1 00:00:01,160 --> 00:00:08,039 Speaker 1: You we come walk now, mystery yet funniest looks. 2 00:00:09,480 --> 00:00:10,920 Speaker 2: Everyone weaving. 3 00:00:12,119 --> 00:00:15,000 Speaker 1: Okay with the monkeys. 4 00:00:14,760 --> 00:00:18,959 Speaker 3: Peep Hey, Hey, it's Alec Baldwin and you're listening to 5 00:00:19,040 --> 00:00:23,560 Speaker 3: Here's the thing. This song shaped my childhood and that 6 00:00:23,720 --> 00:00:25,840 Speaker 3: of millions of other Americans. 7 00:00:26,600 --> 00:00:27,760 Speaker 4: You are glad to do. 8 00:00:29,120 --> 00:00:31,480 Speaker 5: The voice is Mickey Dolan's. 9 00:00:32,560 --> 00:00:41,240 Speaker 6: So something Ever the monkeys pep saving monkey ound where. 10 00:00:41,200 --> 00:00:42,599 Speaker 1: Too busy saying. 11 00:00:44,000 --> 00:00:48,000 Speaker 3: It's nineteen sixty six, the year Timothy Leary tells America 12 00:00:48,120 --> 00:00:52,360 Speaker 3: to turn on tune in drop out TV executives know 13 00:00:52,479 --> 00:00:55,200 Speaker 3: they need to make programming that reflects the times. 14 00:00:55,920 --> 00:00:59,520 Speaker 5: Enter the monkeys. Hey that's a groovy button. What does 15 00:00:59,560 --> 00:00:59,880 Speaker 5: it say? 16 00:01:00,080 --> 00:01:01,120 Speaker 1: Love is the Ultimate trip? 17 00:01:01,240 --> 00:01:03,080 Speaker 5: Oh that's a nice time. That's a groovy button. 18 00:01:03,080 --> 00:01:03,640 Speaker 6: What does it say? 19 00:01:03,760 --> 00:01:05,199 Speaker 7: Save the Texas Prairie Chicken? 20 00:01:05,840 --> 00:01:09,800 Speaker 3: It was save the Chicken, not stop the War. NBC 21 00:01:10,040 --> 00:01:13,000 Speaker 3: wasn't about to risk a boycott of Bonanza after all, 22 00:01:13,440 --> 00:01:18,080 Speaker 3: but the misadventures of four shaggy musicians in Malibu managed 23 00:01:18,120 --> 00:01:21,760 Speaker 3: to be subversive anyway. The grown ups were STIPs, the 24 00:01:21,840 --> 00:01:25,679 Speaker 3: sets were psychedelic, and the long haired bandmates just wanted 25 00:01:25,720 --> 00:01:29,600 Speaker 3: to be loved. Artistically, the show used new wave film 26 00:01:29,680 --> 00:01:32,920 Speaker 3: techniques and brought the audience in on the jokes two 27 00:01:33,040 --> 00:01:36,520 Speaker 3: years before laughing and Monty Python. 28 00:01:36,400 --> 00:01:38,240 Speaker 7: Hey wait, wait, how do I get in if the 29 00:01:38,280 --> 00:01:38,800 Speaker 7: door's locked? 30 00:01:39,360 --> 00:01:43,200 Speaker 8: Peter, You can't expect the writers to know everything improvised. 31 00:01:42,959 --> 00:01:43,039 Speaker 1: He. 32 00:01:45,640 --> 00:01:50,960 Speaker 3: Besides, the music is undeniably great. Soon the fictional band 33 00:01:51,120 --> 00:01:54,200 Speaker 3: morphed into a real band. They wrote their own songs 34 00:01:54,200 --> 00:01:56,840 Speaker 3: and played their own instruments, and at the same time 35 00:01:56,920 --> 00:02:00,560 Speaker 3: The Monkeys, the TV show topped the Nielsen rating, the 36 00:02:00,640 --> 00:02:05,920 Speaker 3: band topped the Billboard charts. The Monkeys got the formula 37 00:02:06,280 --> 00:02:10,520 Speaker 3: just right, but the concept wasn't unique. Throughout the sixties, 38 00:02:10,919 --> 00:02:15,080 Speaker 3: movie and TV bosses were desperately trying to bottle Beatlemania. 39 00:02:15,919 --> 00:02:20,120 Speaker 3: Mickey Dolans, with musical talent and floppy hair in abundance, 40 00:02:20,639 --> 00:02:24,079 Speaker 3: was perhaps faded to end up in a band on TV. 41 00:02:25,400 --> 00:02:27,359 Speaker 5: The question was only which one. 42 00:02:28,480 --> 00:02:31,639 Speaker 1: There were at least three other shows that pilot season 43 00:02:31,680 --> 00:02:34,919 Speaker 1: that I was up for as an actor singer similar 44 00:02:35,919 --> 00:02:38,240 Speaker 1: well in the sense that they were about music and 45 00:02:38,280 --> 00:02:41,400 Speaker 1: about the young generation. There was a lot going on 46 00:02:41,480 --> 00:02:43,440 Speaker 1: at that time. It wasn't just the Beatles, it was 47 00:02:43,680 --> 00:02:49,320 Speaker 1: folk music. It was all kinds of youth oriented music. 48 00:02:50,560 --> 00:02:53,240 Speaker 1: One pilot was a Peter, Paul and Mary type of 49 00:02:53,280 --> 00:02:57,080 Speaker 1: group called the Happeners. It did not sell. Another was 50 00:02:57,120 --> 00:03:01,040 Speaker 1: this beach boy of surfer group, and another one was 51 00:03:01,080 --> 00:03:05,880 Speaker 1: a big family mighty wind kind of hind those thirty 52 00:03:05,919 --> 00:03:10,720 Speaker 1: people on stage singing I got a hammer, ye New Christimer. 53 00:03:11,200 --> 00:03:13,800 Speaker 1: So it was in the air. It was in the 54 00:03:13,840 --> 00:03:19,440 Speaker 1: air to try to capture this youth movement and obviously 55 00:03:19,480 --> 00:03:20,239 Speaker 1: exploit it. 56 00:03:20,160 --> 00:03:21,440 Speaker 7: For this medium of TV. 57 00:03:21,560 --> 00:03:23,959 Speaker 8: That's important for people to remember, well, in our case, 58 00:03:24,440 --> 00:03:28,639 Speaker 8: for the first time to really combine the power of television, 59 00:03:29,200 --> 00:03:31,560 Speaker 8: radio and record companies. 60 00:03:32,080 --> 00:03:35,080 Speaker 1: Now, it had been done before to some degree with 61 00:03:35,160 --> 00:03:38,240 Speaker 1: Ricky Nelson. Once in a while some TV act would 62 00:03:38,280 --> 00:03:41,160 Speaker 1: come out with a little single, but this was the 63 00:03:41,200 --> 00:03:44,160 Speaker 1: first time that it was a concerted assault. 64 00:03:44,120 --> 00:03:47,680 Speaker 7: On the American consumer. 65 00:03:48,280 --> 00:03:51,720 Speaker 1: The Monkeys was not The Beatles or an attempt to 66 00:03:51,840 --> 00:03:55,960 Speaker 1: be the American Beatles. The Monkeys was a television show 67 00:03:56,720 --> 00:04:01,240 Speaker 1: about an imaginary group that wanted to be the Beatles. 68 00:04:02,040 --> 00:04:04,960 Speaker 1: That's what it was about. It was the struggle for success, 69 00:04:05,840 --> 00:04:08,720 Speaker 1: and that's I think one of the reasons it resonated 70 00:04:08,760 --> 00:04:13,120 Speaker 1: with with so many kids of our generation. If you're hungry, yes, 71 00:04:13,440 --> 00:04:15,960 Speaker 1: so many shows since you know you see him. They 72 00:04:15,960 --> 00:04:18,159 Speaker 1: come on the other they're all beautiful, cute and lovely, 73 00:04:18,200 --> 00:04:21,599 Speaker 1: and they're successful already. You know. The closest thing I've 74 00:04:21,600 --> 00:04:26,080 Speaker 1: seen come around over the decades is Glee, which was 75 00:04:26,120 --> 00:04:31,480 Speaker 1: a TV show about an imaginary glee club. But I 76 00:04:31,839 --> 00:04:35,840 Speaker 1: gather they go and perform because they could, so rather 77 00:04:35,920 --> 00:04:40,200 Speaker 1: than the old school Hollywood trick having somebody else sing 78 00:04:40,360 --> 00:04:44,400 Speaker 1: your vocals in West Side Story or Sweet and Low 79 00:04:44,440 --> 00:04:46,960 Speaker 1: Down Sean Penn, I mean, it was a beautiful movie, 80 00:04:46,960 --> 00:04:49,520 Speaker 1: but of course he didn't play any of that. They 81 00:04:49,800 --> 00:04:54,920 Speaker 1: had in mind that we were going to eventually go 82 00:04:55,000 --> 00:04:59,160 Speaker 1: out on the road and perform, because the audition process 83 00:04:59,320 --> 00:05:02,839 Speaker 1: was nothing like I'd ever been through before. You had 84 00:05:02,880 --> 00:05:05,080 Speaker 1: to be able to sing, you had to be able 85 00:05:05,120 --> 00:05:08,920 Speaker 1: to play an instrument, you had to improvise, you had 86 00:05:08,920 --> 00:05:13,080 Speaker 1: to do comedy scene work on the screen tests. So 87 00:05:13,120 --> 00:05:15,920 Speaker 1: they must have had in mind, you know that this 88 00:05:16,040 --> 00:05:18,800 Speaker 1: thing sells, then one day these guys are going to 89 00:05:19,360 --> 00:05:23,320 Speaker 1: go out on the road and perform. So after we 90 00:05:23,360 --> 00:05:27,320 Speaker 1: got cast and started filming early days, early early days, 91 00:05:27,320 --> 00:05:31,360 Speaker 1: I think maybe before I'd recorded anything, and they brought 92 00:05:31,440 --> 00:05:33,560 Speaker 1: me to this apartment building and said we want you 93 00:05:33,640 --> 00:05:36,120 Speaker 1: to meet the writers who will be writing for you. 94 00:05:36,960 --> 00:05:39,200 Speaker 1: And I go in and this little cubby holes like 95 00:05:39,440 --> 00:05:42,600 Speaker 1: it reminds me of like a medical building where it's 96 00:05:42,839 --> 00:05:49,720 Speaker 1: dentist here in a chiropractice, and it's like, hello, Carol, Oh, hi, Mickey, 97 00:05:49,720 --> 00:05:52,360 Speaker 1: this is Carol King. She'll be writing songs for you. 98 00:05:52,800 --> 00:05:55,080 Speaker 1: Oh my god, oh hi. And she's sitting at an 99 00:05:55,160 --> 00:05:58,880 Speaker 1: upright piano in a little cubby hole like the size 100 00:05:58,880 --> 00:06:01,320 Speaker 1: of this little less less than the size of this 101 00:06:01,360 --> 00:06:05,080 Speaker 1: little studio. And she has a woolen sack reel to 102 00:06:05,200 --> 00:06:07,839 Speaker 1: reel tape recorder. And I remember that because I had 103 00:06:07,880 --> 00:06:15,480 Speaker 1: the Zach same Yes, Carol, this, Mickey and Mickey this Carol. Hi, 104 00:06:15,520 --> 00:06:18,040 Speaker 1: how are you doing. Nice to meet you. Hello, Hi, 105 00:06:18,160 --> 00:06:21,159 Speaker 1: Oh David David Gates. This is Mickey Dolans. He's gonna 106 00:06:21,520 --> 00:06:23,680 Speaker 1: be singing and you're going to be writing for him. 107 00:06:23,760 --> 00:06:25,440 Speaker 7: David Gates from Brady Gates. 108 00:06:25,520 --> 00:06:28,880 Speaker 1: Yes, my god, yeah, oh my god. Oh. He wrote 109 00:06:29,320 --> 00:06:31,080 Speaker 1: a big hit for us. And I don't know if 110 00:06:31,120 --> 00:06:34,960 Speaker 1: you saw beautiful, but Carol King at one point says, 111 00:06:34,960 --> 00:06:37,159 Speaker 1: we got to write some songs for this TV show 112 00:06:37,640 --> 00:06:42,760 Speaker 1: in Hollywood, and Jerry Goffin goes, oh fuck, oh, sorry. 113 00:06:42,480 --> 00:06:45,640 Speaker 7: It's okay. So it's David Gates. 114 00:06:45,920 --> 00:06:48,479 Speaker 1: And then I heard about all these writers. But you know, 115 00:06:48,560 --> 00:06:53,480 Speaker 1: even in that day, the writers were not acknowledged like 116 00:06:53,520 --> 00:06:57,599 Speaker 1: they are now. Whenever I do a show, I immediately 117 00:06:57,839 --> 00:07:01,240 Speaker 1: acknowledge the writers that wrote this stuff, because without them, 118 00:07:01,400 --> 00:07:06,360 Speaker 1: I'd be going, Yeah. 119 00:07:05,880 --> 00:07:07,520 Speaker 7: When did Boys and hert come into the picture? 120 00:07:07,760 --> 00:07:10,560 Speaker 1: Very early, so Boyce and Heart were trying out to 121 00:07:10,600 --> 00:07:13,560 Speaker 1: be a cast as a couple of the monkeys. I 122 00:07:13,680 --> 00:07:17,840 Speaker 1: have no idea why, Bob Rafelson, Bert Schneider, but you 123 00:07:17,920 --> 00:07:20,680 Speaker 1: know how it goes. I mean, you got development from 124 00:07:21,320 --> 00:07:25,520 Speaker 1: NBC or wherever. I'm sure they were all watching the 125 00:07:25,520 --> 00:07:29,720 Speaker 1: screen tests and making those choices. And I have no 126 00:07:29,840 --> 00:07:33,760 Speaker 1: idea why they chose any of us, including me, but 127 00:07:33,880 --> 00:07:35,520 Speaker 1: thank god I did. 128 00:07:36,480 --> 00:07:39,680 Speaker 3: But what was your musical DNA? I mean, I know 129 00:07:39,720 --> 00:07:42,480 Speaker 3: you performed since you were a child, correct, Yeah, and 130 00:07:42,560 --> 00:07:45,240 Speaker 3: so what was your music, DNA? Great question when you 131 00:07:45,240 --> 00:07:46,680 Speaker 3: went rolling into that scenario. 132 00:07:46,920 --> 00:07:51,200 Speaker 1: Thank you, because it is important to me. I started 133 00:07:51,240 --> 00:07:55,680 Speaker 1: out playing classical guitar Segovia kind of stuff as a 134 00:07:55,720 --> 00:07:59,040 Speaker 1: ten year old or something like that. My dad got 135 00:07:59,080 --> 00:08:01,560 Speaker 1: me into it and played me a Segovia record, and 136 00:08:01,600 --> 00:08:06,120 Speaker 1: I was like, there's no way one person is doing alright. 137 00:08:07,000 --> 00:08:09,880 Speaker 1: He said yes, and I got into it. I got 138 00:08:09,920 --> 00:08:14,440 Speaker 1: really hooked. I got really passionate. My dad was a actor, 139 00:08:14,840 --> 00:08:18,720 Speaker 1: a schwash buckling kind of Errol Flynn character in the 140 00:08:18,760 --> 00:08:22,760 Speaker 1: forties and fifties from Middle Lisa Old School. And he 141 00:08:22,840 --> 00:08:26,760 Speaker 1: got me into playing a classical guitar. And I took 142 00:08:26,880 --> 00:08:31,160 Speaker 1: lessons and studied and try, but yeah, I'm ten years old. 143 00:08:31,480 --> 00:08:33,840 Speaker 1: Then I went to high school and I started going 144 00:08:33,880 --> 00:08:36,640 Speaker 1: to parties and they would invite me to parties. I 145 00:08:36,760 --> 00:08:40,320 Speaker 1: was this little geeky mascot, you know. But the girls 146 00:08:40,360 --> 00:08:42,840 Speaker 1: would invite me to parties because I could play something 147 00:08:42,880 --> 00:08:45,120 Speaker 1: on the guitar. Then they would say, do you know 148 00:08:45,240 --> 00:08:50,679 Speaker 1: any Kingston triol. I'll be right back, hang down new 149 00:08:50,760 --> 00:08:57,559 Speaker 1: hit do? So I got okay at folk music Peter Palm, 150 00:08:57,679 --> 00:09:01,679 Speaker 1: Mary my sister, and I would say at parties and stuff. 151 00:09:01,800 --> 00:09:02,800 Speaker 7: And you knew you could sing? 152 00:09:03,600 --> 00:09:06,160 Speaker 1: Yeah, my mom, because my mom was a singer and 153 00:09:06,760 --> 00:09:09,560 Speaker 1: great singer, and my dad was a great singer. But 154 00:09:09,640 --> 00:09:11,880 Speaker 1: he was like a you know, operatic. He would do 155 00:09:11,920 --> 00:09:22,520 Speaker 1: strangers in the you make see a strange, but he 156 00:09:22,559 --> 00:09:26,400 Speaker 1: would sing it walking through the living room in his underwear. 157 00:09:26,800 --> 00:09:30,040 Speaker 7: So it's like, oh, Dad, that is so cross with 158 00:09:30,120 --> 00:09:31,080 Speaker 7: the glass of red wining? 