Monkees vs. Macheen: “The Monkee’s Paw”

“You’ll never work in show business again!”

“The Monkees Paw” was directed by James Frawley, written by Coslough Johnson, and first aired January 29, 1968. I enjoy this episode; it’s good old fashioned storytelling, based loosely on the short story, “The Monkey’s Paw” by W. W. Jacobs. In that story, a married couple comes into possession of a mummified monkey’s paw that was cursed by a “holy man.” The couple tempts fate when they make an innocent wish that leads to a tragedy. The point being, I suppose, “don’t mess with fate.” There have been many adaptations of this story, including films and stage plays, an opera, an episode of The Alfred Hitchcock Hour, a radio play with Christopher Lee, and the short segment on The Simpsons “Treehouse of Horror II.”

The Monkees version begins at an empty nightclub where the band audition with “Goin’ Down.” The Manager of the club (played by Henry Beckman, the D.A. from “The Picture Frame”) rocks out awkwardly in appreciation. Davy plays drums and Micky sings up front, playing tambourine and maracas. Yeah, they should have set the band up that way the entire series. The nightclub’s current act, Mendrek the Magician, watches from the side, sensing that he’s about to be replaced.

After the song ends, the Manager immediately hires the Monkees. When Mendrek inquires about his own fate, the Manager calls him a has-been and fires him. The two older men argue. Mike intervenes, standing up for Mendrek and asking the Manager not to just “throw him out.” Mendrek thanks Mike by stomping on his foot. Mendrek is a sympathetic character, yet he’s also unsympathetic because, let’s face it, he’s kind of a jerk.

Now for a tangent about clothing styles. For the episodes filmed after the summer of 1967 tour, the Monkees everyday costumes changed from the interchangeable mix-and-match shirts to variations on tunics, mandarin collars, and love beads. Except Mike. Beginning with “Monkees on the Wheel” he wore a tucked in shirt and tie, which I suppose suits his on-screen personality. I suspect at this point the actors were choosing their own clothes and they all look terrific, but sometimes Mike looks like their older brother, chaperoning the band around town [Your pot-smoking accountant brother-in-law – Editor’s Note].

Mendrek assumes the Monkees are going to mock him. Instead they instead offer condolences. They are always supporters of the underdogs. Mendrek says, “Oh don’t be sorry. People don’t want to see Magicians anymore. They want to see reality. As it’s shown to them on television.” Wow. Replace “television” with “YouTube” and that line still works today! This theme of older entertainers threatened by young rock-n-rollers was also in “Monkees at the Circus” and “Captain Crocodile.” Micky finds the Monkey’s Paw in Mendrek’s things; he’s grossed-out, but curious. Mendrek tells the story of how he acquired it from a Lama while looking for “secrets of the unknown” in Tibet.

As told in flashback, Micky plays Young Mendrek, who has climbed a snowy mountain in a magician’s tux to see the High Lama. Instead, he finds the regular lama, known as “Reg.” Mike plays Reg with as broad a Texas accent as possible, comically smashing the expectations about how a lama would speak. Young Mendrek wants to see the High Lama, but Reg explains that he’s out back “sleeping it off.” That’s how he got his name. Nice subversive joke. Young Mendrek tells Reg he’s looking for “Tibetan Unknown Secrets.” Reg is resistant at first and even serves Mendrek papers for trespassing. Eventually, he gives Young Mendrek the Monkey’s Paw, claiming it will grant him three wishes.

Back in the present, Mendrek offers Micky the “priceless” Monkey’s Paw for a quarter. This is pretty nasty of Mendrek. Going by the source story, we can assume that he’s had misfortune because of it, and now he’s wishing this on Micky. I don’t think Micky’s after “mystic power” the way that Young Mendrek was. As Mendrek is leaving, Micky gives Mendrek the quarter, officially purchasing the paw out of pity so that Mendrek won’t be a “vagrant” as the manager calls him. After the Manager kicks Mendrek out, Mike, Davy and Peter look at the camera to tell us, “Well, that’s show business!” with a musical flourish. Recycled joke from “Monkees in a Ghost Town,” but it still works here.

