Can’t stop doing Monkee math. It seems important right now.
See, my kids are being raised as anachronisms; mostly ‘cause I always wanted to be one myself. Little seventies Zoom kids, their impression of popular culture is limited to the popular culture of other decades. They watch Frank Capra movies and goofy crap like The Cat from Outer Space; their favorite tv shows are surreal spoofs of television itself: Green Acres, The Addams Family, and now, The Monkees.
We Netflixed this series on a whim, having missed it the first few times around, and now we’re wondering why, culturally, we devolved from the Monkees, rather than rising to its occasion. They were the Marx Brothers plus music and, as I understand it, mutinied against the forces that tried to sell them and their music as bimbos (“bimbo” being what, now? That’s right: any thing or body dumbed-down, duded-up and de-natured enough to fool the easily fooled).
As the story goes, these guys were hired to play a fictional band for a tv show based loosely on A Hard Day’s Night, or at least hoping to draw viewers because of that movie’s popularity. The producers owned the name, and they hired songwriters to write the songs and session players to play the music. The actors were supposed to be musicians, but weren’t allowed to play their own instruments or their own songs. So, bored on the set between takes, they plugged in their prop amps and instruments – and turned themselves into a real band. This real band monster they created eventually revolted and got Don Kirshner fired. Cool!
This might not be true; I don’t know, I wasn’t there, but as mythology, it works. What better reason to start a band than boredom? That and having a heart and a mind. And the opportunity to be a petri dish of humanity in the laboratory of the entertainment industry. As an experiment, it’s an education. This is tv, for god sake! The box in everyone’s living room, opium o’ the masses, as unpretentious as donuts. But when the Monkees play a real song, the electricity in the room changes. You can feel the difference, ‘cause just a minute ago, they played kind of a dumb song and made fun of it the whole time. It’s fascinating.
And unlike A Hard Day’s Night, the show doesn’t try to make the band look cool. In fact, the group persona is loser+ Gilligan: deeply unpretentious. This isn’t just donuts, it’s pink frosted donuts with sprinkles and yet…can you imagine a pop star not trying to look cool? Or trying not to look cool? Letting goofiness and failure enter the equation? The Monkees were told to be silly, and decided to be funny instead, in what comes off as an unrehearsed free-for-all, spoofing itself and everything else. It’s elegant: subtext and irony are beautiful, and make a hell of a statement. The mistake the producers made was hiring real humans instead of willing bimbos. They must’ve been so bummed! Bimbos are silly; they aren’t funny. To sell the Monkees as bimbos was a fabrication.
I’m wondering if, because of their bizarre situation, the Monkees weren’t the only band ever allowed into the music business who didn’t have to consider playing the “suck to succeed” game. They were handed success, so they didn’t have to dumb-down, dude-up or de-nature their voice; in fact, their goal was the opposite: to prove that they were real, that they had a voice.”—Kristin Hersh, in 2009, on the Monkees. (via katherinestasaph)