159 00:09:31,160 --> 00:09:37,200 Speaker 1: Is that anyway? So I'm brought up singing, acting, the 160 00:09:37,200 --> 00:09:39,960 Speaker 1: whole thing. But I think nature also has something to 161 00:09:39,960 --> 00:09:42,760 Speaker 1: do with it. You know, there's the physicality of it. 162 00:09:42,800 --> 00:09:46,280 Speaker 1: You're born with the physique to be a tennis player 163 00:09:46,440 --> 00:09:50,720 Speaker 1: or golfer, and well that's it's a muscle and so 164 00:09:51,240 --> 00:09:54,800 Speaker 1: I think I was born with the muscles to do that. 165 00:09:55,240 --> 00:10:00,360 Speaker 1: So yeah, I could sing my After the folk music era, 166 00:10:01,160 --> 00:10:03,600 Speaker 1: I started rock and roll, and I you know, started 167 00:10:03,600 --> 00:10:07,920 Speaker 1: playing guitar and rock guitar and started going out with like, 168 00:10:08,040 --> 00:10:11,920 Speaker 1: you know, cover bands Mickey and the One Nighters, you know, 169 00:10:12,200 --> 00:10:15,640 Speaker 1: just doing you know, walking the Dog and money and 170 00:10:15,640 --> 00:10:20,200 Speaker 1: and house like everything like the Beatles Stones. I talked 171 00:10:20,240 --> 00:10:22,280 Speaker 1: to Ring about it when I interviewed him one day. 172 00:10:22,360 --> 00:10:26,040 Speaker 1: He said, well, we've all cover bends, and it's true. 173 00:10:26,400 --> 00:10:28,960 Speaker 1: I used to do a tune in my band called 174 00:10:29,040 --> 00:10:31,400 Speaker 1: Johnny Be Good because I was a huge Chuck Berry fan. 175 00:10:31,840 --> 00:10:34,800 Speaker 1: That was my audition piece for the Monkeys. 176 00:10:36,080 --> 00:10:38,000 Speaker 7: How did they find you? 177 00:10:38,040 --> 00:10:41,560 Speaker 1: Oh, since I had already had a television show as 178 00:10:41,600 --> 00:10:42,720 Speaker 1: a child. 179 00:10:44,000 --> 00:10:45,640 Speaker 7: NBC, you were circus. 180 00:10:45,679 --> 00:10:49,480 Speaker 1: I was, yes, one does not go to the cattle hall. 181 00:10:50,600 --> 00:10:52,800 Speaker 5: NBC knew you and the. 182 00:10:52,760 --> 00:10:54,960 Speaker 1: Producers and Bob and Bird and my agent. I had 183 00:10:54,960 --> 00:10:57,960 Speaker 1: an agent, you know. I was doing guest shots on 184 00:10:58,080 --> 00:11:02,760 Speaker 1: mister Novak Peyton Place, usually playing the bad guy, the 185 00:11:02,920 --> 00:11:05,840 Speaker 1: little thug, the kind of you know, creepy kid. Yeah, 186 00:11:05,840 --> 00:11:07,760 Speaker 1: the creepy kid. Well you could tell it was like 187 00:11:07,800 --> 00:11:11,320 Speaker 1: the creepy kid thing. There's a little anarchy underneath everything 188 00:11:11,360 --> 00:11:14,079 Speaker 1: you're doing. There's a little there's a little madness underneath 189 00:11:14,120 --> 00:11:18,080 Speaker 1: everything you're doing. The under the whole monkey thing was 190 00:11:18,160 --> 00:11:21,160 Speaker 1: a little bit of anarchy. Bob and Burt weren't much older, 191 00:11:21,200 --> 00:11:24,319 Speaker 1: the creators, producers, they were not much older than we were. 192 00:11:24,360 --> 00:11:27,600 Speaker 1: When I went to my first audition down on Gower 193 00:11:27,640 --> 00:11:32,880 Speaker 1: there at the Scringems, I walked in and there were 194 00:11:32,920 --> 00:11:35,200 Speaker 1: these two guys sitting there in jeans and T shirts. 195 00:11:35,320 --> 00:11:38,000 Speaker 1: I thought they were there for the audition, and that 196 00:11:38,120 --> 00:11:40,000 Speaker 1: was Bob and Burt. I mean, they were part of 197 00:11:40,040 --> 00:11:44,640 Speaker 1: that young buck new wave generation which created the Hollywood 198 00:11:44,640 --> 00:11:49,199 Speaker 1: independent film industry with Easy Rider. So Bob and Bert 199 00:11:49,320 --> 00:11:52,320 Speaker 1: were not much older than I was. And there's a 200 00:11:52,360 --> 00:11:57,560 Speaker 1: wonderful chapter in Timothy Leary's book Politics of Ecstasy. Don't 201 00:11:57,559 --> 00:11:59,600 Speaker 1: know what you think about Timothy Leary, but he has 202 00:11:59,679 --> 00:12:03,640 Speaker 1: like a a chapter on the Monkeys describing how essentially 203 00:12:04,440 --> 00:12:07,920 Speaker 1: we brought long hair into the living room and made 204 00:12:07,920 --> 00:12:11,439 Speaker 1: it okay to wear bell bottoms and have long hair 205 00:12:12,280 --> 00:12:14,920 Speaker 1: because the only time you saw long haired kids in 206 00:12:15,000 --> 00:12:19,080 Speaker 1: sixty six or seven on television they were getting arrested. 207 00:12:20,000 --> 00:12:22,400 Speaker 1: So the monkeys came along and said, which is what 208 00:12:22,640 --> 00:12:25,120 Speaker 1: if you have had a lone to have our fun. 209 00:12:25,200 --> 00:12:28,080 Speaker 1: We're just trying to be friendly. Yeah, And it was 210 00:12:28,120 --> 00:12:31,280 Speaker 1: a tough sell. Bob and Bert, I understand, had a 211 00:12:31,320 --> 00:12:35,920 Speaker 1: real tough cell at the New York The Upfront upfronts YEP, 212 00:12:36,600 --> 00:12:43,080 Speaker 1: NBC was nervous, but it represented all the kids out 213 00:12:43,080 --> 00:12:47,760 Speaker 1: there that were of the same mind. The majority didn't 214 00:12:47,800 --> 00:12:51,280 Speaker 1: want to throw bombs at people or you know, to then. 215 00:12:51,760 --> 00:12:54,679 Speaker 1: It was just we wanted to just have fun and 216 00:12:54,760 --> 00:12:55,880 Speaker 1: we loved the look. 217 00:12:56,679 --> 00:12:56,880 Speaker 2: You know. 218 00:12:56,920 --> 00:13:00,560 Speaker 1: The very similar thing happened with Harry Winkler in Heavy Days. 219 00:13:01,080 --> 00:13:04,520 Speaker 1: He made it okay to wear a leather jacket finally 220 00:13:04,640 --> 00:13:07,720 Speaker 1: and ride a motorcycle. And he wasn't Marlon brand I'm 221 00:13:07,720 --> 00:13:11,080 Speaker 1: a kiss of danger. The Kiss of Danger. Will Smith 222 00:13:11,160 --> 00:13:14,240 Speaker 1: did a similar thing with Fresh Prince. He said it's 223 00:13:14,280 --> 00:13:17,679 Speaker 1: okay to be a young black guy and sing rap music. Well, 224 00:13:17,720 --> 00:13:19,000 Speaker 1: the Monkeys did the same thing. 225 00:13:19,080 --> 00:13:21,040 Speaker 3: So and then did you mentioned Easy Writer? You know, 226 00:13:21,080 --> 00:13:23,440 Speaker 3: we had Russ Tamblin in here to record a show 227 00:13:23,480 --> 00:13:25,200 Speaker 3: with us. And what's interesting is I asked him how 228 00:13:25,559 --> 00:13:28,520 Speaker 3: his career rolls after he does a West Side Story 229 00:13:28,840 --> 00:13:30,680 Speaker 3: and then within a matter of a few years, a 230 00:13:30,720 --> 00:13:34,160 Speaker 3: handful of years, all that's crumbling. As you said, everything 231 00:13:34,200 --> 00:13:37,880 Speaker 3: starts to change, Easy Writer, the anti heroic period of filmmaking. 