Back at the Monkees pad, bad luck kicks in. Micky’s on the phone with the never-on-this-show-before mentioned “Musicians Union” asking how they can pay their dues if they don’t work? But they can’t work unless they pay their dues. Of course they haven’t worked for a long time. Peter gets in some deliberately out-of-character political commentary with a tongue-in-cheek delivery to the camera:

Micky wanders off holding the paw and distractedly wishes for a way they could get that money. I don’t think he intended to use Monkey’s Paw. (Although he knew about the wishes from Mendrek’s story.) There’s been nothing in Micky’s characterization to suggest he’s superstitious, but throughout every scene in the episode, he continues to hold on to the Monkey’s Paw. Out of the blue, the Manager walks in and says he’ll pay their dues and take it out of their salary, for a kickback of 142%. Later, Micky defends the Monkey’s Paw to Mike, Peter and Davy, as it got them their dues paid, despite the ridiculous interest rate.

Davy is starving and wonders if the Monkey’s Paw could get them some food. Micky wishes for a spaghetti dinner “big enough to feed all four of us.” Spaghetti noodles drop on his head. The others rush up and eat it right off of him. Notice that the Monkees are relatively innocent and don’t make any “Make us as popular as the Beatles” wishes. That’s true to the story where the poor couple involved only wishes for enough to pay their mortgage off, no more.

At his home, Mendrek’s daughter expresses her sympathies about his recent unemployment. He tells her he sold the Monkey’s Paw to one of those “long-haired weirdos.” Daughter worries, “Don’t you remember The Book of Mysteries said it was cursed?” The Book of Mysteries? Would that be Nancy Drew or The Hardy Boys? Mendrek says if that were the case, his luck would change immediately. Just then, he gets a call informing him that he won a million dollars. I can’t help but be a little happy for him. He looked so down and out in the earlier scene, and Hans Conried is so likable.

At the nightclub gig, Micky obsesses over the Monkey’s Paw and his final wish. The others tell him to let it go already. Peter complains that Micky hasn’t talked about anything else since he got the Monkey’s Paw. Micky starts to say, “I wish I could stop talking about it.” but only gets to “I wish I could stop talking…” before his voice vanishes. Someone announces the Monkees and they start playing “Goin’ Down.” It seems a little unfair that this happens to him, since he didn’t have any selfish intentions with his wishes.

Micky’s screwed since he can’t talk or sing. He stands on stage and mouths the words. The crowd boos them off the stage and the Manager demands an explanation. Mike bluffs that Micky’s singing with his feet, “Haven’t you ever heard of “A Young Man with a Corn,” which is a joke-reference to the 1950 movie, A Young Man with a Horn. Playing along, Peter suggests it’s like the jazz song, “Flat Foot Floogie with the Floy-Floy.” Davy makes the pun, “Sock it to me, baby.” Micky does some fast foot-work, but the Manager is unimpressed. He warns them that if Micky can’t sing by tomorrow the Monkees are, “Outta show business!” as he puts it. Does he have that kind of power?

At the pad, the Monkees huddle around Micky, who tries to say “Four Score and Seven Years ago.” Poor Micky. This is really hitting him in the worst place, his wonderful voice. Davy suggests that the Monkey’s Paw has no power, and the problem is all in his head. Did Davy forget the spaghetti ex machina? Mike reasons that the problem began with Mendrek. Well, duh.

The Monkees arrive at Mendrek’s house, where he has bags on his desk with dollar signs on them, as you do when you’re rich [Gene Simmons cashes another check! – Editor’s Note]. Mendrek is busy on the telephone. The Monkees, always eager to answer other people’s phones (See “Too Many Girls” and “Monkees in the Ring”),  answer some of Mendrek’s lines. There’s a Tonight Show reference when Peter tells a caller, “No, no Mr. Carson. Mendrek wants you on his show.” Mendrek pauses to give them his attention, and Mike brings up the Monkey’s Paw. Mendrek quickly brushes him off, claiming he’s too busy. Mendrek knows darn well the paw caused Micky’s problems.

I’m curious about Mendrek’s name. I wonder if it was inspired by the comic strip, Mandrake the Magician, which ran from 1934 to 2013. Mandrake was a hypnotist who used his powers to fight all kinds of villains and spies. It had a pulp-adventure feel, which is right up The Monkees’ writer’s alley.

