuesday when we have, our next lesson. Fingers crossed. ♥ :D
Me:What made you think of that episode while studying Nazis? Was it the bad German accents and Baron Von Klutz?
MMH:It just came to me, because they Baron Von Klutz dress up as one so, it just came to me./By the way Tamara I have nothing agents Germans. It just came to me.
Me:I didn't mean anything negative. I actually think there are a lot of interesting references to history and "stock characters" or caricatures within the series. I think it is great that you wanted to bring the show into your classroom!// The Baron is wearing a German WW1 helmet, btw. Another good source for something spoofing the idea of Nazis is "The Producers", written by Mel Brooks
MMH:Well I'm glad that you think that Tamara, because I was beginning to regret asking about it.
Me: Not at all. I just think it's important when mentioning Nazis/Germans to understand how to link one thought to another. It's interesting to see how in a lot of American culture, Nazis became "evil yet bumbling" stock characters. How they get portrayed in 20th century entertainment is a whole project itself.
MMH: Okay I understand where just coming from there. Yet I really did start to feel that way. And still do a little.
Other person:I heard this somewhere, if you go to Germany and bring up the Nazis or Hitler they feel really bad about what happened and don't really wanna speak about it// *now a days
Other person: I am 1/4 German and feel guilty
MMH: I see I'm glad that no is taking this the wrong way. It just came to my head at the time. And just really would like it if more people liked them, well even heard of them. Most of them haven't. Sometimes I get asked by others what am I listening to, and if its the Monkees at that time. Say it then they are like the Arctic Monkeys then I'm like no. Just The Monkees.
Me:There were no movies or tv shows involving any Nazi or even German characters for 10-15 years after WW2. People were afraid to discuss it at all. One reason I love the Monkees, is that they reflect their times, the late 1960's. They can only MAKE FUN of them. Now a days, we get to have a more open discussion and can think about how hard it is to have that legacy as a human.
MMH: Yeah I guess your right Tamara.
Thanks to you and Rebecca to help me see the other side of things.
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