232 00:13:37,960 --> 00:13:39,120 Speaker 7: Nicholson's career is born. 233 00:13:39,160 --> 00:13:41,679 Speaker 1: Well, Nicholson had his first I don't know, I don't 234 00:13:41,679 --> 00:13:44,040 Speaker 1: want to say break. He was a B movie actor 235 00:13:45,040 --> 00:13:48,199 Speaker 1: and Gorman guy Corman and I don't know if you 236 00:13:48,280 --> 00:13:50,640 Speaker 1: heard of the monkey movie called Head, Yes, of course, 237 00:13:51,040 --> 00:13:54,640 Speaker 1: written by Nicholson and us. We did get credit eventually 238 00:13:55,240 --> 00:13:59,319 Speaker 1: after the Monkey's showing off the air. Bob introduced this 239 00:13:59,440 --> 00:14:02,400 Speaker 1: to this guy I called Jack Jack Nicholson, who was 240 00:14:02,440 --> 00:14:05,960 Speaker 1: doing B movie but wanted to write. And we just 241 00:14:06,000 --> 00:14:08,360 Speaker 1: fell in love with him, I did. I can't speak 242 00:14:08,360 --> 00:14:14,880 Speaker 1: for everybody else, but he was and is most wonderful charismatic, funny, 243 00:14:15,080 --> 00:14:19,680 Speaker 1: intelligent guy that I'd ever met, and we welcomed him 244 00:14:19,680 --> 00:14:22,120 Speaker 1: with open arms, and he hung out with us for 245 00:14:22,240 --> 00:14:24,840 Speaker 1: like god months, it seems like. And then we all 246 00:14:24,880 --> 00:14:28,000 Speaker 1: got together up in Ohai at the Inn and Spot, 247 00:14:28,280 --> 00:14:30,800 Speaker 1: and I got film with this. I got actual film 248 00:14:30,840 --> 00:14:35,080 Speaker 1: of us sitting around and choreographing what this movie was 249 00:14:35,120 --> 00:14:39,160 Speaker 1: going to be about, because obviously as a movie, we 250 00:14:39,200 --> 00:14:43,960 Speaker 1: didn't have to stick to the NBC standards and practices thing, 251 00:14:44,160 --> 00:14:47,880 Speaker 1: which was pretty brutal. But The Monkeys wasn't about that anyway, 252 00:14:47,920 --> 00:14:51,080 Speaker 1: it was not our place to do that. At the time. 253 00:14:51,760 --> 00:14:56,200 Speaker 1: We left that to laugh in into other shows. I 254 00:14:56,240 --> 00:15:00,400 Speaker 1: had no objections to that. It was wide demographic, young 255 00:15:00,480 --> 00:15:04,160 Speaker 1: kids thirteen years old. So we went up and wrote 256 00:15:04,200 --> 00:15:11,480 Speaker 1: this wacky script and they took that created this movie Head, 257 00:15:11,520 --> 00:15:13,880 Speaker 1: which I love. I mean, I don't get it still, 258 00:15:14,760 --> 00:15:17,520 Speaker 1: and I wrote part of it, and I wrote parties 259 00:15:17,560 --> 00:15:20,560 Speaker 1: Beyond You, but it's Quintin told me it's like his 260 00:15:20,680 --> 00:15:25,160 Speaker 1: top five. So that was our little kind of breakout, 261 00:15:25,360 --> 00:15:28,600 Speaker 1: you know, and fans hated it. But now now it's 262 00:15:28,640 --> 00:15:31,440 Speaker 1: become this little cult thing because at the time, you know, 263 00:15:31,480 --> 00:15:35,920 Speaker 1: they would not let us even touch upon anything political, 264 00:15:36,120 --> 00:15:40,920 Speaker 1: social it NBC, you know, standards and practices. I'm not 265 00:15:40,960 --> 00:15:44,240 Speaker 1: sure it was only just after they let Ozzy and 266 00:15:44,280 --> 00:15:46,560 Speaker 1: Harriet sleep in the same bed or something like that. 267 00:15:47,320 --> 00:15:49,320 Speaker 3: But I've been described for people to hear it from 268 00:15:49,320 --> 00:15:53,800 Speaker 3: your own mouth, this journey everyone's impression. Who knows about 269 00:15:53,840 --> 00:15:56,680 Speaker 3: that period of you know, your careers in television, that 270 00:15:56,760 --> 00:16:00,720 Speaker 3: your lip syncing another band was playing and you were simulating. 271 00:16:01,000 --> 00:16:06,560 Speaker 1: Correct. No, well it's not accurate. First of all, its accurate. 272 00:16:06,600 --> 00:16:10,880 Speaker 1: We sang all of it, every note. We didn't live sync. No, 273 00:16:11,360 --> 00:16:13,560 Speaker 1: you only live sync when you're doing a music video. 274 00:16:14,760 --> 00:16:14,960 Speaker 7: No. 275 00:16:15,080 --> 00:16:20,600 Speaker 1: But the recording process was different, and I know that Peter, 276 00:16:20,720 --> 00:16:24,560 Speaker 1: for instance, wanted to go in and play. Mike wanted to. 277 00:16:24,720 --> 00:16:29,280 Speaker 1: But when we first were cast, they had already recorded 278 00:16:29,640 --> 00:16:34,200 Speaker 1: a lot of tracks. They hired the Wrecking Crew, which 279 00:16:34,200 --> 00:16:34,880 Speaker 1: I'm sure you've. 280 00:16:36,360 --> 00:16:37,240 Speaker 7: A studio band. 281 00:16:37,400 --> 00:16:41,200 Speaker 1: They were the studio Cats played all the tracks for 282 00:16:41,600 --> 00:16:47,880 Speaker 1: the Beach Boys, for Association for the Birds. I frankly 283 00:16:47,920 --> 00:16:50,280 Speaker 1: didn't care. I mean, I approached it like I was 284 00:16:50,360 --> 00:16:54,600 Speaker 1: doing a musical. I was an entertainer, singer, actor. The 285 00:16:54,720 --> 00:16:58,000 Speaker 1: Monkeys was like a Marx Brothers musical, and it was 286 00:16:58,080 --> 00:17:01,880 Speaker 1: John Lennon that first made that. Compare the Monkeys was 287 00:17:01,920 --> 00:17:04,120 Speaker 1: a little half hour Marks Brothers musical. 288 00:17:04,200 --> 00:17:07,879 Speaker 3: But what I'm looking for is eventually, oh yeah, you 289 00:17:07,960 --> 00:17:11,480 Speaker 3: do play. Yeah, what's around the time when you're sitting 290 00:17:11,520 --> 00:17:13,960 Speaker 3: there and you guys are playing and you say, he said, wow, 291 00:17:14,280 --> 00:17:15,000 Speaker 3: yeah we're there. 292 00:17:15,119 --> 00:17:16,280 Speaker 7: Oh yeah, when does that happen? 293 00:17:16,400 --> 00:17:20,760 Speaker 1: That happened in Honolulu in nineteen sixty seven. But the 294 00:17:20,920 --> 00:17:24,840 Speaker 1: prelude to that is that we start rehearsing because they 295 00:17:24,880 --> 00:17:26,320 Speaker 1: say we want to go on the road, want to 296 00:17:26,359 --> 00:17:28,680 Speaker 1: take the sack on the road, and that is why 297 00:17:28,720 --> 00:17:33,720 Speaker 1: they hired actor musicians. Mike plays incredible twelve string. Peter 298 00:17:33,840 --> 00:17:37,159 Speaker 1: plays seven instruments. God rest his soul. I mean he 299 00:17:37,200 --> 00:17:40,000 Speaker 1: went to the Conservatory of Music, and like in New York, 300 00:17:40,600 --> 00:17:44,080 Speaker 1: David didn't play an instrument as such. We could sing 301 00:17:44,119 --> 00:17:47,840 Speaker 1: obviously and played percussion. I was a guitar player, and 302 00:17:47,880 --> 00:17:51,480 Speaker 1: when they said you're going to be the drummer, I said, cool, 303 00:17:51,640 --> 00:17:54,760 Speaker 1: where do I start? Like I said in Circus Boy, 304 00:17:54,800 --> 00:17:58,520 Speaker 1: when they said so you're going to ride in an elephant, Okay, 305 00:17:58,520 --> 00:18:01,720 Speaker 1: where do I start? Us have said to Lloyd Bridges. 306 00:18:01,400 --> 00:18:04,639 Speaker 7: When you started, you're gonna be. 307 00:18:06,119 --> 00:18:06,320 Speaker 5: Right. 308 00:18:06,440 --> 00:18:09,080 Speaker 1: Where do I start one? 309 00:18:09,440 --> 00:18:11,160 Speaker 6: You never take a bandage. 310 00:18:11,960 --> 00:18:14,040 Speaker 1: All below riot as the fun. 311 00:18:17,440 --> 00:18:22,439 Speaker 6: Someone don't understand them and you just may be the one, 312 00:18:25,680 --> 00:18:28,000 Speaker 6: Oh Membus. 