Back home, the Monkees kid themselves that there’s some other cause for Micky’s sound of silence. They attempt to cure his “illness” with a cutaway gag, putting him in a boiling pot of chicken soup. Later, Micky silently chatters with Mr. Schneider, still holding the Monkey’s Paw. Mike, Peter, and Davy talk about him around the totem pole. Mike suggests that they need to re-teach Micky to talk. Davy makes a bad pun based on the totem pole, asking, “How?” With visibly red, stoned-looking eyes, he giggles uncontrollably at his own joke. I guess Davy Jones decided to play the “High Lama” himself in that scene.

Peter, Mike, and Davy dress in academic robes and give Micky lessons on talking. They use a blackboard that has a few inside jokes such as: “Save the Texas Prairie Chicken,” “Frodis,” and “legalize.” Mike wants to teach Micky to say “pencil,” but Micky still can’t speak. Peter tries to prompt him, using his p-popping trick. They give up, Mike holding the writing implement in question and pondering, “Do you suppose it has anything to do with the fact that this is a crayon?”

The Monkees hope that this is just a mental block. In a hilarious and memorable scene, they take Micky to a psychiatrist, played by Severn Darden (Guggins from “Monkee Vs. Machine.” They also use the same office set they used for Guggins. He gives Micky the ink-blot test, but the others keep piping in with their interpretations. Missing the point of the test, the shrink becomes furious, insisting that the only right answer is:

At the nightclub, Davy tells the Manager they’ve incorporated Micky’s silence into the act. By which he means, they’ve decided to imitate the Marx Brothers. Out on the stage comes Mike as Groucho, Micky as Harpo, and Peter as Chico. I guess Davy’s the Zeppo. Mike does bits from Groucho’s game show, You Bet Your Life. “Say the Magic Word, you get a hundred dollars.” There are other You Bet Your Life/Monkees connections. Joy Harmon, from the episodes “The Picture Frame” and “Monkees on the Wheel” and Pedro Gonzalez Gonzalez from “It’s a Nice Place to Visit” were both discovered on You Bet Your Life. Doodles Weaver from “Monkees Manhattan Style” appeared on the show as a comedian.

The Manager fires the Monkees and promises, “You’ll never work in show business again!” (Again, I doubt he has that power.) Back at the Monkees house, Mick-o mopes. Davy doesn’t blame the manager; he agrees an act like the Marx Brothers would never sell.

They wind up back at Mendrek’s. To his credit, he is now helping “the less fortunate.” That would include the Monkees. Davy and Mendrek’s cute daughter look through “The Book of Mysteries” to see if they can find a solution. Unfortunately she never gets a name; she’s listed on the IMDB as “Daughter.”

Mendrek hits the gong from “Monkees Chow Mein” to jumpstart Micky’s power of speech but only succeeds in freaking Peter out. Fortunately, Davy discovered that the solution is to sell the Monkey’s Paw to someone else. Mike suggests they only sell it to someone deserving and, with perfect timing, the Manager enters to re-hire Mendrek. They all get to work on selling the paw to the Manager. The Manager finds a quarter a bit steep and wants to know more about the “special powers.”

They demonstrate via the montage of magician’s tricks to “Words” (Boyce/Hart). Micky and Mendrek are the magicians who make the others vanish and reappear with “pop” sound effects. There’s also recycled footage of the Astonishing Pietro footage from “Too Many Girls.” Mendrek puts Micky in a giant cup of coffee, perhaps to accompany the giant phone from “Monkees on the Line.” Five Monkee points to whoever gets the reference in this picture:

After the romp, the Manager demands they sell him the Monkey’s Paw. They happily comply, and Mike suggests he go ahead and make a wish (with a look to the camera, inviting us in on the joke). The Manager wishes for a million dollars, which rains on him from above. Immediately the IRS shows up and arrests him for tax evasion.

Back at the Monkees pad, Micky talks a mile a minute to make up for lost time. The Monkees are once again right back where they started, no better or worse off, despite their ill-advised fling with the supernatural. They say goodbye, borrowing each other’s names, and sing the theme a capella. Overall, this was a fun adaptation of the original story. Lots of funny scenes and lines and I’m always happy when the plot revolves around them as musicians. The guest cast was terrific as usual, with the talented and engaging Hans Conried as Mendrek, walking the line between friend and foe to the Monkees.

