Ann Moses

I so much wanted to attend what may be the last show of The Monkees when they came to ‘my town’ on June 1, 2018. I mean, I was at their press preview party at Screen Gems the week before the show aired and on the Last Train to Clarksville promo train ride and appearance in Del Mar “Clarksville,” CA the day before the show aired, so this would truly be my chance to write the final chapter in my personal Monkees’ saga. But when that wasn’t possible, I did the next best thing. I “assigned” the story to this particular Superfan. I am so proud to publish this review of the show in Phoenix by Russ Kazmierczak. Russ also gets photo credits for these fabulous pix!

By Russ Kazmierczak

When I heard that The Monkees were coming to Phoenix on their farewell tour, I immediately consulted my copy of Tiger Beat’s Official MONKEE SPECTACULAR #15, from July 1968. Among the suggestions in the article “How to Be Noticed by the Monkees,” I briefly considered number 4: “Visit your local police department and purchase a picketing license for $2. Gather friends, make signs, and ‘protest.’ Keep it orderly . . . call it a ‘Monkee Love In’ or something. Things like ‘Davy Unfair to Fans — He’s TOO CUTE!’” When I learned the price of inflation on picketing licenses, I decided against it. I hope my cheers and loud singing along were enough to get Mike and Micky’s attention!

Seriously, like so many other Monkees fans in Phoenix, I’d been anticipating Sunday night’s show at the Celebrity Theater for well over a year. When tour manager extraordinaire Andrew Sandoval confirmed these latest dates, my excitement included a helping of gratitude, because I can only imagine the stresses of organizing such an endeavor in a COVID-affected culture and climate. Finding a consistent standard for concerts can’t be easy, for venues and managers alike.

If The Monkees are known for anything, it’s their determination against society’s obstacles. At one time, that obstacle was the criticism of their industry — that they weren’t a “real band.” Now, that obstacle is their very age — the age in which they live, and the age in which they ARE. We live in an age of perpetual divide — not unlike the ‘60s themselves. And, like each of us, every day, The Monkees are getting older, facing those challenges as artists and entertainers HEAD on (pun intended).

I’m so honored to call Ann a friend, and when she asked me to write something in observance and reaction to the recent divide among Monkees fans about Mike’s health and ability, I was more than willing to heed the call. I knew the debate existed, but I only read of it from The Monkees’ camp — Andrew’s, Jodi’s, and Christian’s posts spoke of online critics shaming the tour for capitalizing on a seemingly unhealthy Mr. Nesmith. As a lifelong fan of EVERYTHING Monkees, just TYPING that sentence pains me, but, as a comic book fan, I’m, uh, not unfamiliar with a critical fandom. So, I went into Sunday night’s show bifocally: with one lens trained on celebrating my favorite band of all time, and the other on the nature of Mike’s performance.

From the first lens — what an amazing show! The band’s energy was electric, the set list was an incredible blend of hits and deep cuts, and Micky and Mike were the consummate front-men they’ve always been, telling stories and cracking wise at the rotation of the Celebrity Theater stage. Personally, I laughed, cried, and sang with the guys as I always have, perhaps startling the kind woman next to me with a too-loud exclamation of “Listen to the band!” If this IS the last time I see The Monkees, I couldn’t have asked for a better farewell — and, as always, I thank Andrew Sandoval and his team for their incredible work.

Ah, but on to the controversy. Why did Mike SIT the entire show? Why did he use a teleprompter? Why didn’t he play guitar? The easy answer to these questions is: he’s 78 years old. Most of us aren’t rock stars, but we’ve heard the lore of the stage — the heat and glare of the lights, the struggle of the acoustics, the roar of the crowd — and these accounts are often from performers at an optimum age. I can only imagine how these variables affect older people — and I can only marvel at why an older person would want to endure them! So, the HARD answer is, Mike sits, uses a teleprompter, and doesn’t play guitar on this tour because his DESIRE to be there has overcome any reason he shouldn’t be there, if there even is one.

To speak to Mike’s ability specifically, the power of his voice is evidenced in songs like “Birth of An Accidental Hipster,” “St. Matthew,” and “Circle Sky.” His clarity in conveying the origin and theme of “While I Cry” made me, well, cry. If you’re skeptical that an older, seated man can entertain the same way his younger, standing self once did, I present Papa Nez as PROOF of concept. His is the stationary performance of any MTV Unplugged special, any “Intimate Evening With…”-style show, where lyric sheets AREN’T uncommon. In contrast with Micky’s orchestral animation on stage, the two present a well-rounded look at the seasoned performer — yet ANOTHER way The Monkees set a gold standard in live music!

For at least the past ten years, The Monkees show has been a family affair. Micky’s sister Coco is radiant onstage. Mike’s brilliant son Christian and his beautiful partner Circe are instrumental (yes, pun) in our hearing these songs today. If you are TRULY concerned for Mike, I assure you, he is surrounded by loved one’s infinite-Tuesdays-more invested in his health and livelihood than we could ever be. I challenge you to deny a default toward cynicism and gossip mongering. Believe in their love for one another, and, remember, “love is understanding” — it’s in EVERYTHING they do!

Here’s the conundrum of Monkees fans everywhere: we know of their many eras — the Dolenz, Jones, Boyce, and Hart tour, the ‘80s reunion, the Justus album, the Evenings with the Monkees, and now The Mike and Micky Show. Yet our most vivid and treasured image of the guys will ALWAYS be their original incarnation, from 1966-1969. Just like the beginning of the “Heart and Soul” video, they’re preserved for us — on wax, on film, in the pages of Tiger Beat, in the beautiful photography of Henry Diltz. Their first impression as talented, energetic entertainers was just that impressive, it’s STILL what we expect of them — which only speaks to that talent and energy, because they’ve delivered it for over FIVE decades! This show isn’t the exception; it’s the RULE.

Another conundrum of Monkees fans everywhere: we know all good things come to an end, and too soon. What I wouldn’t give to see Davy and Peter on stage one more time, in any capacity. Unlike almost any other band, these guys are irreplaceable. You can replace a guitarist, but you CANNOT replace a DAVY. If you’re going to protest this show, do so in the spirit of that MONKEES SPECTACULAR! Mike and Micky are just TOO darn talented! It’s unfair to fans — they set a standard for entertaining that most of us will never achieve at their age, or ANY age! In the face of today’s challenges, how DARE The Monkees keep their promise — they’re too busy singing! Can you imagine, being too busy singing to put anybody down? Let’s TRY it . . . for their sake.

Editor’s note: I KNEW Russ would be the best reporter/reviewer possible and HE didn’t disappoint. Thanks for your spot-on reporting and your POV which I agree with completely!

At the Phoenix show, Russ handed out hundreds of his solely produced Fanzines about Arizona’s importance in Monkees’ history on Sunday, but Russ says: “You can DM me on Facebook for a complimentary copy (please just send $1.00 for postage to: @KaraokeFanboyPress via Venmo)– or visit amazingarizonacomics.com for my other comics and zines.”

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