313 00:18:29,200 --> 00:18:34,480 Speaker 3: Some One actor and musician Mickey Dolans. This album marks 314 00:18:34,520 --> 00:18:39,480 Speaker 3: the beginning of the band's self sufficiency. You're listening to 315 00:18:39,680 --> 00:18:43,879 Speaker 3: Michael Nessmith in nineteen sixty seven singing his own composition 316 00:18:44,040 --> 00:18:47,879 Speaker 3: you just May be the One. All the instruments are 317 00:18:47,920 --> 00:18:51,320 Speaker 3: the monkeys themselves too. At the same time as the 318 00:18:51,400 --> 00:18:55,760 Speaker 3: Monkeys were softening the edges of the counterculture, Andy Warhol 319 00:18:55,920 --> 00:19:00,879 Speaker 3: was doing the opposite. He made Four Stars, a plotless, unedited, 320 00:19:01,359 --> 00:19:04,680 Speaker 3: twenty five hour portrait of his friends and collaborators doing 321 00:19:04,760 --> 00:19:09,960 Speaker 3: drugs and having sex. That movie was also the debut 322 00:19:10,520 --> 00:19:15,920 Speaker 3: of Warhol's favorite beefcake star Joe Delassandro. But when the 323 00:19:16,000 --> 00:19:19,040 Speaker 3: juvenile delinquent turned pin up model showed up at the 324 00:19:19,080 --> 00:19:23,360 Speaker 3: factory in nineteen sixty seven, he had no idea who 325 00:19:23,400 --> 00:19:24,439 Speaker 3: his host was. 326 00:19:25,160 --> 00:19:28,000 Speaker 2: I had a couple of friends in New York that 327 00:19:28,160 --> 00:19:31,480 Speaker 2: introduced me to other people, and then one day one 328 00:19:31,520 --> 00:19:36,560 Speaker 2: of these friends said, Hey, I know this person that's 329 00:19:37,520 --> 00:19:40,560 Speaker 2: making these Campbell suit ca you know, makes the Cambell suit, 330 00:19:40,880 --> 00:19:42,880 Speaker 2: and I was thinking we were go in to eat 331 00:19:42,960 --> 00:19:44,760 Speaker 2: some soup, which I. 332 00:19:44,880 --> 00:19:48,399 Speaker 7: Was all for, and you just made me the one. 333 00:19:50,160 --> 00:19:53,879 Speaker 3: For a link to my interview with Joe Delassandro, text Joe, 334 00:19:54,240 --> 00:20:12,960 Speaker 3: that's Joe to seven zero one zero one. I'm Alec 335 00:20:13,000 --> 00:20:16,439 Speaker 3: Baldwin and this is here's the thing. My guest is 336 00:20:16,520 --> 00:20:19,480 Speaker 3: Mickey Dolan's drummer and vocalist for The Monkeys. 337 00:20:19,880 --> 00:20:24,320 Speaker 1: Walk still, don't you walk out? We've got things to say. 338 00:20:25,840 --> 00:20:30,359 Speaker 1: Chop out, let's set up the talkdout. Things would be okay. 339 00:20:31,400 --> 00:20:34,199 Speaker 1: Shut down. 340 00:20:36,560 --> 00:20:39,919 Speaker 3: The pandemic has meant no twenty twenty tour, but you 341 00:20:39,960 --> 00:20:43,479 Speaker 3: can still hear his and Michael Nessmith's latest from the 342 00:20:43,520 --> 00:20:47,560 Speaker 3: comfort of your own confinement. Their album, called The Monkeys 343 00:20:47,680 --> 00:20:50,840 Speaker 3: Live The mic and Mickey Show, was taped last year 344 00:20:51,119 --> 00:20:56,800 Speaker 3: and is available on iTunes and Spotify. Their sound and 345 00:20:56,960 --> 00:20:59,680 Speaker 3: the love from the audience is as strong as ever. 346 00:21:00,160 --> 00:21:03,800 Speaker 3: Starting from just playing a band member on TV, it 347 00:21:03,840 --> 00:21:07,800 Speaker 3: took Dolan's time and hard work to build up his skills. 348 00:21:08,080 --> 00:21:11,440 Speaker 1: I had about a year and I studied very very hard, 349 00:21:11,520 --> 00:21:14,440 Speaker 1: and I practiced very very hard. It was rock and 350 00:21:14,600 --> 00:21:17,480 Speaker 1: roll just four four time. For the most part. We 351 00:21:17,520 --> 00:21:22,440 Speaker 1: rehearsed diligently. David Winters, speaking of a West Side story, 352 00:21:23,040 --> 00:21:26,360 Speaker 1: was the director of our first stage show, and all 353 00:21:26,400 --> 00:21:29,480 Speaker 1: of a sudden one day they said, your first gig 354 00:21:30,000 --> 00:21:33,680 Speaker 1: is Hawaii. I think they did that because if it bombed, 355 00:21:34,080 --> 00:21:34,919 Speaker 1: no one would know. 356 00:21:35,920 --> 00:21:39,000 Speaker 3: Off the coast of the United States, no Internet. 357 00:21:39,119 --> 00:21:40,920 Speaker 7: They could bury it like nuclear waste. 358 00:21:41,200 --> 00:21:45,080 Speaker 1: Yes, that was us Nucleois. Good name for a group. 359 00:21:45,560 --> 00:21:48,440 Speaker 1: It turns out we did pretty good. There's a live 360 00:21:48,640 --> 00:21:52,919 Speaker 1: in sixty seven CD which was not recorded to be 361 00:21:53,040 --> 00:21:55,520 Speaker 1: a record. It was some I think the sound guy 362 00:21:55,680 --> 00:21:57,760 Speaker 1: was just like holding a microphone up in the air 363 00:21:57,840 --> 00:22:00,560 Speaker 1: to capture it. But it's not bad. Only three of 364 00:22:00,640 --> 00:22:03,760 Speaker 1: us playing, you know. It is Mike, Peter and I 365 00:22:03,880 --> 00:22:07,000 Speaker 1: Davy just doing percussion and of course the vocals. But 366 00:22:07,119 --> 00:22:09,119 Speaker 1: it was a trio. It was a power trio. And 367 00:22:09,160 --> 00:22:13,360 Speaker 1: Peter would play the right hand he would play keyboard melody, 368 00:22:13,880 --> 00:22:17,640 Speaker 1: and on the left hand he played keyboard bass. Mike 369 00:22:17,760 --> 00:22:21,440 Speaker 1: Nesmuth always put it like when we went on the road, 370 00:22:21,640 --> 00:22:25,359 Speaker 1: it was like Pinocchio became a real little boy, And 371 00:22:25,400 --> 00:22:26,760 Speaker 1: there's a lot of truth in that. 372 00:22:27,560 --> 00:22:29,520 Speaker 7: And how'd you feel back then? Were you happy? 373 00:22:30,119 --> 00:22:34,280 Speaker 3: How did they feel? Were they happy the band or 374 00:22:34,280 --> 00:22:37,719 Speaker 3: the monkeys couldn't tell. I don't want to speak for them. 375 00:22:38,160 --> 00:22:41,960 Speaker 3: Mike nsamuth I know, and it's well recorded. He wanted 376 00:22:42,000 --> 00:22:44,880 Speaker 3: to play and sing a lot more. He'd been brought into. 377 00:22:44,720 --> 00:22:49,320 Speaker 1: The situation, had no idea what a series was all about. 378 00:22:49,600 --> 00:22:51,840 Speaker 1: They said. He said, I want to sing him play 379 00:22:52,440 --> 00:22:55,760 Speaker 1: in rotten my songs, and he did not have a 380 00:22:55,840 --> 00:22:59,240 Speaker 1: chance to do that initially. Eventually he did, and that's 381 00:22:59,280 --> 00:23:02,280 Speaker 1: when we had the palace coup prompted by him. 382 00:23:02,320 --> 00:23:03,280 Speaker 7: What year did that happen. 383 00:23:03,920 --> 00:23:06,200 Speaker 1: I was sixty seven, I want to say. 384 00:23:06,040 --> 00:23:08,000 Speaker 7: Right around the time of the live show in Hawaii. 385 00:23:07,920 --> 00:23:11,680 Speaker 1: Just after we had a palace coup, mainly because Mike said, 386 00:23:11,720 --> 00:23:15,280 Speaker 1: we can do this, Pinocchio can become a little boy. 387 00:23:16,000 --> 00:23:18,040 Speaker 1: He was frustrated, and I don't blame him. 388 00:23:18,359 --> 00:23:19,080 Speaker 5: How'd you feel? 389 00:23:19,400 --> 00:23:21,439 Speaker 1: I didn't care one way or the other. I was 390 00:23:21,440 --> 00:23:24,800 Speaker 1: having a great time and I loved singing. It ended 391 00:23:24,880 --> 00:23:27,680 Speaker 1: up that I was. I think I ended up doing 392 00:23:27,720 --> 00:23:31,199 Speaker 1: the most of the lead vocals. Kind of by the fault. 