There’s an interview clip, in which Peter talks about the death of the Hippie Movement, but more interesting is the outtake from the episode that follows. The Monkees are at Mendrek’s desk and do a brief Three Stooges “Hello, hello, hello.” Hans Conried breaks character and curses, “(whistle), I hate these kids.” According to this article on Something Else Review,  the actors playing the Monkees were encouraged by the producers to be energetic and goofy all the time, creating a spontaneous mood where “their madcap sensibilities could be captured with first-take efficiency.” Conried did not enjoy this environment. His expressed frustration was a moment that embarrassed Micky Dolenz because he was a fan of the older actor. Dolenz talks about this on Gilbert Gottfried’s Amazing Colossal Podcast.

by Bronwyn Knox

Every couple of weeks, “Monkees vs. Macheen” examines the crazy, spirited, Ben Franks-type world of the Pre-Fab Four: David Jones, Micky Dolenz, Michael Nesmith, and Peter Tork alias The Monkees.

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Monkees vs. Macheen: “The Picture Frame”

“What’s My Motivation?”

“The Picture Frame” starts out with the “Hurray for Hollywood” sound-alike incidental music and the sign for the fictional Mammoth Studios, first used in “I’ve Got a Little Song Here.” Some previous episodes where the Monkees tried to break into show biz were “Captain Crocodile,” “Find the Monkees,” “Monkees at the Movies,” and “Monkees in Manhattan.” Mike, Micky, and Davy wander onto a soundstage and meet Harvey and J.L., who tell the Monkees that they want them to play bank bandits in their picture. Harvey and J.L. are wearing berets, and it amuses me that berets are what crooks think will let them pass for legit Hollywood producers. The film flips over and the three Monkees appear in gangster-wear with guns, cigars, suits and hats, etc. (It’s probably a sign of illness on my part, but I find them sexy here.) Other episodes where the boys pose as gangsters include: “Monkees in a Ghost Town,” “Monkees à la Cart,” “The Monkees on the Wheel,” and Micky in “Alias Micky Dolenz.” In all those cases however, the Monkees were trying to fool crooks into thinking they were of their kind.

J.L. asks the Monkees for a picture to see “how they photograph” and Davy whips out a baby picture. J.L. throws it away and asks for something more recent. Micky grabs a medium format camera to take a picture of the crooks with Mike and Davy, despite J.L.’s protests of “no pictures.” They get an instant picture which J.L. tosses in the same trashcan. J.L. tells them they’re all set up to shoot “the bank stick-up scene” at the 9th National Bank. He tosses scripts at them and explains they use the “hidden camera technique” so they won’t see the film crew. The Monkees, who have perpetuated dozens of cons aren’t suspicious of any of this.

“The Picture Frame,” directed by James Frawley, originally aired on September 18, 1967. The filming dates for the main episode were April 5-7, 1967, not long after they finished Headquarters. Jack Winter wrote “The Picture Frame” as well as “Everywhere a Sheik, Sheik,” “Monkee Mayor,” “Hitting The High Seas,” and “The Monkees In Texas.” The first three on that list were among the group of leftover first season scripts. Musical numbers in this episode were part of the Rainbow Room performances, shot on August 2, 1967.

Back to the story, the Monkees awkwardly enter the busy bank, guns drawn. Some highlights of this scene include the squeaky voiced bank teller (Joy Harmon) who keeps asking Davy, “Do you have an account here, sir?” Micky’s brief Cagney impression, and Mike’s magic power to speed up time and open a safe by imitating a clock. The bank Vice President was played by Ronald Foster, who was also the Rolls Owner in “Success Story” and the Courtier in “Prince and the Paupers.” As they leave, the boys read the “scripted” lines, telling the bank customers and staff not to move or say anything. The “extras” put their arms down once the door shuts, but then Micky sticks his head in to say “cut, print that’s a wrap” and they all put their hands back up.

Mike, Micky, and Davy are back on the soundstage. Peter arrived, having gone initially to the wrong stage at the wrong time. J.L. congratulates them, gives them each $100 bucks, and tells them they’ll call tonight about tomorrow’s shoot. Mike offers to take the stuff back but J.L. tells him the “prop people” will handle that, as the Monkees are going to be “big stars.” As they leave, J.L. tells Harvey he’s going to make an anonymous call to the cops.

