#vintage camera review

[sleepycelestialprincess]

Vintage Camera Review

The Argus C3 Match-Matic

from 1958–1966

I was at a local thrift store and I saw an Argus camera in the showcase, I asked to see it. It had a tag saying it had been put out just the day before and was marked for $7.50. It's a pretty cool looking camera! Argus was a local to Ann Arbor camera company so its pretty well known in the area. There is even an Argus museum near downtown that's worth a visit.

It's a hefty camera, it's shaped like a small brick and weighs almost as much. It's a range-finder, completely mechanical except for the detachable light meter that doesn't even use a battery. The light meter is probably the most impressive aspect of the camera, with no battery, it has a solar cell that generates electricity. That electricity is measured to tell you how much light is in the scene and how to set the exposure. Its pretty common for cameras of this era but interesting none-the-less.

The camera it's self it pretty typical to start; a 50mm ƒ3.5 lens, it has a shutter dial, a frame counter, film winder and re-winder knobs, instant/bulb switch, cold shoe, and a very old style flash connector.

But then I notice the apertures and shutter speeds are not labeled as usual. The apertures count 3½, 4, 5, 6, 7, 8. I looked this up and they are equal to ƒ3.5, 4, 5.6, 8, 11, 16. The shutters are labeled 4, 5, 6, 7, 8 which are equal to ⅟10, ⅟30, ⅟60, ⅟125, ⅟300th. Ok, weird, I know scales weren't standardized for a while but I was surprised that a camera of this era wasn't, but I can get past that. Also, the shutter dial indicates that it should only be turned in one direction. If you turned it the other way, it may not change the exposure. I haven't tested enough to know for sure.

It also has an Argus iconic Flash Finder / Distance dial connected with an external gear. It gives a (yet again) proprietary flash guide number to help you set your Argus flash. According to the manual, this only works when using ISO 10 film and a specific type of flash bulb. You'll have to reference the manual for the math for different films and if you have a regular flash, you'll have to reference the manual to convert flash finder numbers to standard flash guide numbers. (I hate flash anyway, but if I didn't, I'm glad we have TTL flash or at least automatic flash for the last several decades)

So I loaded a roll of Tri-X 400 into the camera... but nope, I had to look that up too. I've used quite a few old cameras and I wasn't absolutely sure I could figure out how. Once loaded, strange, but not that hard, I started to take some pictures. Focusing is a pain it the butt! It uses a two lens focusing system where it shows you two images similar to the split focus system in an SLR. This isn't so bad except it's in a separate viewfinder than your main viewfinder. So if you are focusing on a moving subject, you can't focus while keeping an eye on your framing. Maybe my almost two-year old wasn't a good test subject for this camera (haha).

Like any mechanical camera, you have to cock the shutter. The lever is in a very inconvenient location. Its right where you want to hold this (did I mention) very uncomfortable camera. Ok, there is a lever in the way, thats not the problem. If you take a picture with your finger in the way of the lever, it'll stop the shutter from moving, giving you a much longer exposure than the dial is set to! It even says this in the original manual, its not just because its old and needs lubrication.

Film winding is weird, to be honest, I'm not 100% sure I loaded the film correctly. I have checked, it is winding the film but the counter doesn't count right. (I'll update this post with more info on that later) Also, when winding to the next frame, it doesn't stop it's self, you have to look at this little button next to the counter and when it moves, you've reached the next frame. Its very easy to under or over wind unless you are paying very close attention.

Resources with more info: http://www.cameramanuals.org/argus/argus_match-matic.pdf https://collectiblend.com/Cameras/Argus/Argus-C3-Matchmatic.html

Summery:

Its a cool looking, "entry level" camera for its time. It's much more difficult to use than other cameras of it's era. It's heavy and very awkward to hold. The light meter it pretty cool. I won't use this camera again. Its a display camera only.

Here are a few pictures of the camera, light meter, and viewfinder. Maybe later I'll add a photo of the inside (there is still film in it now).

In the closeup of the light meter you can see it is set to ISO 400. The outer ring rotates to let you choose a combination of aperture and shutter. If you follow the line, the needle is pointing to the 7 which is ƒ11 while the shutter is 7 which is ⅟125. The last two are looking through the viewfinder and through the focus finder. A double image as seen would be out of focus.

BTW was this interesting? Would anyone like to see reviews of other cameras I've used? Petri FT, Nikon F100 (my usual 35mm), Minolta SRT 101, Minolta XD5 (my secondary 35mm), 4x5 view camera, Sony HVC-2400 video tube camera, Kodak ADVANTiX F350 (my first camera as a kid), Polaroid Automatic 250 Land Camera?