393 00:23:32,600 --> 00:23:35,840 Speaker 1: Mike had avery and does still has a very wonderful 394 00:23:35,880 --> 00:23:37,320 Speaker 1: country western kind. 395 00:23:37,160 --> 00:23:42,440 Speaker 6: Of Oh man, it must have someone. 396 00:23:42,800 --> 00:23:44,280 Speaker 1: Have some. 397 00:23:46,640 --> 00:23:47,359 Speaker 5: I love that song. 398 00:23:47,440 --> 00:23:50,800 Speaker 1: Yeah, beautiful, we do that in our show. He and 399 00:23:50,840 --> 00:23:53,960 Speaker 1: I know Peter, like I say, could play like you know, 400 00:23:54,280 --> 00:23:59,399 Speaker 1: seven instruments, David great singer, but definitely the Krooner Broadway 401 00:24:00,200 --> 00:24:01,639 Speaker 1: kind of Tony Newley. 402 00:24:01,840 --> 00:24:03,880 Speaker 3: I read somewhere, Yeah, I read somewhere where they had 403 00:24:03,920 --> 00:24:07,440 Speaker 3: decided the powers that be that your voice was more 404 00:24:07,480 --> 00:24:08,000 Speaker 3: of the voice. 405 00:24:08,080 --> 00:24:18,760 Speaker 1: I was the only one that could go exactly yeah, yeah, 406 00:24:19,480 --> 00:24:24,280 Speaker 1: like I said that she loves me. You are really 407 00:24:24,320 --> 00:24:24,840 Speaker 1: good at this. 408 00:24:25,119 --> 00:24:25,600 Speaker 5: Thank you. 409 00:24:26,600 --> 00:24:28,600 Speaker 7: So you have the coup, you get rid of Kershner. 410 00:24:28,680 --> 00:24:29,640 Speaker 7: You're doing your own thing. 411 00:24:29,760 --> 00:24:29,920 Speaker 1: Yea. 412 00:24:30,080 --> 00:24:33,600 Speaker 3: Does everybody sense that it's better and everybody's happy event 413 00:24:33,920 --> 00:24:34,440 Speaker 3: the well? 414 00:24:34,480 --> 00:24:41,040 Speaker 1: I can only speak yea for myself. Uh yeah. During 415 00:24:41,040 --> 00:24:43,520 Speaker 1: that period I had I guess you'd call it an 416 00:24:43,560 --> 00:24:47,640 Speaker 1: awakening or something, because up until that point we had 417 00:24:48,520 --> 00:24:53,320 Speaker 1: I'd been ensconced on the set from seven o'clock in 418 00:24:53,359 --> 00:24:57,560 Speaker 1: the morning makeup until eleven o'clock at night, where I 419 00:24:57,560 --> 00:25:02,879 Speaker 1: would be brought into RC Studios to record two or 420 00:25:02,920 --> 00:25:07,120 Speaker 1: three lead vocals a night because they wanted so much material. 421 00:25:07,320 --> 00:25:08,840 Speaker 7: Was you do the show during the day and record 422 00:25:08,840 --> 00:25:09,200 Speaker 7: at night. 423 00:25:09,400 --> 00:25:12,280 Speaker 1: Yeah, I had to. They needed so much material because 424 00:25:12,280 --> 00:25:15,560 Speaker 1: they wanted two new songs for every episode, and so 425 00:25:15,640 --> 00:25:19,240 Speaker 1: Boyce and Hert and Carol King and all these people 426 00:25:19,280 --> 00:25:23,360 Speaker 1: are pumping out massive amounts of material, and Carol come 427 00:25:23,400 --> 00:25:25,600 Speaker 1: over to my house. I'd go over to Diane Hildebrand 428 00:25:26,320 --> 00:25:30,120 Speaker 1: or Boyce and Hard and then to routine the stuff 429 00:25:30,320 --> 00:25:33,119 Speaker 1: and then go in the studio and just blow it 430 00:25:33,119 --> 00:25:36,200 Speaker 1: out at ten eleven o'clock at night. And that went 431 00:25:36,240 --> 00:25:39,840 Speaker 1: on for months because they needed so much material, this 432 00:25:40,080 --> 00:25:42,439 Speaker 1: material that is still in the can that we have 433 00:25:42,560 --> 00:25:46,840 Speaker 1: not released. We released an album two years ago called 434 00:25:46,880 --> 00:25:51,320 Speaker 1: good Times. One of the songs Me and Magdalena, written 435 00:25:51,359 --> 00:25:55,920 Speaker 1: by Ben Gibberd from Death Cap Quti is number seventy 436 00:25:56,000 --> 00:26:00,000 Speaker 1: six on the Billboard Hot one hundred for the entire 437 00:26:00,119 --> 00:26:03,800 Speaker 1: Highre decade. On this album called good Times. Very proud 438 00:26:03,840 --> 00:26:06,879 Speaker 1: of that. So anyway, I'm in the studio, you know, 439 00:26:07,640 --> 00:26:11,680 Speaker 1: or on the set basically twenty four seven. But I'm 440 00:26:11,720 --> 00:26:14,760 Speaker 1: only twenty one years old, so I'm just taking it 441 00:26:14,800 --> 00:26:16,920 Speaker 1: for what it is. I mean, I was had been 442 00:26:16,920 --> 00:26:21,400 Speaker 1: brought up to be a actor, entertainer, and you show 443 00:26:21,480 --> 00:26:24,520 Speaker 1: up at seven for your makeup wardrobe call, and you 444 00:26:24,640 --> 00:26:26,560 Speaker 1: do your job and you go home. 445 00:26:26,640 --> 00:26:28,359 Speaker 7: It's the whole Judy Garland thing. Yeah. 446 00:26:28,440 --> 00:26:30,280 Speaker 3: Now, but let me ask you that, Meaning you're twenty 447 00:26:30,359 --> 00:26:33,160 Speaker 3: years old and you're grinding this out, what was your 448 00:26:33,320 --> 00:26:35,879 Speaker 3: life like? Did you have a life? 449 00:26:36,560 --> 00:26:39,000 Speaker 1: Oh? Absolutely, meeting, I had a wonderful life, right, I 450 00:26:39,080 --> 00:26:41,400 Speaker 1: actually had a wonderful life. Well, again, I was used 451 00:26:41,400 --> 00:26:43,399 Speaker 1: to it. You know. I had a lot of this 452 00:26:43,520 --> 00:26:46,639 Speaker 1: series when I was ten, so I well knew what 453 00:26:46,760 --> 00:26:49,879 Speaker 1: I was getting into. It was almost like home for me, 454 00:26:50,440 --> 00:26:53,080 Speaker 1: because when you're ten, twelve, thirteen years old and you're 455 00:26:53,880 --> 00:26:57,800 Speaker 1: in those are very formative years. And I was on 456 00:26:57,840 --> 00:27:01,359 Speaker 1: a set with my mom and a bunch smelling electricians, 457 00:27:02,119 --> 00:27:05,480 Speaker 1: and so I went back to high school and that 458 00:27:05,640 --> 00:27:09,119 Speaker 1: was abnormal for me. I was like fish out of 459 00:27:09,119 --> 00:27:11,679 Speaker 1: water until I got The Monkeys, which is only a 460 00:27:11,680 --> 00:27:14,920 Speaker 1: few years later. When I went to the audition interview 461 00:27:15,000 --> 00:27:19,199 Speaker 1: for The Monkeys at Screen Gems, the same guy was 462 00:27:19,240 --> 00:27:21,280 Speaker 1: on the gate that had been there when I was 463 00:27:21,560 --> 00:27:23,760 Speaker 1: ten years old with Circus Boy. It was only ten 464 00:27:23,840 --> 00:27:28,440 Speaker 1: years later. This was home to me. I breathed a 465 00:27:28,480 --> 00:27:31,200 Speaker 1: sigh of relief being on a set. 466 00:27:31,320 --> 00:27:32,240 Speaker 5: You were comfortable there? 467 00:27:32,280 --> 00:27:35,760 Speaker 1: Oh yeah, big time, Because before that I was on 468 00:27:35,760 --> 00:27:40,240 Speaker 1: my father's set when he was doing movies for Howard Hughes. 469 00:27:40,720 --> 00:27:43,680 Speaker 1: I didn't have to adapt. I just fell into it. 470 00:27:43,840 --> 00:27:47,080 Speaker 3: And when the show ends, is there a thought for 471 00:27:47,119 --> 00:27:49,360 Speaker 3: you to say, I'm kind of done with music now 472 00:27:49,359 --> 00:27:50,920 Speaker 3: and I want to go back to acting or No, 473 00:27:51,160 --> 00:27:53,639 Speaker 3: were you now in your soul a musician? 