There’s stock footage of police cars with sirens blazing. Outside the Monkees house is Dort Clark as the Sergeant, previously in the “Monkees à la Cart” episode in a similar role. He’s a funny actor and I wish they’d used him as well for “Alias Micky Dolenz” (though Robert Strauss did a fine job as the Captain.) The Sergeant is with two uniformed policemen. Peter thinks they want his overdue library book, so he crawls to the door and puts the books outside. The Sergeant tells them to stop fooling around. Davy goes up to the lookout window and repeats the gag from “Monkees à la Mode” where he opens it even though he’s too short to see out. Somehow he reports what’s out there: cops, lights, etc. Mike decides it must be tomorrow’s shoot moved up to tonight.

The Sergeant sends one of the uniformed cops in, after some comic uncertainty on the their part. The cop goes into the Monkee pad, stammering and telling them to follow him. Micky says that’s no good and starts directing him how to hold the gun and to be more steely-eyed. Cute, unintentional meta-moment because the cop is played by Robert Michaels, who was also in “The Frodis Caper,” Dolenz’ directorial debut. The cop exits and re-enters, accidentally scaring the Monkees and himself by shooting up the place. The editors cut to stock footage of planes crashing, cars crashing, etc.

At the police station, the Sergeant shows the Monkees the film of themselves robbing the bank. They’re disappointed that it’s black and white, but I think it’s actually improbably good for security camera footage. Mike tries to decide what movie star he looks like: Barry Sullivan, Paul Newman, Marlon Brando, while Micky and Davy also admire their own performances. Not getting that they’re in deep trouble, they agree it is them on film. Peter walks in with popcorn and the scene becomes a clever parody of a movie audience, with a lady in a hat, a couple making out, a guy sleeping in sunglasses. The Sergeant tells them he’s booking them for the robbery of the 9th National bank. The Monkees are confused. Davy explains, “We were shooting a movie. Some cat came up and said ‘do you want to shoot a movie?’ We said, ‘yeah, we’ll shoot a movie’ So we shot a movie.” Mike realizes the trap they’ve fallen into and has a nervous breakdown, with hilarious facial expressions.

Now we have the comic sequence of Taking Everything Literally. The Sarge tells the three busted Monkees to “start talking” and so they mutter lyrics to “Zilch,” the isolated vocal track from Headquarters. Sarge tells them to change their tune, so Mike blows a pitch pipe and talks in a higher pitch (okay, not technically changing their “tune.”) He threatens them with the 3rd degree so Micky passes out three diplomas. The cops bring over the bright light but the Monkees respond by pulling out dark glasses and sun-tan lotion. Sarge asks them if they’re ready to spill the beans, and of course the Monkees pour out cans of beans. The Sarge loses it and says to throw the book at them. The cop tosses a book. In the shot where Mike catches it, he’s not wearing his glasses but back in the closeup he’s wearing them again. I’m thinking this is not an accidental continuity error but a deliberate one so he could see to catch the book. In a callback gag, the book is Peter’s overdue library book.

The Monkees, minus Peter, are now pacing around a jail cell. Peter brings them a file, which turns out to be an emery board instead of the expected metal file. Peter unleashes this nonsensical gem, “I don’t think you’re guilty. I just don’t see how you could possibly be innocent.” He found a lawyer from the classifieds but the lawyer won’t attempt get them off, “With that kind of evidence? No chance.” He points to Davy, “him maybe with the cute face.” The not-so cute faces of Micky and Mike are told to plead guilty. The lawyer wants $40,000 to represent them, which they don’t have. The lawyer states the seemingly obvious, “Of course you do, you just robbed a bank, didn’t you?” The lawyer was portrayed by Art Lewis, who was the missing persons inspector in “Find the Monkees.”

Now, the court scenes. The judge asks the Monkees if they’re represented by council. They say yes, but clearly they don’t have a lawyer. She asks them to bring in the first prospective juror. The DA calls in Philip Jackson. It’s actually Mike playing a similar character to the janitor he played in “Captain Crocodile.” The DA objects on the grounds that “Mr. Jackson“ is one of the defendants. The judge scolds Mike for trying to pull a fast one. Mike starts flirting and pulls out some flowers for her. She melts (as do I) as Davy and Micky look on hopefully.

Meanwhile, Peter is back on the soundstage, snooping for evidence against the actual crooks. He has the Sherlock Holmes hat that Micky used in “Monkee See, Monkee Die” and a sleuth-cliché magnifying glass. Peter runs into Harvey who correctly guesses that Peter is snooping. If this were logical, Harvey could have gotten rid of Peter right there, but instead he watches him snoop. Peter finds a picture in the wastebasket and is happy/excited with this evidence. Harvey calls J.L. and tells him what Peter has found. J.L. assumes it’s the incriminating picture of them with the Monkees and orders Harvey to keep Peter there.