[runawaydiarys]

Different day different bag, same problem. I want to carry more than I can, but I have to remember to limit myself to what I know I need and can comfortably carry on my shoulder for a few hours

[fabio-27125]

Some weeks ago I‘ve announced to post some reviews of my working cameras. So view this as the first of these:

This is my „Fujuca Zoom 8 Deluxe“

It‘s a fully electric double-eight film camera. So it films two lanes (into both directions) of 8mm frames onto a 16mm film. This used to be the standard way of amateur filming from it‘s invention by Eastman Kodak in the early 1930‘s until the introduction of Super8 cartridges in 1965.

This exemplary was exported out of japan in 1964, so it‘s a pretty late model with a lot of features, like zoom, fades, „electric eye“ automatic exposure (which doesn‘t work any more because there are no more 2,4V mercury batteries around anymore 😬).

I got it in it‘s original leather bag (which is soooo stylish 🤩🤩), it‘s original users manual and the export confirmation from 1964. And it basically still works which is just so cool.

[alazarrr]

I Miss The DVD Era.

[of-two-lands]

44°58'23.5"N 6°03'54.8"E

youtube/oftwolands

www.oftwolands.com

[shutterfox5555]

Camera Showcase

Olympus OM2 Spot Program

Pictured: Olympus OM2 Spot Programs with all owned OM specific lenses, flash units and motor winder

In the OM series of cameras, double digits such as the OM10 were consumer grade, whereas single digits were professional grade. First manufactured in 1984, the OM2 Spot Program (OM2S in the US) was a thorough overhaul of the OM2 to make it more competitive, meaning it's internals have more in common with the OM4 than it's predecessor.

Personally speaking, this is the most feature-rich, reliable 35mm film camera I have owned, making it my go-to workhorse for 35mm work. It’s compact design was very well-thought out and lightweight compared to other cameras before it.

Pictured: Top view of the OM2 Spot Program highlighting camera controls

One of the really well-thought out designs of this camera is how the shutter speed, aperture and depth of field preview controls are all in the same area on or next to the lens, meaning with one hand you can set all the main exposure controls without looking away from the viewfinder. Instead of a shutter speed selector on top, it’s a combined ISO speed/exposure compensation dial.

The OM2 Spot Program has 3 shooting modes: Program, Auto and Manual/Spot. In Program, the lens is set to the highest/tightest aperture and the camera will set both the aperture and shutter speed according to the light levels. In Auto, the camera shoots in an aperture priority mode where the user sets the aperture and the camera deals with the rest. In both Program and Auto modes, the camera meters centre weighted but in the full manual mode the camera switches to spot metering. This is an extremely useful feature when shooting high contrast images and with light sources behind the subject matter.

Another great thing versus it's predecessors is that it has a mechanical 1/60th shutter speed option, meaning if the batteries are depleted mid-shoot there's still a way to take photos depending on light levels.

Pictured: 3 shots through the viewfinder showing the current focus screen's split centre and microprism centre, the Program/Auto mode metering and the Spot/Manual's digital match needle meter

The viewfinder's light meter is a LCD style display which can be illuminated for 90 seconds for better viewing in low light scenes. In Manual/Spot mode it switches from a bar depicting the shutter speed to a match needle style display. The viewfinder itself (dependant on chosen focus screen) is very clear and bright making composition a lot easier.

Pictured: A selection of various attachments for the OM series of cameras. teleconverters, extension tubes, right-angle viewfinder, motor winder and flash units

The OM series of cameras have a wide range of accessories to further extend the capabilities of this camera. The motor winder allows for shooting up to 3.5 frames a second in continuous mode. The right angle viewfinder is especially useful when shooting at awkward angles or with telephoto lenses on a tripod, and has a toggle switch to add a 2.5x magnification to it for really dialling in the focus. I have a T20 and T32 flash for my cameras, and although the more lightweight and smaller T20 is more portable and uses half the amount of batteries, I prefer the T32 as it allows for bounce flash photography. Both flash units have 3 modes: TTL camera auto, flash unit auto and full manual. I have only really used the TTL camera auto mode but with the lens set to f4 I haven't had any photos with blown out highlights or muddy shadows.