474 00:27:54,680 --> 00:27:57,760 Speaker 1: No. I was up for the FONNDS and it was 475 00:27:57,840 --> 00:28:00,200 Speaker 1: between me and Henry Winkler. I don't know if he's 476 00:28:00,240 --> 00:28:04,040 Speaker 1: ever told you the story. It was a mid season replacement, 477 00:28:04,240 --> 00:28:06,679 Speaker 1: just after the Monkeys, and I was up for and 478 00:28:06,720 --> 00:28:09,440 Speaker 1: went back for callbacks and it was between me and Henry. 479 00:28:09,880 --> 00:28:13,400 Speaker 1: He walked into the office Gary Marshall's office said, oh shit, 480 00:28:13,520 --> 00:28:15,840 Speaker 1: Mickey Dolan's is here. I'm never going to get this, 481 00:28:17,440 --> 00:28:20,800 Speaker 1: and thank god he did, because he wasn't much better 482 00:28:20,880 --> 00:28:22,040 Speaker 1: funds than I would have been. 483 00:28:22,440 --> 00:28:22,520 Speaker 2: No. 484 00:28:22,680 --> 00:28:25,760 Speaker 1: I went for some interviews and I did a couple 485 00:28:25,760 --> 00:28:29,440 Speaker 1: of little guest shots on some shows. My agent would 486 00:28:29,480 --> 00:28:31,840 Speaker 1: send me out for little things, but I would go 487 00:28:31,920 --> 00:28:34,160 Speaker 1: into the office and they'd say, Oh, we don't need 488 00:28:34,160 --> 00:28:36,360 Speaker 1: any drummers, what are you doing here? 489 00:28:36,400 --> 00:28:37,440 Speaker 5: So it was hard to get off from under the 490 00:28:37,440 --> 00:28:38,440 Speaker 5: shadow of the Monkeys. 491 00:28:38,680 --> 00:28:43,880 Speaker 1: Yeah, talked to Leonard Nimoy about that this classic problem 492 00:28:44,440 --> 00:28:48,000 Speaker 1: in our Star Street. Yeah, but I didn't worry about 493 00:28:48,000 --> 00:28:50,080 Speaker 1: it that much because the same thing had happened to 494 00:28:50,080 --> 00:28:53,560 Speaker 1: me after Circus Boy. I'd go to an interview and 495 00:28:53,600 --> 00:28:57,280 Speaker 1: they'd say, we don't need the show, and you're not 496 00:28:57,360 --> 00:29:01,120 Speaker 1: blonde anymore, what's there? I was used to that. But 497 00:29:01,240 --> 00:29:05,960 Speaker 1: also I had already started directing, and I directed the 498 00:29:07,120 --> 00:29:10,440 Speaker 1: last episode of The Monkeys, wrote and directed. I had 499 00:29:10,480 --> 00:29:14,120 Speaker 1: already decided I kind of wanted to get into production. 500 00:29:14,240 --> 00:29:17,160 Speaker 1: I had already been an actor since I was ten, 501 00:29:17,720 --> 00:29:21,320 Speaker 1: and I started a little film production company. But shortly 502 00:29:21,360 --> 00:29:24,040 Speaker 1: thereafter I moved to England. Had married a girl that 503 00:29:24,640 --> 00:29:27,959 Speaker 1: is English, and we went to England to do a 504 00:29:28,000 --> 00:29:32,160 Speaker 1: play at the Mermaid Theater, doing the Point by Harry Nilsen, 505 00:29:32,160 --> 00:29:34,360 Speaker 1: who was my dear friend at the time, and he'd 506 00:29:34,360 --> 00:29:38,800 Speaker 1: written this animated thing, and then it became a play 507 00:29:39,040 --> 00:29:41,840 Speaker 1: in London in the West End, and he said would 508 00:29:41,880 --> 00:29:43,920 Speaker 1: you come and play in it? It was a limited 509 00:29:44,200 --> 00:29:47,840 Speaker 1: panamime season and I went there with my wife. I 510 00:29:47,920 --> 00:29:50,280 Speaker 1: brought my reels what I had at the time. I 511 00:29:50,320 --> 00:29:52,800 Speaker 1: gave it to an English agent and all of a sudden, bang, 512 00:29:52,880 --> 00:29:57,760 Speaker 1: I get this gig at the BBC directing a drama, 513 00:29:58,000 --> 00:30:02,280 Speaker 1: a drama play, and I did it, and all of 514 00:30:02,360 --> 00:30:05,960 Speaker 1: a sudden, I'd gone to England for three months, stayed 515 00:30:05,960 --> 00:30:10,400 Speaker 1: for fifteen years. I directed big shows, long running shows 516 00:30:10,440 --> 00:30:14,680 Speaker 1: for the BBC, for LWT, for Grenada, for TIMS. I 517 00:30:14,720 --> 00:30:17,600 Speaker 1: loved it and I was doing something outside of the 518 00:30:17,640 --> 00:30:21,720 Speaker 1: purview of what I was known for. Over there. Within 519 00:30:21,800 --> 00:30:27,680 Speaker 1: a about a year, auditions, well, the not auditions, the interviews. 520 00:30:27,720 --> 00:30:32,400 Speaker 1: When I did an interview, it would say BBC producer 521 00:30:32,720 --> 00:30:35,040 Speaker 1: writer Michael. 522 00:30:34,720 --> 00:30:40,720 Speaker 3: Dolans, you became someone else again I did, from Circus 523 00:30:40,760 --> 00:30:45,040 Speaker 3: Boy to Mickey Dolan's to Michael Dolan's. 524 00:30:45,480 --> 00:30:46,240 Speaker 1: And back again. 525 00:30:46,320 --> 00:30:48,719 Speaker 7: What brought you back? Fifteen? You love? 526 00:30:50,800 --> 00:30:54,400 Speaker 1: I'll give you the truth a divorce. I had retired, 527 00:30:54,480 --> 00:30:57,360 Speaker 1: actually I had tried to retire thirty five or forty 528 00:30:57,440 --> 00:31:01,080 Speaker 1: or something, big English rock and roll man, full time 529 00:31:01,120 --> 00:31:05,120 Speaker 1: staff of six, hunting in the winter and polo in. 530 00:31:05,080 --> 00:31:06,960 Speaker 7: The summer, and the rock star life. 531 00:31:07,000 --> 00:31:10,560 Speaker 1: Oh yeah, and it was so boring. I was bored 532 00:31:10,560 --> 00:31:14,720 Speaker 1: to death because I wasn't working, I wasn't accomplishing, you know. 533 00:31:15,000 --> 00:31:18,600 Speaker 1: I'd wander around the grounds, seven or eight acres of 534 00:31:18,680 --> 00:31:22,640 Speaker 1: formal gardens and that helped, would tip their hats mourning 535 00:31:22,680 --> 00:31:26,120 Speaker 1: Governor morning, and I was like trying to hang out 536 00:31:26,120 --> 00:31:31,640 Speaker 1: with them, Hey, what's that morning, Governor. I got very 537 00:31:31,680 --> 00:31:34,280 Speaker 1: bored because I wasn't working. Came back to the States, 538 00:31:34,320 --> 00:31:39,040 Speaker 1: still a little directing Boy meets World. I did Pacific Blue, 539 00:31:39,560 --> 00:31:41,600 Speaker 1: but I kind of you know, I guess I kind 540 00:31:41,640 --> 00:31:44,120 Speaker 1: of got tired of that too. I don't know. I mean, here, 541 00:31:44,200 --> 00:31:48,040 Speaker 1: it's not the same in England I had, and I 542 00:31:48,080 --> 00:31:52,240 Speaker 1: still think it applies enormous amount of control. Over there, 543 00:31:53,160 --> 00:31:57,400 Speaker 1: the show runner is the producer director, not the producer writer. 544 00:31:58,080 --> 00:32:00,560 Speaker 1: I hired writers here. 545 00:32:00,600 --> 00:32:02,120 Speaker 7: The producer writer is the more powers. 546 00:32:02,880 --> 00:32:06,959 Speaker 1: That's the show warner. Over there, I'd go in and 547 00:32:07,000 --> 00:32:12,400 Speaker 1: pitch an idea, and unlike over here, where it has 548 00:32:12,440 --> 00:32:15,040 Speaker 1: to go through you know, God knows how many network 549 00:32:15,200 --> 00:32:21,360 Speaker 1: development executives, they would just say, we rather like that idea, 550 00:32:22,120 --> 00:32:26,040 Speaker 1: here's the money, go ahead and do it seriously, and 551 00:32:26,080 --> 00:32:30,000 Speaker 1: I wouldn't hear anything for weeks. I'm like, is anybody 552 00:32:30,040 --> 00:32:30,520 Speaker 1: out there? 