Back at the court, Micky adopts a British Barrister persona and questions the bank VP on whether he can be sure Mike was the one who held him up. The bank manager is sure, so Micky asks him a bunch of irrelevant trivia questions (What is the capital of Nova Scotia?) Micky wants to dismiss on the grounds that it is late and everybody’s hungry. The judge joyfully claps her hands for food and Mike and Davy are suddenly ballpark vendors with hot dogs and popcorn. The prosecutor freaks, “Your honor, this is outrageous!” as the judge obliviously enjoys her hot dog.

Mike argues that the dynamite that they supposedly threatened to blow open the safe with was actually harmless. There was no bit like that in the robbery scene, but just roll with it. He lights it, and it goes out as it burns down the wick. The prosecutor objects and grabs the dynamite. Of course it explodes, leaving him not blown to bits, but covered in soot and smoke, a la Daffy Duck. It is to laugh. The judge overrules his objection because this is all insanity anyway.

Peter tries to leave the studio but J.L. comes in with a gun and tells him to hand over the picture. This launches a romp to “Pleasant Valley Sunday” (Goffin/King) with Peter running all over the soundstage area we saw in “I’ve Got a Little Song Here” and in and out of the “Mammoth Studios” area. This is mixed with Rainbow Room footage of the Monkees performing the song. The gangsters catch Peter in the shower at one point and he pretends to be offended. If this was meant to make sense, they could have shot him a while ago. Outside the soundstage, Peter drives a Monkees logo golf-cart. He seems to have evaded them by climbing the chain-link fence but they simply open the gate.

Somehow he gets to the courthouse with the picture. The music is still playing as Peter runs all over the courtroom with the gangsters chasing him. The Monkees protect Peter while the police grab the gangsters. Romp over, J.L. yells at Harvey for not emptying the wastebasket (or you know, shredding the picture, destroying the negative etc.) Mike, Micky, and Davy crowd around Peter hoping he’s got the picture they need, but naturally it’s the baby picture. They hand it over to the judge anyway who gasps at the cuteness and decides they’re “obviously innocent.” That was certainly in keeping with the ridiculous logic of everything else in this story.

Next up is more Rainbow Room footage of “Randy Scouse Git” (Dolenz). This series of song performance film clips were shot in the summer of 1967, in the middle of the Monkees concert tour. Due to race riots taking place in both Milwaukee and Detroit at that time, a couple of the Monkees performances were cancelled so they ended up with some extra time in Chicago. The Monkees producers booked time in Fred Niles Studios (later Oprah Winfrey’s Harpo Studios was there; sadly it is now torn down). In the Fred Niles Studies room with a robin’s egg blue and rainbow background, the Monkees filmed promo clips for “Daydream Believer,” “She Hangs Out,” “No Time,” “Randy Scouse Git,” “Pleasant Valley Sunday,” “Love Is Only Sleeping,” “What Am I Doin’ Hangin’ ‘Round?,” and “Salesman.” If you look at the recording dates of these songs, some of them were not complete yet so the Monkees were lip-syncing to rough versions. More about this here.

I enjoy all the Rainbow Room performances, they have an iconic look and are the first thing that comes to mind when I think of Monkees performance clips. Last summer I was lucky enough to be invited to discuss the Rainbow Room with a panel of smart Monkees fans on Zilch! A Monkees Podcast. Check it out here.

The Monkees are in great form in this story, working together with crack comic timing to create mischief in the justice system. With the dynamite, the literal sight gags, and the absurd plot points, “The Picture Frame” would certainly get my vote for Most Cartoony. It’s a tightly put-together farce, with it’s own insane sense of logic that builds up to a wacky finish. The solution with the baby picture certainly isn’t any more ridiculous than the Monkees just tying up the bad guys at the end of the romp like they usually do. “The Picture Frame” has one laugh-out-loud scene after another and it’s certainly worth watching for entertainment value.

by Bronwyn Knox

Every couple of weeks, “Monkees vs. Macheen” examines the crazy, spirited, Ben Franks-type world of the Pre-Fab Four: David Jones, Micky Dolenz, Michael Nesmith, and Peter Tork alias The Monkees.