Pictured: three different focus screens and an OM2 Spot Program with no lens and the current focus screen unclipped from the camera

A great thing about the OM2 Spot Program and other single digit OM cameras is the ability to fairly easily switch focus screens. Different lenses and scenarios work better with different screens and the ability to change really increases the versatility of the camera. For example, for general use I tend to use a split centre with microprism focus screen to give me 3 ways to focus, but with a telephoto (especially with teleconverters) the split centre goes black due to the low light levels. At that point, I have the option to switch to a microprism only or ground glass screen to make it easier to focus.

All in all, a fantastic camera with a solid design, accurate light meter and a wide selection of lenses and attachments which if in good condition will be a fantastic addition to any vintage camera collection.

[horrorcrawl]

Dr. Terror's House of Horrors (1965) 🚂

Director: Freddie Francis (Amicus Productions) Genres: Horror, Supernatural 🐺🦇🌿🎵 Notes: Train, Tarot Cards, Short Stories, Good Camera Work, Old House, Curse, Wolf Spirit/ Werewolf, Possession, Killer Plants, Voodoo God, Musicians, Artist, Suicide, Disembodied Hand, Practical FX, Vampires, Bat on a String

Review: This film has a star studded cast all doing great work. You'll likely recognize many of these actors in addition to legends Christopher Lee and Peter Cushing. This is a fun collection of stories being told from the fortune teller Dr. Terror on a Train. Brilliantly done with a great twist ending. This movie has a a little something for everyone. Overall I give Dr. Terror's House of Horrors (date): Must Watch! 💀

-Warnings for Folks- Mental Health: Suicide Racist Trope: Some BIPOC are depicted in a Voodoo dance and worship, this is a very theatrical and inaccurate depiction of the real life belief and practice. Also some cultural appropriation going on for plot

[baby-yongbok]

H.HJ Hard Thought - MDNI CW: Oral (f rec.), Video taping

Okay, but like, video taping Hyunjin going down on you cause he's always recording you, so now you want your own collection of him. You use his vintage film camera and sit on the couch with your legs spread wide for him, and he looks at you like you are everything.

He makes a show of it for you. Keeping eye contact with you, not the camera, you. He slowly gets down on his knees in front of the couch and kisses up your thighs, sucking bruises into the skin. You watch him, haphazardly angling the camera that you're slowly losing interest in.

When he finally starts making out with your cunt he moans so loudly that you can't help but to copy him. He's still looking up at you. His moves are slow and intentional.

He flattens his tongue and lets you ride the muscle. Your hand fists his hair as you buck up into him and now the camera is just a distant memory. You let it slip from your hand, giving it over to the couch and using your newly empty hand to cup his cheek. He lets you fuck his face to your heart's content while his fingers dig Into your thighs and yours on his scalp.

The camera is forgotten but its still rolling and it's catching every lewd moan and the wet lick of your cunt. It still kinda has Hyunjin in the shot too. All you can see is your thigh and his eyes looking up at you as you come undone on his tongue.

You both review the film afterwards, and you love it. So much that you want to make another one. What will you record this time?

[daytaker]

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[loonarii]

my 5 favourite k-pop music videos <3

I love music videos, and in k-pop there are a lot of mildy shitty ones, but there are also some amazing ones that are just as iconic as they are aesthetically pleasing. Obviously budget will come into play here, so big 4 groups will be more prevalent on this list, but I tried to be as fair as possible, within reason. Also, I'm a girl group stan, so don't expect many boy groups. Obviously I will forget some, but maybe I'll make a part two, and you are very welcome to leave your fave mvs in the rbs or comments. This list is in no particular order, lets gaur

1. 'Feel Special' - TWICE (JYP Ent.)

This music video inspired this list, and for good reason. 'Feel Special' is in my opinion, the epitome of Twice, as they stand today. It encapsulates their more mature concept post 'Yes Or Yes', but it doesn't alienate their debut cuter concept, it rather welcomes it with open arms and celebrates it as a part of Twice's history, something their newer releases occasionally struggle with. Visually its a feast, its decadent and lavish, and positively gorgeous. Each member has her own movie-esque set, employing various genres and aesthetics, and then the members unite in the most glittery set ever concieved, the gold contrasting their raspberry and champagne outfits magnificently, while also referencing the group's official colours, as seen on their lightstick. The whole video is cinematic and opulent, and every detail, down to Sana's dip died pink hair, and Nayeon's stunning ginger curls which I wish she would bring back, is flawless. The only gripe I have is Chaeyoung's unblended foundation in her solo scene, but hey, we aren't all be perfect. My favourite scenes in this video are the afor-mentioned glittery golden arches group scene, as well as Jihyo's rainbow vintage television scene, that was surprisingly ahead of its time in terms of its retro aesthetics. It's a must-watch music video for the history books, and it's Twice's best song too - it deserves no less.