553 00:32:30,600 --> 00:32:31,400 Speaker 7: Yeah? 554 00:32:31,760 --> 00:32:36,560 Speaker 1: Am I doing? Okay? Is enormous amount of responsibility but 555 00:32:36,720 --> 00:32:41,479 Speaker 1: also freedom, and that's why we get these amazing shows 556 00:32:41,480 --> 00:32:45,000 Speaker 1: out of Britain to this day, because they don't fuck 557 00:32:45,080 --> 00:32:46,080 Speaker 1: around with you. 558 00:32:46,200 --> 00:32:48,640 Speaker 3: Now when you and Nesmith go out on the road, 559 00:32:48,720 --> 00:32:51,200 Speaker 3: now you go period periodically, you guys are out there, 560 00:32:51,200 --> 00:32:53,280 Speaker 3: and when you're out there, like, how does it. 561 00:32:53,200 --> 00:32:56,800 Speaker 1: Begin the show? Do you come together again? 562 00:32:56,920 --> 00:32:57,080 Speaker 7: Mike? 563 00:32:57,760 --> 00:33:00,680 Speaker 1: First of all, I sang most of the leads, and 564 00:33:00,800 --> 00:33:04,480 Speaker 1: Mike wrote some incredible tunes for the Monkeys, and after 565 00:33:05,280 --> 00:33:09,080 Speaker 1: it's probably a lot more musical. We have an incredible band, 566 00:33:09,360 --> 00:33:13,480 Speaker 1: ten piece band. It's different, but the hits are there 567 00:33:14,320 --> 00:33:16,800 Speaker 1: because the people want to hear the hits and I've 568 00:33:16,840 --> 00:33:20,480 Speaker 1: always acknowledged that, and I do them as they remember them. 569 00:33:20,560 --> 00:33:23,640 Speaker 1: It's very important to do that so they can sing along. 570 00:33:24,160 --> 00:33:27,480 Speaker 1: Peter Tork, God love him, you know, passed away last year, 571 00:33:27,600 --> 00:33:31,040 Speaker 1: and Davy Jones passed away a while ago, a few 572 00:33:31,120 --> 00:33:34,400 Speaker 1: years ago. Yeah, the Monkeys thing will go on, you know, 573 00:33:34,680 --> 00:33:39,800 Speaker 1: with or without me, because a the music was you know, 574 00:33:40,760 --> 00:33:44,000 Speaker 1: so special, and the show. You know, the thing about 575 00:33:44,000 --> 00:33:46,959 Speaker 1: the TV show, the smartest thing they did, those producers 576 00:33:47,160 --> 00:33:50,680 Speaker 1: is that it was not topical and it wasn't satirical 577 00:33:52,280 --> 00:33:55,600 Speaker 1: like I Love Lucy or The Honeymooners, or it was 578 00:33:55,640 --> 00:34:00,280 Speaker 1: about these four guys that were living in this situation 579 00:34:01,360 --> 00:34:06,959 Speaker 1: in Malibu in Malavik and wanted to be successful, and 580 00:34:07,000 --> 00:34:09,799 Speaker 1: we never were on the show. That's I think one 581 00:34:09,840 --> 00:34:11,279 Speaker 1: of the reasons why it stands up. 582 00:34:11,320 --> 00:34:14,279 Speaker 3: My last question for you would be music today. You know, 583 00:34:14,360 --> 00:34:16,759 Speaker 3: contemporary music. Are you a fan of much contemporary music 584 00:34:16,800 --> 00:34:17,919 Speaker 3: or it's not in your life as much? 585 00:34:18,160 --> 00:34:20,960 Speaker 1: It's not in my life at all, Not that I 586 00:34:21,000 --> 00:34:25,000 Speaker 1: have anything against it, but I kind of I guess 587 00:34:25,080 --> 00:34:30,520 Speaker 1: I kind of dialed out with Sinatra and classical guitar. 588 00:34:31,760 --> 00:34:34,839 Speaker 1: In the morning, my wife and I listened to Segovia 589 00:34:35,080 --> 00:34:38,200 Speaker 1: and in the afternoon we listened to Billie Holiday. I mean, 590 00:34:38,320 --> 00:34:41,480 Speaker 1: you know it's you know, because I do it for 591 00:34:41,480 --> 00:34:44,319 Speaker 1: a living, you know it's I don't keep up. I 592 00:34:44,400 --> 00:34:47,520 Speaker 1: must admit. I'm sure there's lots of wonderful stuff out there, 593 00:34:48,120 --> 00:34:48,760 Speaker 1: but no. 594 00:34:48,880 --> 00:34:50,359 Speaker 5: You have how many kids? Oh? 595 00:34:50,400 --> 00:34:53,480 Speaker 1: I have four? Have four kids that I know of it? 596 00:34:54,200 --> 00:34:55,480 Speaker 5: What do they do? Are they anybody? 597 00:34:55,520 --> 00:34:58,360 Speaker 1: They're all having grandkids. Two of them are in the 598 00:34:58,480 --> 00:35:04,239 Speaker 1: entertainment industry. One is a photographer and mom stay at 599 00:35:04,239 --> 00:35:09,879 Speaker 1: home mom, and the other is the chief officer for 600 00:35:10,280 --> 00:35:17,080 Speaker 1: thirteen African nations for the Clinton Foundation, trying to eradicate malaria. 601 00:35:17,280 --> 00:35:20,920 Speaker 1: Working from where She lives in DC but goes to 602 00:35:21,280 --> 00:35:22,360 Speaker 1: Africa frequently. 603 00:35:22,680 --> 00:35:23,200 Speaker 7: How many girls? 604 00:35:23,239 --> 00:35:23,880 Speaker 5: How many boys? 605 00:35:24,000 --> 00:35:30,120 Speaker 1: All girls? And now two grandchildren and a third at Christmas? Beautiful? 606 00:35:31,360 --> 00:35:32,640 Speaker 3: Not bad for a long. 607 00:35:32,440 --> 00:35:33,640 Speaker 5: Haired Wardo America. 608 00:35:34,640 --> 00:35:35,160 Speaker 4: I'm going to. 609 00:35:35,200 --> 00:35:37,920 Speaker 6: Back up all the pain. I'm going to cap in 610 00:35:38,200 --> 00:35:41,400 Speaker 6: in my heart. I'm gonna catch me in the fastest chain. 611 00:35:41,920 --> 00:35:47,560 Speaker 6: I'm going to make me about news that's okay. 612 00:35:48,360 --> 00:35:50,000 Speaker 7: Tama's going to be an other day. 613 00:35:51,239 --> 00:35:57,440 Speaker 6: Heyy man, I don't care what you say. Jama's going 614 00:35:57,520 --> 00:36:00,839 Speaker 6: to be. Tama's gonna be. Tama's gonna be an up day. 615 00:36:07,440 --> 00:36:14,160 Speaker 3: Mickey Dolan's youth culture icon grandfather. That third grandchild was 616 00:36:14,200 --> 00:36:17,840 Speaker 3: born right on schedule over the holidays, a healthy baby 617 00:36:17,880 --> 00:36:20,120 Speaker 3: boy currently sheltering in place with. 618 00:36:20,120 --> 00:36:22,080 Speaker 5: His mom in Washington, d C. 619 00:36:23,280 --> 00:36:27,160 Speaker 6: Tama's going to be an day. 620 00:36:29,280 --> 00:36:32,920 Speaker 5: Tomorrow is gonna be another day. I'm Alec Baldwin. 621 00:36:32,960 --> 00:37:05,720 Speaker 4: Here's the thing is brought to you by iHeart Radio. 622 00:37:13,080 --> 00:37:16,200 Speaker 6: Well, I ain't gonna think about you because I ain't 623 00:37:16,239 --> 00:37:19,759 Speaker 6: no use nomore. I'm gonna make it firm about you. 624 00:37:20,239 --> 00:37:24,320 Speaker 6: I just like out it before I'm on my way. 625 00:37:26,480 --> 00:37:28,200 Speaker 6: Tomorrow's gonna be another tape. 626 00:37:29,360 --> 00:37:33,959 Speaker 1: Hey, Hey, hey, Hey, I I don't care what you say. 627 00:37:34,840 --> 00:37:46,000 Speaker 6: Tomorrow's gonna be, Tomorrow's gonna be, Tomorrow's gonna be another tape. Okay, Hey, 628 00:37:47,320 --> 00:37:53,040 Speaker 6: I'm not a day. Okay, Tomar's gonna be. 629 00:37:54,400 --> 00:37:55,359 Speaker 1: I'm not day. 630 00:38:03,680 --> 00:38:03,879 Speaker 8: Yeah,