Andrew Sandoval wrote about the November 6, 1968 premiere in his book, The Monkees: The Day-by-Day Story of the '60s TV Pop Sensation:
The Monkees travel to New York City to attend the premiere of their movie Head, which is held not in a cinema but rather at the Columbia Pictures studio on West 54th Street. A party is thrown afterwards for guests including Janis Ian, Andy Warhol, Boyce & Hart, Carole Bayer, Lester Still, Bert Schneider, Bob Rafelson, Peter Fonda, Peter's brother Nick Thorkelson and his grandma. A discotheque is set up and a room that includes small television sets playing portions of the movie. (The group stay at the Hilton Hotel.) Bob Rafelson: "The night Head opened they arrested [Jack Nicholson and myself]. Our opening - and there we were slapping stickers all over New York about the movie. The producer and director on 57th and 5th Avenue. I see a guy about to get arrested for selling chestnuts on the street without a license. So I went over and said, 'How much for the chestnuts?' and the cop said, 'He can't sell you the chestnuts.' And I said, 'I'll just give you the money and you give me the nuts and then no one breaks the law.' "Now, while I'm having this dialectic with the cop, who has a white helmet on, Jack is standing behind the cop trying to slap a Head sticker on the helmet. And like a Laurel & Hardy comedy, man, this cop turns around just at the right moment and Jack nails him on the side of his face. Bam! We're handcuffed and up against the walls. A squad car takes us away. We've got a flick opening in an hour. I just wanted to call everybody and tell them we're in jail. And to get on the radio and sell tickets - because Jack and I had this feeling that no one was going to see Head."
This is a must watch interview with Bob Rafelson that was filmed for the Criterion Collection release of Head in 2010. Rafelson starts at the beginning, talking about the audition process that led to the selection of Micky Dolenz, Davy Jones, Michael Nesmith, and Peter Tork, all the way through the making of the movie Head in 1968.
This article, written by Richard Warren Lewis and originally published in the January 28, 1967 issue of the Saturday Evening Post, quite possibly gave credence to the "Monkees don't play their own instruments" tagline that quickly enveloped The Monkees as they rose to superstardom. Michael Nesmith holds nothing back, voicing his displeasure with how the earliest Monkees records were made (under the watchful eye of musical supervisor Don Kirshner), while also defending the group's NBC television series as something genuine and valid. The article contains a few errors and half-truths, nearly implying that The Monkees had almost nothing to do with the recording process from the start, which of course, is factually inaccurate.
As this piece enters circulation in early 1967, The Monkees were fresh from their explosive confrontation with Don Kirshner at the Beverly Hills Hotel (where Nez put his fist through the wall), and the first Monkees recording session under their complete creative control (with producer Chip Douglas at the helm) had yielded both "All of Your Toys" and "The Girl I Knew Somewhere" with the hope these tracks would comprise both sides of the next Monkees single.
"When Four Nice Boys Go Ape!" covers a lot of different topics and people, including Bob Rafelson and Bert Schneider, early group names before "Monkees" was chosen, improvisational training with Jim Frawley, and much more.
In September 1965, Hollywood television producers Bob Rafelson and Bert Schneider placed an ad in The Hollywood Reporter and Daily Variety that read, "Madness!! Auditions. Folk & Roll musicians-singers for acting roles in new TV series. Running parts for 4 insane boys, age 17 - 21. Want spirited Ben Frank's-types. Have courage to work. Must come down for interview." By November 1965, after over 400 potential applicants were screened, the audition process had been completed. Micky Dolenz, Davy Jones, Michael Nesmith, and Peter Tork were now The Monkees.
Ben Frank’s was a 24 hour restaurant and coffee shop on the Sunset Strip. It was a favorite hangout of young people, musicians, and nearby club patrons, who'd stop by for late night food and drink.
Today, the structure still stands, except it's now Mel's Drive-In.
In September 1965, Hollywood television producers Bob Rafelson and Bert Schneider placed an ad in The Hollywood Reporter and Daily Variety. By November 1965, after over 400 potential applicants were screened, the audition process had been completed. Micky Dolenz, Davy Jones, Michael Nesmith, and Peter Tork were now The Monkees.
Steve Blauner, former partner of Bob Rafelson and Bert Schneider, passed away earlier this week. In Davy's 1987 autobiography, They Made a Monkee Out of Me, he remembered some pranks exchanged between the pair in the 1960s. (For context, the story being told by Davy at the start of the page below concerns some financial issues he was experiencing with a former manager.)
After producing Five Easy Pieces in 1969, Bob Rafelson and Bert Schneider, the team who created The Monkees television series, took on a third partner, Stephen Blauner, changing the name of their company from Raybert Productions to BBS Productions (for Bert, Bob, and Steve). Blauner, a Columbia Pictures executive who green lighted The Monkees' TV show (even getting a name-check in one episode, as a gangster), moved on to films like The Last Picture Show; Drive, He Said; and The King Of Marvin Gardens. In the mid-1980s, Blauner produced The New Monkees under the name Straybert Productions.
"It is far and away my favorite Monkees song."
The Monkees received a star on the Hollywood Walk of Fame on July 10, 1989. One half of Raybert, Bert Schneider, joined Micky, Michael, Davy, and Peter on that day. Bert was one of The Monkees' biggest fans. When he died in 2011, Monkees archivist Andrew Sandoval posted the following on Facebook:
One of the last times I spoke to Bert he stopped our conversation to impress upon me, "By the way, I'm a Monkees fan." I think that says a lot about why The Monkees show happened, why the group became a group and why many of the projects Bert turned his hand to had the quality they did. He was a fan."