2. 'Why Not?' - LOONA (BlockBerry Creative - ew)

Note: If you would like to watch this m/v, please stream it from a non official yt channel, in accordance with the boycott. They will usually be marked with 'Boycott Ver.' in the title or something similar.

Loona has a lot of amazing music videos in their arsenal, but 'Why Not?' goes above and beyond. It's one of the most visually striking music videos I have ever seen, and its grasp on colour, composition, and rhythm is completely unparalleled. It's vibrancy is just gorgeous, full of neon lights and shining metallics. The video exists in a constant state of dichotomy: both cool and warm, metropolitan and pastoral, manmade and fantastical. You would assume this would ruin the video's visual message, but the contrast actually enhances it, as well as furthering the group's lore. it's unafraid to experiment with aspect ratio and camera movement, and along with the subversive editing, the final product is unique as well as timeless. Who cares that the last five scenes were neon and retro-futuristic? It's time for Heejin and Hyunjin's black and white minimalist mildly 1920s suited up dance break with a 4:3 aspect ratio of course! As the song itself says, why not? It's as playful as the song, as well as being visually stunning. My favourite scenes include Choerry's upside down mirror moment with the neon lights, as well as Kim Lip in the field with the funky glowing orbs, and of course the cult circle on the moon scene. Fucking iconic.

3. 'Ditto' (Sides A & B) - NewJeans (Ador)

Note: I have a full review of this song, if you are interested.

Where the other videos on this list are overwhelmingly vibrant or cinematic, 'Ditto' is understated and personal. Arguably one of the most influential k-pop music videos of all time, it breaks every rule of what a music video of this genre looks and feels like, rejecting glamour and high fashion for an unromanticized schoolgirl aesthetic surrounded with melancholy. It's heartfelt and unassumingly tragic, and truly makes the viewer yearn for a time they only half remember. It is one of the most beautiful pieces of cinema I have ever seen, and I am so happy that K-pop stans loved it to death as I did, despite how starkly different it is to most everything in k-pop before it. It does however remind me of f(x)'s '4 Walls' m/v, which isn't a shock as Min Heejin (ew) was their creative director also. It also has vibes of the cult classic (?) Japanese movie 'All About Lily Chou Chou'. It has sparked many trends in the industry, including but not limited to: b-roll interspersions, the typical schoolgirl aesthetic, and the general rejection of the polished, glitzy vibe we expect of k-pop idols. Their impact on trends is notable, but in my opinion, no one has executed this aesthetic to the standard that NewJeans has. The unassuming tragic beauty of 'Ditto' is difficult to put into words, you must go and watch the two music videos for it - they are life changing.

4. 'Kill This Love' - BLACKPINK (YG Ent.)

Say what you will about Blackpink, but they KNOW how to do a music video, and 'Kill This Love' is one of their best; it is beyond extravagant. The sets are huge and striking and insane - Jennie floats on the heads of two enormous swans and all four girls dance in the middle of a huge fucking BEAR TRAP and its ridiculously cool. The fashion and styling is amazing too - my fave looks include Jennie's Lara Croft moment with the braid, Lisa's big ass fur coat from her cereal scene, and Jennie's gorgeous eye makeup from her shopping scene with Lisa. In a word, 'Kill This Love' is extra(vagant). Even the scenes that are conceptually ordinary - Lisa's cereal aisle, Rosé crying in her car - are elevated into the extraordinary. There is no real storyline or through line between the scenes other than their saturated colour palettes and the members themselves, but who cares? The members look like fucking goddesses, the dance looks amazing, and there are MULTIPLE jaw-drop moments throughout the runtime - what more do you want? Where 'Ditto' rejects the typical k-pop visual aesthetics, 'Kill This Love' epitomizes them. If I wanted to explain to western pop stan what k-pop is about, this is the video I would show them first. My favourite scenes include: the group scene with the exploding statues and the bad bitch combat outfits, Rosé caught in the storm with beautiful lighting, and THE BEST SCENE IN A BLACKPINK MUSIC VIDEO EVERRRR... Jisoo's goddess moment with the sun and the reflections. Nobody does music videos quite like Blackpink.

5. 'What Is Love?' - TWICE (JYP Ent.)

This music video is so unbelievably special to me. It doesn't break any boundaries with camera movement, editing, or aspect ratio like 'Why Not?', and it doesn't entirely reinvent the typical k-pop music video like 'Ditto' either, but I think it is one of the best music videos ever because it is so FUN. 'What Is Love' is a music video that is a series of references to iconic movies, most of which being about love, as the title suggests. It harkens back to 'La La Land', 'La Boum', 'Pulp Fiction', 'The Princess Diaries', and many more, with the girls playing the characters, on their fictional discovery of what love truly is. It's so special to me because it reminds me of doing exactly what the girls are doing with my best friends and my big sister - trying to learn what love is from the movies is something almost everyone has experienced, and thus the whole video feels nostalgic both for its references, and for its overall concept. It's fun and lighthearted and a memory of simpler times. Oh, to be a 12 year old obsessed with 'The Princess Diaries' again, to be a tween watching 'Pulp Fiction' with your big sister when it's probably not age appropriate, to be young teen watching 'La La Land' right when it came out. What a time to be alive. That's what 'What Is Love?' is, it's a celebration of life, of growing up, of being just a little naive and knowing it. Iconic, truly.

[theeeveetamer]

If FE characters of your choice had YouTube channels, what would these look like? And what kind of content would they create?

Ooooh okay okay okay!

Dedue has a cooking channel where he gives recipes and teaches you how to do basic cooking skills and reviews cooking appliances and things.

Dimitri has a "can I break it" channel where people send him things and see if he can break it. He and Dedue cross over frequently when Dedue reviews appliances. Dimitri is a good durability test to see if they'll last. It does not take fans long to realize that they always use the same kitchen as a backdrop for their videos (they're married, I don't make the rules).

Leo reviews books, I think. It's really not fancy he just sits in front of a camera and talks. People come by for his aggressive sarcasm and dry humor.

Takumi insists he doesn't want a youtube channel but he always shows up on Leo's. People just assumed they were dating but they actually weren't for like... a good three or four years at the start there. There's much confusion among the viewers when they finally announce that they got together, because everyone just assumed they were and they just didn't talk about it.

Sylvain doesn't have a YT but he's an Instagram influencer. He's just as annoying as one, too. I bet he also models.

Felix is an unboxing channel but he only buys weird shit. It's not like toys or anything he's like "here's this vintage sword". He pretends like he's not excited about it every time. He's also really bad at hiding it.

Aaaaand for fun, I think Ingrid runs a channel where she just reviews food places. But like, not high end food places (at least not all the time). She's the youtuber who'll sit in her car and eat McDonald's and talk about it.

And Dorothea probably does song covers.

OH AND Alfred probably has an entire channel just dedicated to sharing his work out routines. Diamant doesn't have a channel but he does frequently pop up on Alfred's. They're ""gym buddies""

[brickcentral]

Review: LEGO Ideas 21344 Orient Express Train

Wait a minute, wasn’t that supposed to be green? No, the real Orient Express was blue with stately gold inserts and that’s the color we get in the new LEGO Ideas set.

I was lucky to have the set delivered to me by LEGO thanks to BrickCentral, for which I am very grateful. Everything you will read below is my own opinion.

Building

Building the set was a lot of fun, and the dedicated tracks (instead of standard LEGO tracks) are a very nice addition. At first glance of the box I already imagined this huge sheet of stickers and placed crookedly on the wagons. But there were very positive surprises: golden, even prints on the tiles. Bravo LEGO!! This adds a really huge exclusivity to an exclusive transport.

The interiors of the carriages are wonderful, spacious, and filled with details.

Here we come to one of the most important things, the Orient Express fits on regular tracks from any LEGO set which is brilliant news. The proportions of the wagons themselves are perfect, huge at almost 40 cm long each.

The disadvantage is some repeatability. We start by building a 120 cm long track and pass through 2 wagons that are the same from the outside and many steps are repeated, which is noticeable after time.

Details

The interiors of the wagons with “wooden” inserts look beautiful. The golden crowbar in the locomotive cabin is perfect, a hidden diamond in a cleverly designed chassis. I can go on and on about all these little details that make up the beautifully crafted set.

Minifigures

We get 8 minifigs here but I don’t think any of them will beat the porter and the cameraman, in my opinion. They are great.

This does not mean that the others don’t stand out. Each is nicely set in an era with interesting accessories (the vintage camera is awesome) and style.

I have the least sentiment towards the driver, but I respect him for his hard work which would be difficult in a tuxedo. Minifigures give the set this fun function, which means that the set is not just a “collector of dust” on the shelf, but a nice set to play with– my children confirm this 100%.

Summary

Orient Express is beautifully designed in terms of proportions and the spirit of the era, at least the carriages and minifigs. The locomotive/engine is the weakest part.

In terms of photography, it’s tough to shoot because it’s loooong and repetitive. Is it worth buying? At 299 euros, it’s not my first choice, but you can’t go wrong buying it.

You can seriously enjoy looking at it, unfasten the wagon from time to time, hold it, look at it, put it back and the world becomes more beautiful. But you can also build tracks, arrange minifigures, ride, and just have fun… that’s what LEGO is all about.

Age: 18+ Price: $299.99 / £259.99/ €299.99/ 469.99 AUD/ 2499 CNY / 121990 HUF Pieces: 2,540

[runawaydiarys]

Different day, different book, same cord bag!

I just got this new Green sketch book for my birthday, the paper is that perfect weight that prevents seep through but isn’t so stiff that it’s uncomfortable to use.

[fabio-27125]

That btw also was a kinda camera review 😅

Those are some pics of my „Agfa Box“ from the 50‘s. The principle of the Box Camara is the most easy one, there‘s basically just one lens and a medium format film (I think it was invented by Kodak in the early 20th century). Today it‘s possibly the most unconventional way to take pictures, but even though the results aren’t perfect, i just love it 😅.

I added some of them to give you an example, but I will load up some more of them on my separate film photography blog ( fabio-271205 ) later this week!

[thislovintime]

The Monkees promoting Head in the Bay Area, 1968. Photo 2 courtesy of Oakland Tribune.

“If we were considering animals, David Jones would probably be a cocker spaniel; Micky Dolenz a poodle; Mike Nesmith a dachshund and Peter Tork an afghan… not a monkey among them. But, following an interview with the pre-teen dream makers, we are considering ‘The Monkees,’ who were live and reasonably sane in the Bay Area last week to plug their new movie, ‘Head,’ which opened Wednesday in the Eastbay. After chatting for an hour, individual personalities emerged… David Jones is… uh, well… a cocker spaniel; Micky Dolenz, a poodle…. There is just no way to describe the four musician-actors who have probably absorbed more sarcasm from critics, more distrust from the public and endured a faster-paced schedule than any other rock group on Planet Earth. There is something unreal about the four of them together — in an ‘in person’ interview in a posh hotel suite with promotion agents in the background. Their friendliness, cleanliness and politeness are real but their togetherness falls apart trying to come together. By now, anyone who reads even one of the world’s live languages knows they were brought together for the first time to star in a TV series by the same name. A marketable item made up of ex-jockey and musical-comedy (‘Oliver’) star David Jones; Grown up TV ‘Circus Boy’ wonder Micky Dolenz; country-western-folk singer from Texas, Mike Nesmith, and Greenwich Village vintage guitarist Peter Tork. The four speak to each other as acquaintances and one gets the impression of a working-hours-or-sessions relationship only. They appear to be a little too polite to each other, to aware of each other for comfort. Peter defers to Micky’s talent as a director. ‘You know, like we were doing one TV show with Micky directing,’ Peter imitates Micky’s muggings. ‘He takes the script, flips it open and says, “Let’s see here now… we shoot starting with page seven… here boys,” he calls over the camera crew and in bright sunlight shoots in four hours with no rehearsal what it normally takes 12 hours to shoot.’ Micky grins, bows politely with a ‘Thank you, kind sir.’ […] ‘We did some shows that we really liked,’ Peter said. ‘But there were so many formula shows where Micky played crazy villains, David always got the girl… we just couldn’t take another season of it.’ ‘In addition to the “7 to 7” hours at the studio,’ David said, ‘we’d have to get a song out for the show, plan concerts, rehearse for and record albums. Some nights I’d work until 3 a.m. then have to be back at the studio for makeup at 6 a.m. the same day.’ Still, their critical success came with their Marx-Brothers-ish approach to comedy, that aspect of their careers which has been the most time-consuming. ‘The Monkees’ don’t see it that way. Mike plots their future in music with visuals as an accompaniment rather than the focus. ‘Music was always the major thing even in our series,’ he said. Most reviews and public response do not agree with this. Past the pre-and-early-teens, people can more or less take or leave the ‘Monkees’ sound and it was considered little more than background to innovative comedy on their show.” - article by Peggy King, Oakland Tribune, December 7, 1968

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